Richard Corliss
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For 943 reviews, this critic has graded:
  • 57% higher than the average critic
  • 2% same as the average critic
  • 41% lower than the average critic
On average, this critic grades 6.5 points higher than other critics. (0-100 point scale)

Richard Corliss' Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Russian Ark
Lowest review score: 0 Ace Ventura: When Nature Calls
Score distribution:
  1. Negative: 92 out of 943
943 movie reviews
    • 90 Metascore
    • 100 Richard Corliss
    In a style of agitated naturalism, Jordan examines poignant matters of life and death, sex and friendship, duty and loyalty, freedom and bondage, manhood and womanhood and all the ambiguous areas in between. [30 Nov 1992]
    • Time
    • 91 Metascore
    • 100 Richard Corliss
    Triplettes is terrific…there's no competition for the fall's most imaginative delight. In that race, Triplettes can already take its victory lap.
    • 94 Metascore
    • 100 Richard Corliss
    The second half of the film elevates all the story elements to Beethovenian crescendo. Here is an epic with literature's depth and opera's splendor -- and one that could be achieved only in movies. What could be more terrific?
    • 84 Metascore
    • 100 Richard Corliss
    It's an exhilarating trip of movie madness and sadness.
    • 83 Metascore
    • 100 Richard Corliss
    Reitman's blend of comedy and drama, romance and social observation make Up in the Air the ideal movie --- and maybe even a cure -- for the Great Recession blues.
    • 77 Metascore
    • 100 Richard Corliss
    As you watch this enchanting fantasy, feel free to be thrilled or to giggle, as you wish. This time, Happily Ever After lasts 98 minutes. [21 Sept 1987]
    • Time
    • 89 Metascore
    • 100 Richard Corliss
    So it is Scorsese's triumph that GoodFellas offers the fastest, sharpest 2 1/2-hr. ride in recent film history. [Sept 24, 1990]
    • Time
    • 80 Metascore
    • 100 Richard Corliss
    This is a chase movie (Simon Legree after three Little Evas) across parched outback terrain, captured with rapturous authenticity by cinematographer Christopher Doyle.
    • 90 Metascore
    • 100 Richard Corliss
    Hannah and Her Sisters is old-fashioned in another sense: its plot has the elegant geometry of a Philip Barry play. [Feb 3, 1986]
    • Time
    • 84 Metascore
    • 100 Richard Corliss
    As thoughtful as it is handsomely acted. Caine's subtle, bold performance should guarantee him an aisle seat on Oscar night.
    • 73 Metascore
    • 100 Richard Corliss
    In an amazing year for animation, The Princess and the Frog is up at the top. Go on, give it a big kiss.
    • 69 Metascore
    • 100 Richard Corliss
    It's just possible that Tarantino, having played a trick on history, is also fooling his fans. They think they're in for a Hollywood-style war movie starring Brad Pitt. What they're really getting is the cagiest, craziest, grandest European film of the year.
    • 87 Metascore
    • 100 Richard Corliss
    To transport picturegoers to a unique place in the glare of the earth, in the darkness of the heart--this, you realize with a gasp of joy, is what movies can do.
    • 73 Metascore
    • 100 Richard Corliss
    Intoxicating. [19 Dec 1988, p.78]
    • Time
    • 82 Metascore
    • 100 Richard Corliss
    Three of the hippest indie film princes make a perfect commercial comedy.
    • 83 Metascore
    • 100 Richard Corliss
    The most beguiling romantic comedy this side of "Broadcast News." [11 Jan 1988]
    • Time
    • 100 Metascore
    • 100 Richard Corliss
    A home movie of a fictional home life, an epic assembled from vignettes, Boyhood shimmers with unforced reality. It shows how an ordinary life can be reflected in an extraordinary movie.
    • 83 Metascore
    • 100 Richard Corliss
    Bursting with earned emotion, Hugo is a mechanism that comes to life at the turn of a key in the shape of a heart.
    • 81 Metascore
    • 100 Richard Corliss
    This is more than an Important Documentary: it is engaging and, finally, enraging - as captivating as any "Superman" movie, and as poignant as a child's plea for help.
    • 95 Metascore
    • 100 Richard Corliss
    However ripe A Separation might seem for being adapted into a smart American film, Hollywood shouldn't bother. Farhadi's movie is just about perfect as it is.
    • 94 Metascore
    • 100 Richard Corliss
    It towers over the year's other movies as majestically and menacingly as a gang lord at a preschool. [10 Oct 1994]
    • Time
    • 82 Metascore
    • 100 Richard Corliss
    The movie is a museum of emotions, brought to contemporary life through the director's artistry and his leading lady's fire. Here, they show us, is how people felt, and hurt, in another time. Their love and pain can touch us today.
    • 72 Metascore
    • 100 Richard Corliss
    The year's most thrilling, FEELING mainstream movie.
    • 76 Metascore
    • 100 Richard Corliss
    Kidman, in a career-best performance, and Eckhart lend pitch-perfect calibration to the couple's shared and separate agonies. It's as if previous treatments of the subject were a series of failed experiments, and Rabbit Hole is the Eureka! moment.
    • 95 Metascore
    • 100 Richard Corliss
    The rewards for paying attention are mammoth and exhilarating. This is a high-IQ movie that gives viewers an IQ high.
    • 88 Metascore
    • 100 Richard Corliss
    This is a true-life heist movie, and the thieves not only got away with their billions, they're still doing business. Pay attention and blow a gasket.
    • 65 Metascore
    • 100 Richard Corliss
    It's a cocktail-party movie with a Molotov-cocktail finish: a tribute to the 88-year-old auteur's artistry - and his con artistry as well.
    • 97 Metascore
    • 100 Richard Corliss
    A document that is raw, eloquent, horrifying and essential.
    • 63 Metascore
    • 100 Richard Corliss
    An expensive flop and the latest Iraq movie to be shunned by the mass audience, Green Zone was still the year's most visceral, thrilling entertainment.
    • 73 Metascore
    • 100 Richard Corliss
    On its bright face, The Imitation Game, written by Graham Moore and directed by Morten Tyldum, fits into that cozy genre of tortured-genius biopics that sprout like kudzu just in time for the Oscars. But that’s not fair to the film, which outthinks and outplays other examples of the genre.

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