Richard Corliss

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For 972 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 4.1 points higher than other critics. (0-100 point scale)

Richard Corliss' Scores

  • Movies
  • TV
Average review score: 67
Highest review score: 100 Never Let Me Go
Lowest review score: 0 Cocktail
Score distribution:
  1. Negative: 97 out of 972
972 movie reviews
    • 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.
    • 67 Metascore
    • 60 Richard Corliss
    Picaresque movies often feel longer than they are. For them to work, they need an interior spring with more thrust than Darjeeling's attempt at reconstituted brotherhood. The problem is in Anderson's approach, which is so supercool, it's chilly. Anderson has the attitude for comedy but not the aptitude.
    • 67 Metascore
    • 40 Richard Corliss
    Somewhere has a lot of good impulses, and a salutary faith in an audience's patience; but the film's tone, in its script, performances and visual style, is studiously uninflected. It's a document of people seen remotely, maybe from outer space.
    • 67 Metascore
    • 50 Richard Corliss
    Ruby Sparks tries its damnedest to make a picture that seduces moviegoers into accepting it as their best imaginary friend forever. But the sweat shows more than the sparkle.
    • 66 Metascore
    • 60 Richard Corliss
    It points out what's missing in his (Oshii) approach: fluidity of character line, the subtlety of expression that brought humanity to a Warner Bros. cartoon duck or rabbit.
    • 66 Metascore
    • 50 Richard Corliss
    Schrader's objectification of sad and stupid material is neither tragic nor transgressive. It is just undramatic and uninvolving.
    • 66 Metascore
    • 50 Richard Corliss
    When in doubt, director Tony Scott ("Top Gun", "Days of Thunder") lets loose a spray of water, sparks and sweat-the signature flourish of this Helmut Newton of movie machismo.
    • 66 Metascore
    • 60 Richard Corliss
    The Informant! may end up closer to the non-starters. Its lunacy is too deadpan, and its denouement too drawn out, to appeal to those who liked the Bourne movies, or, for that matter, the Gore. But it's worth seeing, and a salutary achievement.
    • 66 Metascore
    • 50 Richard Corliss
    Along with other cast members, Penn takes ages registering his stares and scowls, until the movie is finally not about gangs but about actors' attitudes. Dressed up in '80s street slang, this is a '60s exercise in Method excess. [18 Apr 1988]
    • Time
    • 65 Metascore
    • 60 Richard Corliss
    The word "mixed" isn't mixed enough to fit my response to this film.
    • 65 Metascore
    • 50 Richard Corliss
    More a case history than a devious puzzle, the movie is like a story overheard from the next restaurant booth: for all your curiosity as to how it turns out, you're not likely to have much personal investment in the people.
    • 65 Metascore
    • 40 Richard Corliss
    Painful, and not in a good way. A glimpse into the '60s should give us not just the warm bath of recognition but the shock of the new, as least as it felt in days of old. That doesn't happen, in a movie that evokes less empathy than apathy.
    • 65 Metascore
    • 40 Richard Corliss
    Too bad that First Class torpedoes its lofty intentions with flights of idiocy so wrongheaded as to be almost endearing.
    • 65 Metascore
    • 60 Richard Corliss
    This spectacle of strenuous improvising is more stunt than true experiment.
    • 65 Metascore
    • 50 Richard Corliss
    Shaggily amusing but familiar and way-too-long.
    • 65 Metascore
    • 40 Richard Corliss
    Alas, in Tetro he (Coppola) has made a movie in which plenty happens but nothing rings true.
    • 65 Metascore
    • 60 Richard Corliss
    My advice to Scott and Lindelof is, Try harder - to bring the characters as well as the creatures alive; to extend the grandeur of that music-of-the-sphere scene to an entire movie; to devise new horror-film money shots; and to scare the crap out of me.
    • 65 Metascore
    • 40 Richard Corliss
    An idiot-savant movie, knowing but not smart.
    • 65 Metascore
    • 40 Richard Corliss
    Stuff still leaps out of the screen -- the snake striking a victim, cars sent flying by Death Eaters -- but few things in the movie lodge in the audience's mind or heart.
    • 65 Metascore
    • 60 Richard Corliss
    The plot becomes landlocked in true-life implausibilities; the characters rarely get a hold on the moviegoer's heart or lapels. What saves this meditation on the vestiges of colonialism is, ironically, its celebration of American star power.
    • 64 Metascore
    • 50 Richard Corliss
    The film's blithe misogyny soon becomes wearying; it refuses to see women as more than the sum of their private parts.
    • 64 Metascore
    • 50 Richard Corliss
    Conran hasn't attached his technical virtuosity to a ripping yarn or infused it with behavioral brio. The first of its kind often doesn't work; Sky Captain may be the Moses that leads other directors to a blue-sky, blue-screen promised land.
    • 64 Metascore
    • 50 Richard Corliss
    The film lacks moviemaking buoyancy -- the feeling of soaring in space that Rowling's magic-carpet prose gives the reader. The picture isn't inept, just inert.
    • Time
    • 64 Metascore
    • 50 Richard Corliss
    You get 45 minutes of awesome encased in 90 minutes of yawnsome.
    • 64 Metascore
    • 50 Richard Corliss
    Che
    In the end, the Cuban newspaper was nearly right: it's not the Castro character but the whole of this grand, doomed experiment that lacks "charisma and depth."
    • 64 Metascore
    • 50 Richard Corliss
    Despite enough pummeling to flatten Rocky Balboa in all six movies, the only thing that truly rewards your attendance is Pitt in another effortless star performance.
    • 64 Metascore
    • 50 Richard Corliss
    Mind you, I don't begrudge the creators of even a junk-food movie like Cloverfield the fun they had demolishing New York one more time.
    • 64 Metascore
    • 50 Richard Corliss
    Though we still believe that Lawrence, who turned 25 in August, can do no wrong, she isn’t given much opportunity to do anything spectacularly right here. Her performance is a medley of sobs and gasps, in mournful or radiant closeup. This time, her Katniss is as much a prisoner of her circumstances as Peeta is. She and the movie are both victims of burnout.

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