Richard Corliss

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For 948 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 5 points higher than other critics. (0-100 point scale)

Richard Corliss' Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Get On Up
Lowest review score: 0 Cocktail
Score distribution:
  1. Negative: 92 out of 948
948 movie reviews
    • 91 Metascore
    • 60 Richard Corliss
    To accept the film, though, one must first understand its point of view, and that is maddeningly difficult. All we know for certain is that Do the Right Thing is not naturalistic. [July 3, 1989]
    • Time
    • 88 Metascore
    • 60 Richard Corliss
    Obvious, though, is the word for Hopper's direction. It amplifies to rock-concert level every pained plosive in Bertie's speech, forces certain characters dangerously close to caricature.
    • 86 Metascore
    • 50 Richard Corliss
    In terms of quality, though, Argo is just so-so.
    • 85 Metascore
    • 40 Richard Corliss
    All attitude and low aptitude.
    • 84 Metascore
    • 50 Richard Corliss
    I'm a notorious softie, and I found things to like about the film, most particularly Clooney's performance; but I remained untouched.
    • 83 Metascore
    • 50 Richard Corliss
    Something got lost in the move from storyboard to screen, and in the stretch from seven minutes to 103. [27 June 1988]
    • Time
    • 83 Metascore
    • 60 Richard Corliss
    Hanks has a wonderful scene, late in the film, that shows a strong man collapsing into frailty. It hints at the emotional depth the movie might have plundered. The rest of Captain Phillips must rely for its drive on the relentless mechanical agitation of Henry Jackman’s score. It can’t save an overly muscled docudrama that is more pounding that truly gripping.
    • 81 Metascore
    • 50 Richard Corliss
    Rourke does strong, sensitive work here, which will cheer his old-time admirers and win him new fans...But the movie itself is pretty bad.
    • 80 Metascore
    • 60 Richard Corliss
    This is a Bond with great body but no soul.
    • 79 Metascore
    • 60 Richard Corliss
    Me, I'm of two minds about a movie that wants to be a nail-ripping thriller and a statement on an artist's unholy communion with her role. It's reminiscent of older, better movies.
    • 78 Metascore
    • 50 Richard Corliss
    Blue Jasmine is the 77-year-old auteur’s first flat-out non-comedy in a quarter century — since "Another Woman" and "September" in the late ’80s, and back to "Interiors" in 1978. Like those more somber studies, this is a portrait of a woman in extremis. But a view from afar: Allen observes Jasmine’s allure and disease without penetrating her soul. That makes for a movie that is both intimate and disinterested, as if Jasmine were a flailing insect in a barren terrarium.
    • 77 Metascore
    • 60 Richard Corliss
    Invigorating and annoying, Lola could use a dose of Ritalin. Best to take this 76-minute riff on alternate destinies as an antidote to Europe's minimalist art-house cinema and to enjoy Potente's sweaty radiance.
    • 77 Metascore
    • 40 Richard Corliss
    Don't ask us why this minimalist drama won prizes last year at Cannes or why it is getting raves in its U.S. release.
    • 76 Metascore
    • 60 Richard Corliss
    Lynch and his film will surely be reviled, but as an experiment in expanding cinema's dramatic and technical vocabulary, Blue Velvet demands respect. [Sept. 22, 1986]
    • Time
    • 76 Metascore
    • 50 Richard Corliss
    It’s a bit of a botch.
    • 76 Metascore
    • 50 Richard Corliss
    To find that valuable truth, you have to dig through an avalanche of d--- jokes and strenuous slapstick.
    • 76 Metascore
    • 50 Richard Corliss
    Like the ZAZ lads' other films, this is a movie made for a VCR Saturday night. They supply the jokes; you bring the microwave popcorn and modest expectations. [12 Dec 1988]
    • Time
    • 75 Metascore
    • 40 Richard Corliss
    Disney is trying to lure the disparate audiences of "Harry Potter and the Goblet of Fire" (kids) and "The Passion of the Christ" (Evangelicals). But on either level, Narnia fails. There's no fire, no passion and not much fun.
    • 75 Metascore
    • 50 Richard Corliss
    A humongous, visionary parable that intermittently enthralls and ultimately disappoints. [8 July 1991, p.55]
    • Time
    • 75 Metascore
    • 50 Richard Corliss
    By buying the pitch that its central character’s escapades were the stuff of mesmerizing drama or comedy, Scorsese, Winter and DiCaprio reveal themselves as dupes — the latest in a long line of clever folks swindled by Jordan Belfort.
    • 74 Metascore
    • 40 Richard Corliss
    Intent on both dazzling and punishing the viewer, Gilliam gets lost in creepy spectacle and plenty of old film clips (notably "Vertigo"). But at the sight of three giraffes crossing a city bridge, you'll think of a more recent movie. A bad one. [8 Jan 1996, p.69]
    • Time
    • 74 Metascore
    • 40 Richard Corliss
    Doesn't offer much.
    • 74 Metascore
    • 50 Richard Corliss
    Ultimately, Titanic will sail or sink not on its budget but on its merits as drama and spectacle. The regretful verdict here: Dead in the water.
    • 74 Metascore
    • 40 Richard Corliss
    The film is one-note; misery is the only game in town.
    • 74 Metascore
    • 60 Richard Corliss
    The real battle here is between two generations of acting styles: meticulous method vs. star quality.
    • 74 Metascore
    • 50 Richard Corliss
    The better class of moviegoers will love Billy Elliot. And I loved hating it.
    • Time
    • 74 Metascore
    • 60 Richard Corliss
    This is the rough cut of a good movie, and a splendid opportunity wasted.
    • 73 Metascore
    • 40 Richard Corliss
    Soderbergh slices, dices and Cuisinarts the script into flashbacks, scene shifts, stop motion and other distracting foolery.
    • 73 Metascore
    • 40 Richard Corliss
    The film causes no tremors, only a hemi-Demme-semiquaver.
    • 73 Metascore
    • 50 Richard Corliss
    To Western eyes, this meandering parable registers as a perplexity and a disappointment.

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