Richard Corliss
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For 931 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 6.7 points higher than other critics. (0-100 point scale)

Richard Corliss' Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Zero Dark Thirty
Lowest review score: 0 Cocktail
Score distribution:
  1. Negative: 91 out of 931
931 movie reviews
    • 80 Metascore
    • 70 Richard Corliss
    This is the animated film as art film. Coraline doesn't try to ingratiate; it just looms, like a cemetery gate, daring curious souls to tiptoe in and fend for themselves.
    • 80 Metascore
    • 80 Richard Corliss
    This may seem too inside-cricket for a U.S. audience. And it's true that Cock and Bull is so postpostmodern, it's very nearly postmovie. But it's no less diverting for all that. It would be a shame if the great novel no one has read becomes the terrific film nobody bothers to see.
    • 80 Metascore
    • 90 Richard Corliss
    Spielberg's sharpest, brawniest, most bustling entertainment since "Raiders of the Lost Ark" and the finest of the season's action epics.
    • Time
    • 80 Metascore
    • 70 Richard Corliss
    For closeup conflict and emotional kick, the Frost/Nixon movie tops the play. But neither can match the tension and weird poignancy of the original interviews -- reality TV of the highest, queasiest order.
    • 79 Metascore
    • 100 Richard Corliss
    The film is seductive, disturbing, enthralling -- a trip to hell that gives the passengers a great ride.
    • 79 Metascore
    • 90 Richard Corliss
    A gross-your-eyes-out horror movie that is also the year's most poignant romance.
    • 79 Metascore
    • 80 Richard Corliss
    In a movie of subtle tones and wild swerves, Pike expertly mixes a cocktail of hot and cold blood. She is the Amazing Amy you could fall for, till death do you part.
    • 79 Metascore
    • 80 Richard Corliss
    The movie wants to entertain and educate, not leer, about people flummoxed by participating in a revolution they had meant only to calibrate, and at that it succeeds handsomely.
    • 79 Metascore
    • 100 Richard Corliss
    Clint Eastwood has crafted a bold and meticulous epic.
    • 79 Metascore
    • 70 Richard Corliss
    Jogs from one incident to the next, amassing information and dispensing attitude but rarely creating real characters. That's supposed to be director Milos Forman's forte; here, though, nearly everyone is an enemy or a stooge.
    • 79 Metascore
    • 80 Richard Corliss
    To absorb God's body blows, this disquieting, haunting movie says, is to be fully alive. To do otherwise could kill you.
    • 79 Metascore
    • 90 Richard Corliss
    Wings of Desire works hard to be both an essay and a love story, a mural and an intimate portrait. To savor this film, the viewer must work hard too. But when the artists behind the screen and the angels in the audience meet, it's like a smoke and coffee: fantastic! (1998 May 9, p. 79)
    • Time
    • 79 Metascore
    • 80 Richard Corliss
    The message to take from Jodorowsky’s Dune: movies once had brains and balls, and lost them.
    • 79 Metascore
    • 90 Richard Corliss
    The next time you hear a director complain about the studio or his stars or the weather or whatever, think of what Jorgen Leth achieved with Lars von Trier as his boss -- when five obstructions became five splendid opportunities.
    • 79 Metascore
    • 90 Richard Corliss
    Some of us knows that there's an American style -- best displayed in the big, smart, kid-friendly epic -- that few other cinemas even aspire to, and none can touch. When it works, as it does here, it rekindles even a cynic's movie love. So cheers to Downey, Favreau and the Iron Man production company. They don't call it Marvel for nothing.
    • 79 Metascore
    • 70 Richard Corliss
    When it gets going, it’s a pretty fine movie.
    • 79 Metascore
    • 70 Richard Corliss
    But the actor (Nolte) finds truth in Wade's emotional clumsiness, in the despair of a man who hasn't the tools or the cool to survive. There are too many of these men in life, and not enough films that tell their sad tales.
    • 79 Metascore
    • 100 Richard Corliss
    Pi is a giant leap forward, outward and upward in expanding the resources of the evolving medium of movies. Magical realism was rarely so magical and never before so real.
    • 79 Metascore
    • 90 Richard Corliss
    The movie hits every emotional button with a firm fist. It makes the phrase feel-good sound like a command from the industry's P.C. Patrol.
    • 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
    • 80 Richard Corliss
    "Shrek," this film's prime competition for the first Animated Feature Oscar, is a synoptic parody of fairy tales. In Monsters, Inc. the gags aren't as spot-on but the technique is miles ahead. The vision is grander and warmer.
    • Time
    • 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.
    • 78 Metascore
    • 90 Richard Corliss
    If the film is just as strange and endearing as its glowing protagonist -- and it is -- that's because the director and co-writer (with Mignola) is Guillermo del Toro, 43, who has the wildest imagination and grandest ambitions of anybody in modern movies.
    • 78 Metascore
    • 100 Richard Corliss
    A technical knockout. [29 June 1987]
    • Time
    • 78 Metascore
    • 90 Richard Corliss
    Most of the movie is Actors Acting: gifted guys (Harvey Keitel, Tim Roth, Steve Buscemi, Chris Penn) running nattering riffs on familiar lout themes. [16 Nov 1992]
    • Time
    • 78 Metascore
    • 90 Richard Corliss
    The film is a gorgeous garland on an unknown soldier's grave.
    • 78 Metascore
    • 30 Richard Corliss
    Under the Skin falls in love with its bleak monotony. It is a melodrama with all the thrills surgically excised.
    • 78 Metascore
    • 100 Richard Corliss
    "The Avengers" is kid stuff compared with this meditation on mortal loss and heroic frailty. For once a melodrama with pulp origins convinces viewers that it can be the modern equivalent to Greek myths or a Jonathan Swift satire. TDKR is that big, that bitter - a film of grand ambitions and epic achievement. The most eagerly anticipated movie of summer 2012 was worth waiting for.
    • 78 Metascore
    • 80 Richard Corliss
    With Half-Blood Prince, again we have a stalwart, satisfying visualization of the Rowling cosmos.
    • 78 Metascore
    • 90 Richard Corliss
    The poise and passion in Eve's Bayou leave one grateful, exhausted and nourished. For the restless spirit, here is true soul food.

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