Richard Corliss

Select another critic »
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 4.9 points higher than other critics. (0-100 point scale)

Richard Corliss' Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 4 Months, 3 Weeks and 2 Days
Lowest review score: 0 Untraceable
Score distribution:
  1. Negative: 92 out of 948
948 movie reviews
    • 73 Metascore
    • 50 Richard Corliss
    To Western eyes, this meandering parable registers as a perplexity and a disappointment.
    • 73 Metascore
    • 50 Richard Corliss
    Even Galifianakis's pervy charm, and a deeply weird cameo by Mike Tyson, can't save The Hangover. Whatever the other critics say, this is a bromance so primitive it's practically Bro-Magnon.
    • 73 Metascore
    • 60 Richard Corliss
    Mission: Impossible – Ghost Protocol is no "Fast Five."
    • 73 Metascore
    • 50 Richard Corliss
    Raimi directs the film at Maguire's pensive pace. Some scenes are just inert.
    • Time
    • 73 Metascore
    • 50 Richard Corliss
    The new film is a toss-up with George Pal's very watchable 1953 version: the special effects are even better here, the drama even lamer.
    • 72 Metascore
    • 50 Richard Corliss
    All these roles could have been found at a garage sale of comedy stereotypes. To the extent that 50/50 works, it is because of Gordon-Levitt, one of my favorite actors.
    • 72 Metascore
    • 40 Richard Corliss
    A movie this implausible shouldn't be this dull.
    • 71 Metascore
    • 60 Richard Corliss
    The movie is a little gimpy. But Murray's molto impressive. He drops his voice half an octave; he walks like a golem tailored by Armani; he puts his silky style in the service of menace. It's a whole nother dimension to him. [8 March 1993]
    • Time
    • 71 Metascore
    • 50 Richard Corliss
    By turns amusing and annoying, Young Adult could be the flip side, plus the sequel, of "Juno."
    • 71 Metascore
    • 50 Richard Corliss
    Seeing Fincher's version is like getting a Christmas gift of a book you already have. This edition has a nicer binding and prettier illustrations than your beloved old paperback, but it's essentially a reproduction of the same old dragon. Dragon Tat-two.
    • 70 Metascore
    • 40 Richard Corliss
    Arcand has a gift for witty dialogue but a weakness for force-feeding his story with sentiment. References to ancient holocausts and to 9/11 simply expose the intent of a director who will do anything to touch his audience -- with a sweet gesture or a cattle prod. And in a comedy of manners, that behavior is very impolite.
    • 70 Metascore
    • 60 Richard Corliss
    The film mostly simmers.
    • 70 Metascore
    • 40 Richard Corliss
    In this space epic, no one will hear you laugh.
    • 70 Metascore
    • 50 Richard Corliss
    It lacks overall focus, and at the end you may have a question for Michael Mann: Why'dyou bother? [July 6, 2009, p.59]
    • Time
    • 70 Metascore
    • 60 Richard Corliss
    A serious film about the gnawing of conscience and the thirst for redemption, but the tone is so dispassionately vile it may leave viewers shaken or sick. [16 Nov 1992, p.95]
    • Time
    • 70 Metascore
    • 40 Richard Corliss
    That first movie raised the craft of torture to a low art. Expect no less in LW2, directed by Richard Donner and written by Jeffrey Boam. This installment features a surfboard decapitation, death by carpenter's nail gun, a bomb wired to a very sensitive seat ( and reduction of the Afrikaaner diaspora by about one-half. (24July 1989, p.53)
    • Time
    • 69 Metascore
    • 50 Richard Corliss
    You could get drunk, or ill, on the high dose of whimsy in Amelie.
    • Time
    • 69 Metascore
    • 60 Richard Corliss
    For all the carnage, Lee's tone is contemplative.
    • 69 Metascore
    • 50 Richard Corliss
    Simultaneously diverting and annoying.
    • 68 Metascore
    • 50 Richard Corliss
    Can The Hunger Games, in the movie version directed by Gary Ross, successfully navigate the crossing from page to screen? Our answer: Eh.
    • 68 Metascore
    • 50 Richard Corliss
    The performances here are so sharp that viewers may wish End of Watch has been shot by someone who knew how to find the right point of view for a scene and leave it there.
    • 68 Metascore
    • 50 Richard Corliss
    Tries anything for a gross-out laugh — but feels oh-so-familiar
    • 68 Metascore
    • 60 Richard Corliss
    At its shambling best, Office Space is like a bracing break at the coffee machine. Some horrible Monday, why not cut work to see it?
    • 67 Metascore
    • 60 Richard Corliss
    The movie is way too colorful - cute, in a repulsive way, with its crawly special effects - and tame compared with its source.
    • 67 Metascore
    • 50 Richard Corliss
    An ideal play is degraded into an indolent film
    • 67 Metascore
    • 40 Richard Corliss
    Pretty lethargic stuff. Monty, a convicted drug dealer on his last day before he is to report to prison, does more moping than moving.
    • 67 Metascore
    • 40 Richard Corliss
    Finding Neverland takes a big, brave leap and lands splat on the sidewalk.
    • 67 Metascore
    • 50 Richard Corliss
    Carano is her own best stuntwoman, but in the dialogue scenes she's all kick and no charisma. The MMA battler lacks the conviction she so forcefully displayed in the ring. She is not Haywire's heroine but its hostage.
    • 67 Metascore
    • 50 Richard Corliss
    Watson makes a smooth matriculation from the England-made Harry Potter epics to this movie's thrifty, six-week Pittsburgh shoot.
    • 67 Metascore
    • 50 Richard Corliss
    Nowhere Boy is a surprisingly conventional film - adroit at weaving a time-and-place mood but way too rigid dramatically to bring the Lennon family dynamic to life.

Top Trailers