Richard Corliss
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For 914 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 The LEGO Movie
Lowest review score: 0 Cocktail
Score distribution:
  1. Negative: 91 out of 914
914 movie reviews
    • 57 Metascore
    • 80 Richard Corliss
    Elegant, thoughtful film.
    • 57 Metascore
    • 60 Richard Corliss
    The Secret Life of Bees may not be a "To Kill a Mockingbird" on page or screen, but Fanning is the center of its soul and intelligence. It's Hollywood's job to find strong parts for this precocious genius as she matures into womanhood.
    • 57 Metascore
    • 70 Richard Corliss
    Savvy family entertainment.
    • 57 Metascore
    • 70 Richard Corliss
    Harold and Kumar are pothead patriots in the first feel-good torture film.
    • 57 Metascore
    • 70 Richard Corliss
    Vivid, relevant and of elevating scariness.
    • 57 Metascore
    • 90 Richard Corliss
    A banquet of creepy, gory or grotesque incidents is on display in Hannibal. but this superior sequel has romance in its dark heart.
    • Time
    • 57 Metascore
    • 70 Richard Corliss
    The new film is more an embellishment than an improvement on the snazzy Raiders.
    • 57 Metascore
    • 50 Richard Corliss
    He (Tony) could be a self-destructive hero out of a Dostoyevsky or Mailer novel. That portrait gives Iron Man 2 its fascination. The rest is a cluttered, clattering toy story.
    • 57 Metascore
    • 60 Richard Corliss
    Neither the acting nor the story matters much here; the movie is simply the sum of its 3D effects.
    • 57 Metascore
    • 20 Richard Corliss
    It is likely to disappoint the book's acolytes and tax the patience of newcomers. [1 December 1997, p.84]
    • Time
    • 57 Metascore
    • 60 Richard Corliss
    Morning Glory is a cut above most other recent light fare, but not a prime cut.
    • 57 Metascore
    • 70 Richard Corliss
    An adoring tone and the familiar slo-mo, wide-angle baskebatics.
    • 57 Metascore
    • 70 Richard Corliss
    A reboot of an A-level spy series seems too pretty-good to be true. Shadow Recruit occupies this weekend’s movie screens as familiarly and reassuringly as a Walther PPK fits in the hand of James Bond.
    • 57 Metascore
    • 80 Richard Corliss
    Cecil B. proves how a dose of smart bad taste can be jolly good fun.
    • Time
    • 56 Metascore
    • 70 Richard Corliss
    Director Peter Berg cannily hypes the tension and the sentiment in the only one of the current Middle East political movies designed to appeal to the action crowd. Hard truths are absorbed while stuff blows up.
    • 56 Metascore
    • 70 Richard Corliss
    Chow Yun-fat, the epitome of swaggering suavity in John Woo's Hong Kong crime films, wears his role as a good-bad cop dapperly in this good-middling drama set in Manhattan's Chinatown.
    • 56 Metascore
    • 70 Richard Corliss
    So Twilight isn't a masterpiece -- no matter. It rekindles the warmth of great Hollywood romances, where foreplay was the climax and a kiss was never just a kiss.
    • 56 Metascore
    • 70 Richard Corliss
    Knoxville and his team bring a defiant cheerfulness to their venture; the gang's idiocy is both self-aware and somehow innocent. Their gags have the anachronistic simplicity of pre-CGI stunts, when daredevils risked their lives to make an audience go "Wow!"
    • 56 Metascore
    • 70 Richard Corliss
    It's hard to know how to respond to Falling Down: deplore its crudeness or admire its shrewdness. But it is occasionally the movies' job to plunge into the national psyche, root around in its chaotic darkness and return to the surface with some arresting fantasy that helps bring our uglier imaginings into focus. In that sense, this often vulgar and exploitative movie has some value. [1 March 1993, p63]
    • Time
    • 56 Metascore
    • 50 Richard Corliss
    The archivist's meticulousness with which this movie was assembled defeats the starving-hysterical-naked urgency of its source material. Could the old Hollywood pharisees have been right? Maybe On the Road is unfilmable.
    • 56 Metascore
    • 80 Richard Corliss
    Watchmen has moments of greatness. It proves again that the action movie is where the best young Hollywood brains have gone to bring flesh to their fantasies.
    • 56 Metascore
    • 70 Richard Corliss
    Manages to make its point--that we are all impaired, short on that rarest quality, common sense--without being imprisoned by its complex format.
    • 56 Metascore
    • 50 Richard Corliss
    Shot in grainy, unflattering closeups occasionally alleviated by flashily edited fight scenes, Non-Stop is no more or less than what it intends to be: the kind of midlevel brainless entertainment you might watch, between meals and naps, on an international flight. Try to enjoy the ride — and no texting, please.
    • 56 Metascore
    • 40 Richard Corliss
    The entire film is in fact a ferocious meditation on the dilemma of a son choosing his father. Which one will Bud emulate: the noble failure or the triumphant sleaze? The outcome is never really in doubt, so streamlined and predictable are the characters. [14 Dec 1987, p.82]
    • Time
    • 56 Metascore
    • 60 Richard Corliss
    It is the rare conspiracy thriller that ripens as the villains' organization and motives are gradually revealed.
    • 56 Metascore
    • 70 Richard Corliss
    An agreeable time-waster for the onlookers and its star. The Rum Diary isn't a corrective to Johnny Depp's kid-centric career, more like a vacation from it, in a resort where the visitors are strange, the natives are restless and the flow of alcohol endless.
    • 56 Metascore
    • 80 Richard Corliss
    This one starts at the level of lunacy and keeps on escalating. Next to Filth, "Trainspotting" looks as sedate as "The Polar Express."
    • 56 Metascore
    • 70 Richard Corliss
    The movie will divide some Eastwood fans, conquer others. The naysayers will be grateful that, from this healthy, workaholic actor-director, there is always the promise of a good movie - if not here, then hereafter.
    • 56 Metascore
    • 80 Richard Corliss
    In this vigorous, stalwart epic, they blend martial breadth and emotional intimacy, honor and obsession, romance and machismo to show the glamour and folly of war.
    • 56 Metascore
    • 30 Richard Corliss
    Except for Angelina Jolie, exemplary as the fairy badmother who laid a narcotic curse on an infant princess, this pricey live-action drama is a dismaying botch.
    • 56 Metascore
    • 70 Richard Corliss
    On the way to this predictable conclusion, the movie offers plenty of smart entertainment. You'd be a schmuck to miss it.
    • 56 Metascore
    • 50 Richard Corliss
    Theirs was a ruthless Cinema of Cruelty; this is whimsy with a coating of corrosion.
    • 56 Metascore
    • 70 Richard Corliss
    The film, which had a troubled history and a humongous reported price tag of $120 million, could have been a fiasco; instead, it smartly remythologizes this indispensable Hollywood icon. [01 Jul 1996 Pg.65]
    • Time
    • 56 Metascore
    • 70 Richard Corliss
    Another crowd-pleasing, expert-babysitting vaudeville turn.
    • 56 Metascore
    • 40 Richard Corliss
    W.
    The movie is an X-ray of an invisible man -- by the film's end, the W. still stands for Who?
    • 56 Metascore
    • 60 Richard Corliss
    Romantic comedies often make do on flimsy premises, but this one is thinner than Kate Moss and nuttier than an Almond Joy.
    • 55 Metascore
    • 50 Richard Corliss
    The Terminal is Spielberg's shortest feature since the first "Jurassic Park," yet it drags, plods, piling one lifeless situation atop another. For all the effort and good intentions, the movie is in-terminal-ble.
    • 55 Metascore
    • 70 Richard Corliss
    The action is plentiful and thumping; Marvel-size thrills await you and the generations of kids who still believe in Superman. I just mean that the movie finds its true, lofty footing not when it displays Kal-El’s extraordinary powers but when it dramatizes Clark Kent’s roiling humanity. The super part of Man of Steel is just O.K.; but the man part is super.
    • 55 Metascore
    • 80 Richard Corliss
    A ghost story, a bustling action-adventure and an example of the comedy tour-de-farce, in which the star validates his virtuosity by appearing in a plethora of funny disguises.
    • 55 Metascore
    • 50 Richard Corliss
    Most viewers are likely to be impressed more by the magnitude of the effort than the magnificence of the effect. Cloud Atlas is a Terry Gilliam movie without the kinks, a Wong Kar-wai film without the smoky dreamscape, a time-and-Space Oddity that remains frustratingly earthbound. Put it another way: this is no "Speed Racer."
    • 55 Metascore
    • 30 Richard Corliss
    Roger Michell's movie is, pretty consistently, dreadful.
    • 55 Metascore
    • 70 Richard Corliss
    Watching the film is like reading Playboy for the articles.
    • 55 Metascore
    • 70 Richard Corliss
    Attention must be paid to movie allure, in a star like Depp and his current harem. Angelique may be the only satanist among the women here, but they're all bewitching.
    • 55 Metascore
    • 60 Richard Corliss
    If Hollywood is going to remake a '70s movie, it might as well be Pelham, and it ought to work as competently as this one. But wouldn't it be nice, once in a while, for Hollywood to turn contemporary traumas into vigorous movies instead of hijacking the anxieties of the past?
    • 55 Metascore
    • 70 Richard Corliss
    Armed or not, Reeves is the weapon that can go off at any time. That's why Street Kings, though it isn't a great movie, is a pretty damn cool Keanu Reeves movie, one that on the Reevesian action scale measures somewhere between "Whoa" and "Wow."
    • 55 Metascore
    • 50 Richard Corliss
    The Hundred-Foot Journey is on a mission to make you cry. Whether you oblige will depend on your fondness for, or immunity to, the gentler stereotypes of movie romance.
    • 55 Metascore
    • 40 Richard Corliss
    Donen got it gloriously right the first time. Why do it again? And why do it like this?
    • 55 Metascore
    • 80 Richard Corliss
    Veronica Guerin paid with her life. This film would make her proud, for it is ultimately not depressing but -- we say without a shred of journalistic irony -- inspiring.
    • 55 Metascore
    • 90 Richard Corliss
    To their old fascination with Sunbelt pathology, to their side-winding Steadicam and pristine command of screen space, the Coens have added a robust humor, a plot that keeps outwitting expectations and a surprising dollop of sympathy for their forlorn kidnapers. [23 March 1987]
    • Time
    • 55 Metascore
    • 40 Richard Corliss
    Left-wingers in the mainstream media - by which I mean me - are supposed to lap up a movie that plays to our farm-loving, tree-hugging prejudices. But even we know that well-meaning does not automatically equal good movie. Some organic life is needed. And the only crop Promised Land harvests is Capra Corn.
    • 55 Metascore
    • 50 Richard Corliss
    It’s "Identity Thief" with flying piranhas, or Plains, Trains & Automobiles on foot.
    • 55 Metascore
    • 70 Richard Corliss
    What's unusual about the sometimes screwy but mostly smart and always heartfelt Perfect Sense - is its search for a middle ground.
    • 55 Metascore
    • 60 Richard Corliss
    It's an efficient thriller, with scare weapons ranging from the primitive (a pitchfork) to the apocalyptic (an A bomb). The acting is only horror-film-functional, and you might wish that our trio of renegades knew a few basic laws of the genre.
    • 55 Metascore
    • 50 Richard Corliss
    Heart and art can make a beguiling pair. Those are mostly missing in this strained hybrid, which is less Bollywood than Follywood.
    • 55 Metascore
    • 70 Richard Corliss
    Wright's performance is the key to a movie that pulses with the sick thrill of historical discovery. The Conspirator reminds us that. when we surrendered so many of our Constitutional rights and judgments after 9/11, it wasn't the first time.
    • 55 Metascore
    • 80 Richard Corliss
    A film worthy of being displayed on a screen eight stories high.
    • 55 Metascore
    • 70 Richard Corliss
    O.K., Ritchie mistakes flash for style. Perhaps that's the price you pay for storytelling exuberance. If he keeps making films as down and witty as Snatch, we may learn to forgive him.
    • Time
    • 55 Metascore
    • 70 Richard Corliss
    This is a comedy with the old-time blend of wit and sentiment. Years from now, when you stumble across it on TV, you could persuade yourself that, back in the two-thousand-oughts, they made pretty good movies.
    • 55 Metascore
    • 70 Richard Corliss
    The actors emote up a summer storm. Maguire’s otherworldly coolness suits the observer drawn into a story he might prefer only to watch. DiCaprio is persuasive as the little boy lost impersonating a tough guy, and Mulligan finds ways to express Daisy’s magnetism and weakness.
    • 54 Metascore
    • 70 Richard Corliss
    Nair sleekly manages the story’s thriller aspects, especially the kidnapping. But this is a character study, and she has found some superb actors to fill it.
    • 54 Metascore
    • 70 Richard Corliss
    Mitty is a lovely romantic comedy — the portrait of a man, nearly swallowed by the gulf between the world his lives in and the world he dreams of, who manages to bridge the two and to find Ms. Right in the workplace he cherishes.
    • 54 Metascore
    • 40 Richard Corliss
    The clutter makes your head feel like it's about to explode - and not in a good way, with wonders upon wonders. Instead it seems like arcana that might show up on the midterm final: the next Marvel movie.
    • 54 Metascore
    • 70 Richard Corliss
    It's an enjoyably old-fashioned shoot-out, if you can shake off the current headlines and sink in to a fantasy of hyper-violence that plays like an NRA vision of America the Beautiful.
    • 54 Metascore
    • 70 Richard Corliss
    In an era when films reduce the aged to comic cranks, Rifkin is heroic--the Lear of grumpy old men.
    • 54 Metascore
    • 40 Richard Corliss
    So why is the Jersey Boys film a turgid botch? Eastwood’s résumé hints at a reason. His affinity is for American standards as improvised on piano or guitar by indigenous artists in smoky nightclubs, not for the tightly wound, impeccably pounding songs that Bob Gaudio and Bob Crewe wrote for the Four Seasons.
    • 54 Metascore
    • 80 Richard Corliss
    The real fun is in seeing Hong Kong pop cinema at its innocent, crowd-pleasing best. And for Jackie, that goes double.
    • 54 Metascore
    • 60 Richard Corliss
    Allen has assembled an attractive cast and given most of them clichés to inhabit. He has also stinted on inventiveness.
    • 54 Metascore
    • 50 Richard Corliss
    Hamlet 2 is as needy as its hero -- because it wants not to be probing or profound or even witty but, above all else, to be loved.
    • 54 Metascore
    • 60 Richard Corliss
    The problem with shock comedy is that it works in its purest form only the first time. Where do you go after you've gone too far? No artist can get heads to swivel and stomachs to turn indefinitely.
    • 54 Metascore
    • 70 Richard Corliss
    The Iron Lady is a clever and oddly touching entertainment.
    • 54 Metascore
    • 50 Richard Corliss
    In space, Jack hopes, someone may hear you dream. But in a movie theater, no one will see you yawn.
    • 54 Metascore
    • 70 Richard Corliss
    But the film is keyed to Posey's performance: perfectly brittle, faultlessly false. As the most toxic of this family of vipers, she creeps and stings, and no one dares look away.
    • 54 Metascore
    • 70 Richard Corliss
    A feel-good ending is mandatory, even in a comedy like this, which promises to be transgressive because it's the first major-studio job for a director with an underground reputation for being crazy-bold.
    • 54 Metascore
    • 50 Richard Corliss
    This is a good-natured retro romp that is truer to Golden Age movies than to golden oldies songs.
    • 54 Metascore
    • 70 Richard Corliss
    The differences between the two Assaults--the new one's pretty good, the old one near great--are of tone, style and perspective.
    • 54 Metascore
    • 40 Richard Corliss
    Copycat, directed by Jon Amiel ("The Singing Detective", "Sommersby"), means to be a Greatest Hits album of atrocities. A sick mind is a terrible thing to waste. [13 Nov 1995, pg.120]
    • Time
    • 53 Metascore
    • 70 Richard Corliss
    Well, it's sorta funny, and most genial: for all their ranking on parents and drooling over hot babes, Wayne and Garth are innocent kids wasting time creatively.
    • 53 Metascore
    • 50 Richard Corliss
    I have the anachronistic notion that romantic comedies needn't be exclusively partial to one gender; they should be critical and loving and true to both. So I'll soldier on with my mixed, distant, defiantly ignorant review of this 142-minute trifle -- which comes close to being the longest non-musical romantic comedy in Hollywood history.
    • 53 Metascore
    • 90 Richard Corliss
    An exhilarating two hours of serious fun.
    • Time
    • 53 Metascore
    • 70 Richard Corliss
    Wahlberg could be the actor that action movies have been looking for since Sly, Arnold, Harrison, Bruce, Jackie and Jean-Claude -- all in their 50s or 60s -- got too old to execute the leg lifts necessary to kick bad guys in the butt.
    • 53 Metascore
    • 70 Richard Corliss
    The main problem is that Ritchie keeps playing the same old song. It's a swell tune, and we don't mind hearing it every few years, but we'd welcome another subject in a transposed key. Even the Material Girl tries out fresh material.
    • 53 Metascore
    • 40 Richard Corliss
    Frantic and rote by turns, mislaying the power of the central love story and piling on the mutant adversaries. For at least this installment, Spider-Man is Amazing no more.
    • 53 Metascore
    • 50 Richard Corliss
    Dawn Treader, the name of the ship in the story, should here be rechristened Yawn Treader. If this movie were a bedtime book, the wee ones would be asleep by page two.
    • 53 Metascore
    • 60 Richard Corliss
    Law, sexy and crafty as ever, and here with a flinty innocence, proves again he has the star-quality goods.
    • Time
    • 53 Metascore
    • 70 Richard Corliss
    The whole movie has a warmth about it that never slops over into sentiment: there is much more here than tall-guy, short-guy jokes. [12 Dec 1988, p.82]
    • Time
    • 53 Metascore
    • 50 Richard Corliss
    The result is a knockoff cinematic ceramic.
    • 53 Metascore
    • 30 Richard Corliss
    Why did these talented folks decide to take on Carrie when they had nothing innovative to bring to it and, by refrying the same blood sausage, risked invidious comparison to the original? To put it another way: If the most modest expectations cannot be met, indeed must be crushed, then What Is Life?
    • 53 Metascore
    • 50 Richard Corliss
    It's a great idea that Niccol can't translate into a great movie.
    • 52 Metascore
    • 70 Richard Corliss
    Redacted pretty successfully sustains a dual level of hysteria (in its content) and disinterest (in its film-long framing devices). It's an amazingly vigorous work for a filmmaker who turns 67 on Sept. 11... The movie is a cry of national shame; for De Palma, it's a new badge of honor for a wily old vet.
    • 52 Metascore
    • 30 Richard Corliss
    A bad movie that a lot of people will like... Though director Jerry Zucker wants his necrophiliac romance to be sensitive, he pumps up its feelings fortissimo so the dimmest viewer will get the point. [16 July 1990, p.86]
    • Time
    • 52 Metascore
    • 50 Richard Corliss
    The new film is conflicted about its subject -- it both derides and adores what it means to parody -- and it's miscast at the top. Still, the Eve Ahlert -- Dennis Drake script has a gentle heart to humanize its sharp sitcom wit.
    • 52 Metascore
    • 50 Richard Corliss
    Keough is nearly worth risking life (Diane's) and limb (Martin's) for. The eldest grandchild of Elvis and Priscilla Presley, she has a pale, dreamy lusciousness that puts as viewer in mind of Amanda Seyfried, though without the overt sexuality. Her not-quite-there appeal matches both the opacity of Martin's intentions and the entire underhanded, underwhelming experience that The Good Doctor offers.
    • 52 Metascore
    • 30 Richard Corliss
    The first Lynch film in which his motives -- to hang a haberdashery of bizarre incidents on the merest hook of plot -- are apparent... What's lacking is the old sense of delicious, disturbing mystery. [20 Aug 1990, p.63]
    • Time
    • 52 Metascore
    • 50 Richard Corliss
    Deadfall, though, is a thing of pieces: splendidly efficient in its action sequences (car crash, knife fight, snowmobile chase), dawdling in dialogue scenes that should smolder with tension.
    • 52 Metascore
    • 60 Richard Corliss
    When Possession finds its true home, lodging in the convulsive certitude of Victorian romance, it does indeed catch fire -- and warms any viewer in the mood for love.
    • 52 Metascore
    • 60 Richard Corliss
    It should make audiences happy. But then so did most of his earlier movies, and they were lame, gnat-brained pieces of demagogic doo-doo!
    • 52 Metascore
    • 70 Richard Corliss
    in a larger sense Be Kind Rewind declares that the riches of cinema history touch each of us personally. Films become so deep a part of us that we own them that our memories of them, whether faithful or fanciful, become their meanings. As a movie critic and, even before and above that, a movie lover, how can I disagree with that?
    • 52 Metascore
    • 70 Richard Corliss
    The warming, nicely played relationship of the burglar and his lawyer daughter (Laura Linney) is the source of the film's absolute power. [24 Feb 1997, p. 67]
    • Time
    • 52 Metascore
    • 70 Richard Corliss
    Existing in a self-contained universe, Scream 4 is its own remake (Screamake), sequel (shriekquel), parody and critique. Thus it taunts and pleases audiences, mocks and justifies itself and makes any review redundant.
    • 52 Metascore
    • 20 Richard Corliss
    The proceedings get so slow and saccharine that viewers will relishes the film's moments of redeeming idiocy. In one of them, Marlena whispers to Jacob, "Bring Rosie to my tent and don't tell anyone" - as if the roustabouts wouldn't notice a 12-ft.-tall, 10,000-lb. creature striding down the midway.
    • 52 Metascore
    • 70 Richard Corliss
    Rather than juicing each element to blockbuster volume, Clooney has delivered it in the tone of a memorial lecture, warm and ambling, given by one of the distinguished academics he put in his movie.
    • 52 Metascore
    • 60 Richard Corliss
    If you take Tykwer's film even half-seriously, it will be like one of those horror movies that you leave, suspecting that the crazy, ingenious super-killer is waiting for you outside. A warning, then, to the susceptible: After seeing The International, don't dare go to an ATM.
    • 52 Metascore
    • 60 Richard Corliss
    Doesn't touch (Li's Hong Kong movies). But it is trying something clever.
    • 52 Metascore
    • 30 Richard Corliss
    Blow works for a scene or two, then stalls.
    • Time
    • 52 Metascore
    • 60 Richard Corliss
    It's a decent February movie that smartly extends Washington's God-on-the-run character.
    • 51 Metascore
    • 20 Richard Corliss
    A ticket to Pretty Woman buys you mechanical titillation and predictable twists... Old-fashioned, assembly-line moviemaking without the old panache. [2 Apr 1990, p.70]
    • Time
    • 51 Metascore
    • 60 Richard Corliss
    There's something missing, beyond the iconoclastic theology, in this perfectly OK, blandly underwhelming superproduction. The movie lacks an elevating passion, a cohesive vision, a soul. It's as if The Golden Compass has misplaced its artistic compass. Somebody stole its daemon.
    • 51 Metascore
    • 90 Richard Corliss
    Sexy, funny, sad and defiantly romantic, Feast of Love is the rare movie to cuddle up to.
    • 51 Metascore
    • 50 Richard Corliss
    The result is that John Carter plays like an alternate, inferior version of "Avatar"…Plus fleeting hints of John Ford's "The Searchers" - for this is also a Western.
    • 51 Metascore
    • 20 Richard Corliss
    The only thing Schumacher and his scrupulous craftsfolk forgot to give the movie was life -- the energizing spirit of wit and passion that makes scenes work and characters breathe.
    • 51 Metascore
    • 60 Richard Corliss
    By the end-credit sequence, when the stars appear in spandex outfits to reprise Dancing Queen, the audience may be singing along as if they'd overdosed on ouzo.
    • 51 Metascore
    • 60 Richard Corliss
    There's nothing profound going on here; the truisms don't blossom into life-enriching truths. It's more like the person you meet at a bar who, on second glance, is surprisingly attractive. Call Think Like a Man a perfectly satisfactory one-night stand at the movies.
    • 51 Metascore
    • 60 Richard Corliss
    The acting ensemble is crucial. Everyone's really fine.
    • 51 Metascore
    • 50 Richard Corliss
    At heart, though, the story is about the deep, complex, poignant love a man has for his daughter: it's the Lolita syndrome without the lust but with every bit of the doting possessiveness. [30 Dec 1991, p.71]
    • Time
    • 51 Metascore
    • 70 Richard Corliss
    Sassy but never cynical, Mikey is first seen, through some cunningly simple special effects, as a kind of hot-rodding sperm cruising up the Fallopian tube to the tune of the Beach Boys' I Get Around. [20 Nov 1989, p.98]
    • Time
    • 50 Metascore
    • 40 Richard Corliss
    The film promises so much more than it delivers that, by the end, I felt like registering a complaint with the Obama Administration's Consumer Protection squad.
    • 50 Metascore
    • 80 Richard Corliss
    Everything that happens in Happy Feet Two is good-to-great.
    • 50 Metascore
    • 50 Richard Corliss
    The picture is no great shakes as cinema, and a shade too cute for its own good.
    • 50 Metascore
    • 80 Richard Corliss
    Sex, drugs and rack 'n' ruin; pretty people doing nasty things to one another...honestly, what more could you want in a movie?
    • 50 Metascore
    • 80 Richard Corliss
    Constantine is a one-of-a-kind hybrid: a theological noir action film. And until it goes irrevocably goofy at the end, it's a smart ride--and smart-looking too.
    • 50 Metascore
    • 70 Richard Corliss
    With their technical astonishments, Director Henson and Executive Producer Lucas have been faithful to the pioneering Disney spirit. In suggesting the thrilling dilemmas that await a wise child, they have flown worlds beyond Walt. [7 July 1986, p.65]
    • Time
    • 50 Metascore
    • 50 Richard Corliss
    Even when the film is cool, it manages to be wrong.
    • 50 Metascore
    • 60 Richard Corliss
    Does Solondz feel remorse for libeling his own kind? He might need to if his portraits didn't have the gift of dark wit, the ring of social truth. One makes allowances for a master storyteller.
    • Time
    • 50 Metascore
    • 70 Richard Corliss
    No masterpiece, Persia is fun for exactly as long as it takes to sit through it.
    • 50 Metascore
    • 50 Richard Corliss
    Gradually, though, the movie sinks into ordinariness, serving up too many Spielbergian reaction shots of each cast member gawking or gulping at an alien encounter, and too many moral lessons that must be learned or taught.
    • 49 Metascore
    • 70 Richard Corliss
    Any sentient viewer will be able to predict every lumpy twist of this ludicrous, fitfully enjoyable movie.
    • 49 Metascore
    • 60 Richard Corliss
    Guys and gals from the first film, now thicker and with incipient crow lines, pair up in more or less the same permutations as when they were young and shiny. The movie's message is that the way to face impeding maturity is to embrace your inner teen idiot.
    • 49 Metascore
    • 70 Richard Corliss
    Applying Dad's directorial style of sweaty closeups, prowling telephoto shots and an ominous electronic score (by ex-Tindersticks member Dickon Hinchliffe), the younger Mann has dished out a meaty drama with familiar ingredients from the Law & Order kitchen but a distinctively bitter taste.
    • 49 Metascore
    • 30 Richard Corliss
    So Broken City stokes a lot of hopes. Too bad for all of us, the makers and the watchers alike, that it's a grimy botch.
    • 49 Metascore
    • 20 Richard Corliss
    What aims at being terrifying is just loud and goofy.
    • 49 Metascore
    • 50 Richard Corliss
    It's strenuous, smartly-made and ordinary to an extraordinary degree.
    • 49 Metascore
    • 30 Richard Corliss
    If you consider what the exalted quartet of Branagh, Pinter, Caine and Law might have done with the project, and what they did to it, Sleuth has to be the worst prestige movie of the year.
    • 49 Metascore
    • 40 Richard Corliss
    The skitcom format soon becomes tiresome.
    • Time
    • 49 Metascore
    • 50 Richard Corliss
    You are hereby absolved of all guilt when you laugh your ass off in the first half of the film.
    • Time
    • 49 Metascore
    • 50 Richard Corliss
    After a while, Nine plays like some Hollywood charity revue.
    • 49 Metascore
    • 30 Richard Corliss
    For a soul-sucking 83 minutes, you're trapped inside the film's tiny, ugly mind.
    • 49 Metascore
    • 30 Richard Corliss
    May leave viewers emotionally disconnected from this distinctly unchipper Mr. Chips.
    • 49 Metascore
    • 50 Richard Corliss
    A little less agreeable and way more aggressive than its better begetter, Rio 2 has the overstuffed agenda of a movie that’s been focus-grouped to death.
    • 49 Metascore
    • 50 Richard Corliss
    Like Martin Scorsese’s "The Departed," a bloated Americanizing of the Hong Kong cop movie "Infernal Affairs," the Lee Oldboy will startle newbies with its story ingenuities and morbid revelations, while leaving connoisseurs of the source film wondering why Hollywood couldn’t have left great enough alone.
    • 49 Metascore
    • 20 Richard Corliss
    It's mostly an ordeal--for actress and audience.
    • 48 Metascore
    • 40 Richard Corliss
    At this late stage in a long career, Allen might consider not trying to make films like the early, funny ones. Instead he should aim simply to match "Match Point."
    • 48 Metascore
    • 40 Richard Corliss
    Its tone swings violently from pratfall to preachment, from an indictment of featherbed laziness to an extended beer-commercial celebration of the mythical American worker.
    • 48 Metascore
    • 50 Richard Corliss
    When it shifts into action mode, the movie can be a spectacular rush.
    • 48 Metascore
    • 50 Richard Corliss
    Fresh inspiration is sparse here; the sequel is less an extension than a remake. Holmes says of one of his lamer disguises, "It's so overt, it's covert." And the shadow in this game is the imposing penumbra of Ritchie's very satisfying 2009 film. It's overt and overwhelming.
    • 48 Metascore
    • 50 Richard Corliss
    The film also serves as the clearest statement of Glee's sacred mission. Through it, we can see how the entire multimedia phenomenon - the show, the albums, the iTunes hits, the recent concert tour and now this movie - has accrued the odor, say the incense, of a secular religion.
    • 48 Metascore
    • 50 Richard Corliss
    In this bad-better-best movie, the Flik story is the bad, the choir singing much better and Peters the soul-stirring best.
    • 48 Metascore
    • 50 Richard Corliss
    Until a vigorous climax, the action scenes have little punch.
    • 48 Metascore
    • 60 Richard Corliss
    For all the energetic milling, Rise of an Empire proves superior to its predecessor by making war a game both sexes can play, on nearly equal terms. In comparison, the R-rated "300" seems as innocent as Adam in the Garden before the delicious complication of Eve — or Eva.
    • 48 Metascore
    • 70 Richard Corliss
    As transparent as this device is, Angels has elemental satisfactions in its blend of movie genre that could appeal to wide segments of the audience.
    • 48 Metascore
    • 30 Richard Corliss
    We [Farrellys'] mock, they say, because we care. But that doesn't make the film elevating or amusing.
    • 48 Metascore
    • 50 Richard Corliss
    The film has a hectic, sitcom air and a full-of-himself hero who is as likely to grate as to ingratiate.
    • 47 Metascore
    • 50 Richard Corliss
    Crowe, despite his loutish rep, is forever surprising viewers by slipping snugly into the disparate characters he plays. This time he surprises by failing. Oh, he can do engaging as smartly as he does stalwart or tortured, but he gets sabotaged by the cloying script.
    • 47 Metascore
    • 80 Richard Corliss
    A serious, handsome, excruciating film that radiates total commitment.
    • 47 Metascore
    • 80 Richard Corliss
    The trilogy ascends and soars with the two combatants and ends not with a whimper but with a blast of light. Thus the fabulous original film has found an honorable way to sign off. For those who didn't bother to join the early crowds, The Matrix Revolutions is a definite might see.
    • 47 Metascore
    • 40 Richard Corliss
    Swing Vote falls from agreeable fable into wan satire.
    • 47 Metascore
    • 10 Richard Corliss
    An intellectual and a sensualist, Cronenberg graces Crash with philosophical musings, acres of pretty flesh and even more penis talk than on some 8 o'clock sitcoms. For all that, Crash doesn't work.
    • 47 Metascore
    • 60 Richard Corliss
    It's soppy enough to suit the requirements of the weepie genre...But the movie also has an aching solidity that allows you to surrender to its cuddly-creepy feelings without hating yourself in the morning.
    • 47 Metascore
    • 40 Richard Corliss
    Tin tailspins into silliness and never regains its flight pattern.
    • 47 Metascore
    • 30 Richard Corliss
    Though it has moments where it rises to fun-awful status, with a hideous giddiness that turns moviegoers into rubbernecking motorists at a crash site, it's mostly just awful.
    • 47 Metascore
    • 60 Richard Corliss
    For the uninitiated, The X Files: I Want to Believe may seem as musty and forbidding as one of those dank secrets that Mulder and Scully were forever digging up from some backyard, or fetid swamp, or their own aching hearts.
    • 47 Metascore
    • 70 Richard Corliss
    Politics aside, this is a handsome film with orange skies to die for, or under, and a lovely score by Carter Burwell. The picture has some ponderous and snooze-worthy stretches, but it attains a certain melancholic grandeur, with the actors and crew fighting as desperately as Crockett and Bowie to make the best of a fated adventure.
    • 47 Metascore
    • 80 Richard Corliss
    You could also say the picture lacks a coherent plot and complex characterization, but those are irrelevant to the genre. The movie is like a superior athlete who gets tongue-tied in a post-game interview but on the field is poetry in motion.
    • 46 Metascore
    • 60 Richard Corliss
    Eastwood can earn both laughs and respect just by standing in a crowded elevator and grunting ''Swell'' to his boss. Truth is, this time around, he doesn't get to do much else. [18 July 1988, p.73]
    • Time
    • 46 Metascore
    • 20 Richard Corliss
    A lot of it's real pretty, the colors and creatures and all, but these days, you know, every movie is pretty pretty. I guess the only thing that kept me glued to my seat was the gum somebody'd stuck on the upholstery. [16 July 1984, p.71]
    • Time
    • 46 Metascore
    • 50 Richard Corliss
    The pity is that Tarsem's intelligence doesn't connect his cinematic eye to his narrative mind. The director's visual gift is like a brilliant retina, detached.
    • 46 Metascore
    • 30 Richard Corliss
    Fumbles nearly every opportunity to be funny: the dialogue is flat, straining for wit it never achieves, and the pace is torpid when it should be bustling. But, the couture, darling, is hilariously divine.
    • 46 Metascore
    • 50 Richard Corliss
    Somewhere in recreational value between an afternoon on a San Diego beach and one at a Detroit public swimming pool. Either way, before you know it, it's evening.
    • 46 Metascore
    • 70 Richard Corliss
    Yeah, well, I still like the film.
    • 46 Metascore
    • 30 Richard Corliss
    All its desperate plot maneuvers (Ben and Sandra making like Tarzan on a train roof) can't give the film wit; all the slo-mo sleet, rain and confetti can't give it style. [March 22, 1999]
    • Time
    • 46 Metascore
    • 50 Richard Corliss
    Howard and Goldsman have efficiently touched all the bases. But they haven't found a way to replicate the book's page-turning urgency.
    • 46 Metascore
    • 50 Richard Corliss
    Is comedy a young man's game, like skateboarding or sex? Writing jokes, creating droll characters -- these take ambition, ingenuity and energy, and after decades of devotion to this voracious muse, a fellow can get pooped.
    • Time
    • 46 Metascore
    • 70 Richard Corliss
    For all its superpower simplifications, White Nights has discovered in Baryshnikov a keen and passionate movie hero. Giggle at the film's naiveté; then feast on Misha and dance down the steppes.
    • 46 Metascore
    • 50 Richard Corliss
    Though the movie is no more than agreeable, it does provide a swell showcase for New Zealand wundercomic Rhys Darby (Murray the hapless agent on HBO's Flight of the Conchords) and gives the astrally adorable Zooey Deschanel a rare shot at a lead role in a big Hollywood movie.
    • 46 Metascore
    • 50 Richard Corliss
    The film, though, lies dormant in its own decency.
    • 45 Metascore
    • 70 Richard Corliss
    It's like a giant sculpture that is so strange and off-putting, it's instantly, intriguingly post-modern. Swept up in the film's pile-driving self-assurance, even Bay-haters may absorb the pain to enjoy the gain.
    • 45 Metascore
    • 40 Richard Corliss
    Maybe Wellesley isn't the only injured party here. Can an audience sue for cruel and edifying punishment?
    • 45 Metascore
    • 60 Richard Corliss
    Non-headline-making but often entertaining docu-travelogue.
    • 45 Metascore
    • 80 Richard Corliss
    No kidding: this is the feel-good movie of the year and a cinematic soul massage.
    • 45 Metascore
    • 50 Richard Corliss
    The movie proved to be an exasperating, fitfully enjoyable jumble of Perryana, full of insult humor, a gospel choir and, not to give too much away, plot elements borrowed from "Chinatown," "Precious," "Imitation of Life" and "Cheech and Chong's Up in Smoke" - all restitched and Tyler-made.
    • 45 Metascore
    • 40 Richard Corliss
    The film (directed by Andy Tennant) has more problems than Melanie, and they're insoluble. Its lazy calculation telegraphs each plot turn and underlines emotions with corn-pone music.
    • 45 Metascore
    • 70 Richard Corliss
    Somehow Neeson makes the ridiculous plausible. A mature, real man in an era of superhero fantasy, he radiates something rare in movie musclemen: a haunted gravity to match his outsize physique.
    • 45 Metascore
    • 20 Richard Corliss
    I Love You to Death lacks the precision, ferocity and guts needed for black farce.
    • 45 Metascore
    • 20 Richard Corliss
    Every ambitious picturemaker should be allowed one wild misfire at no lasting cost to his reputation. Crowe (Jerry Maguire, Almost Famous) can now put this aside and go back to making good films.
    • Time
    • 45 Metascore
    • 40 Richard Corliss
    An ambitious but sub-ordinary SF epic in which, as so often, Willis is better than his material.
    • 45 Metascore
    • 30 Richard Corliss
    The 70-minute movie -- which was co-written by the British-Pakistani commentator Tariq Ali, author of the 2006 study "Pirates of the Caribbean: Axis of Hope," and photographed in part by docu-doyen Albert Maysles -- is amateur night as cinema, as lopsided and cheerleadery as its worldview.
    • 45 Metascore
    • 90 Richard Corliss
    But this Evita is not just a long, complex music video; it works and breathes like a real movie, with characters worthy of our affection and deepest suspicions.
    • 45 Metascore
    • 70 Richard Corliss
    Gaudily entertaining, occasionally wearying sequel.
    • 45 Metascore
    • 90 Richard Corliss
    The result is Soderberghs liveliest experiment since the strenuously weird "Schizopolis" six years ago -- except that this one works.
    • 45 Metascore
    • 0 Richard Corliss
    Wearying, stupefying, dumber than dumb, When Nature Calls would be a career ender for Carrey--except that a zillion people have seen it. Stop this, folks. It'll only encourage him.
    • 45 Metascore
    • 50 Richard Corliss
    What you will find is both familiar in its contours and unique in its casting: the definitive alterkocker action picture. Call it "The Old Dogs of War," or "Incontinent Basterds."
    • 45 Metascore
    • 60 Richard Corliss
    Pfeiffer restores honor to the family drama.
    • 44 Metascore
    • 50 Richard Corliss
    Raimi, who launched his career with the cheapo horror mini-masterpiece "The Evil Dead" before helming the blockbuster "Spider-Man" trilogy, can’t infuse the story with much verve or joy.
    • 44 Metascore
    • 50 Richard Corliss
    The critic in me can authoritatively declare that the film is crap. The fan in me sent his shirt to the dry cleaners for tear removal.
    • 44 Metascore
    • 50 Richard Corliss
    The first Rush Hour was a pretty good movie, the second one pretty lame. The threequel is somewhere in between: nothing special but with a high amiability quotient. The two stars know they click; it's no crime for them to extend and exploit that good vibe one more time.
    • 44 Metascore
    • 40 Richard Corliss
    Warm-hearted humanism is glopped all over Renaissance Man in the hopes that we won't notice that the story makes no sense.
    • 44 Metascore
    • 80 Richard Corliss
    Writer Shane Black mines his thriller premise while musing on issues of identity and redemption; he also shaped the itchy camaraderie of Davis and Jackson.
    • 44 Metascore
    • 40 Richard Corliss
    Last Action Hero starts out mostly nuts, and winds up mostly bolts. Or, rather, winds down. That's a problem with pastiche: it must be constantly jump-started with ingenuity, and even that ultimately pales. By the end, nothing matters. [21 June 1993, p67]
    • Time
    • 44 Metascore
    • 50 Richard Corliss
    The enterprise is sluggish when it's not grinding toward the preposterous.
    • 44 Metascore
    • 60 Richard Corliss
    Until The Raven almost literally loses itself during a chase in the city sewers, it nicely balances its literary gamesmanship with a R-rated thriller's mandatory gross-out tableaux.
    • 44 Metascore
    • 20 Richard Corliss
    Despite Jackson's typically bravura turn, this Valentine massacre marks a step backward for the gifted director of Eve's Bayou.
    • Time
    • 44 Metascore
    • 60 Richard Corliss
    A decent sampler for Americans who've never seen a full-out Bollywood musical, since it goes heavy on the action scenes and light on the big dance numbers.
    • 44 Metascore
    • 60 Richard Corliss
    The film's payoff raises more questions than it answers, which may be Shyamalan's intent in this political parable of fear.
    • 43 Metascore
    • 50 Richard Corliss
    Neither lurid nor especially compelling. This is the triumph, and the limitation, of 9 Songs: it makes explicit movie sex ordinary--as ordinary as the sexual activities of most of the folks watching it.
    • 43 Metascore
    • 50 Richard Corliss
    The new PG-13 movie is a fairly close adaptation of the Verhoeven, and lacks not just the earlier film's newness but its vigor, density, humor and R-rated juice. It's like the dinner-theater revival of a classic play, whose single asset is to remind those present how good the original was.
    • 43 Metascore
    • 60 Richard Corliss
    The Lady is still titled away from the churning melodrama of Suu Kyi's country and toward the intimate dilemma of a loving couple forced apart by circumstance.
    • 43 Metascore
    • 50 Richard Corliss
    360
    No scene lasts more than a few minutes, but the overall is effect is being subjected to 105 mins. of YouTube vignettes that someone has chosen. 360 is probably best appreciated or endured on a long flight similar to the one Hopkins takes in the movie.
    • 43 Metascore
    • 30 Richard Corliss
    You will simply want to shoot yourself by the third inning.
    • Time
    • 43 Metascore
    • 70 Richard Corliss
    Though the picture doesn't deserve to appear on any critic's 10-best list, it observes the minimum standards of modern action films, which is to say it looks smarter, talks sassier and moves faster than almost anything else on the market.
    • 43 Metascore
    • 40 Richard Corliss
    M. Butterfly, the David Cronenberg film of David Henry Hwang's Broadway play, fumbles its romantic and political metaphors and loses the game.
    • 42 Metascore
    • 70 Richard Corliss
    When else has the obscenity of child murder been the cause of such gravity and grace?
    • 42 Metascore
    • 50 Richard Corliss
    A film that's fun to argue with.
    • 42 Metascore
    • 30 Richard Corliss
    Sanctum is a stinker, a horror movie without a visible monster.
    • 42 Metascore
    • 50 Richard Corliss
    Clever ideas early on go rogue, or go missing, in the gallop toward an action-film climax that then, perversely, doesn’t materialize. The movie’s intelligence is artificial, its affect solemn.
    • 42 Metascore
    • 30 Richard Corliss
    The tone is cloying, the running time bloated.
    • Time
    • 42 Metascore
    • 70 Richard Corliss
    A film full of smart laughs.
    • 42 Metascore
    • 60 Richard Corliss
    Provides the familiar cheap thrills but with a salsa tang.
    • 42 Metascore
    • 50 Richard Corliss
    This movie exists wholly in the realm of metaphor, whose messages stick out like placards: Find joy through pain. Reunite with estranged loved ones. Keep hope alive.
    • 42 Metascore
    • 40 Richard Corliss
    The movie is less ho-ho-ho than uh-oh, or oh-no. Emitting a stale odor from the first reel, Fred never engaged the audience of kids and adults that I saw it with.
    • 42 Metascore
    • 50 Richard Corliss
    The scorekeepers at the various sites that rate critics' enthusiasm for a film shouldn't even try to elicit a Pass or Fail grade from me on T3. I'm a fascinated, stupefied outsider. Just mark me Present.
    • 42 Metascore
    • 40 Richard Corliss
    Watching this is like flipping channels randomly between a Masterpiece Theatre drama and a splatter film on Cinemax. If you're like me, you'll stick with the splatter.
    • 41 Metascore
    • 70 Richard Corliss
    An action figure with a sweet core, Johnson can pump up the humanity of any franchise, whether he’s playing a stepdad who becomes a hero in Journey 2 or, as here, a stud soldier who treats Flint and Jaye like his grown children and shepherds them through peril. Following those younger Joes, the Retaliation audience is encouraged to clamber up on Johnson’s huge soldiers and go along for a pretty cool ride.
    • 41 Metascore
    • 70 Richard Corliss
    The humor is gross-out but inoffensive, since it's rooted in whimsy, not malice. Smith finesses the sophomore jinx with sophomoric high jinks. [6 Nov 1995]
    • Time
    • 41 Metascore
    • 60 Richard Corliss
    If the film is to work at all - and it eventually does - the two 27-year-old leads must radiate enough star quality to obviate the ramshackle plot. They just about do.
    • 41 Metascore
    • 40 Richard Corliss
    Too bad that Ride Along never makes it to Ordinary; it sinks into sub-. This is a movie you keep watching only from lethargy.
    • 40 Metascore
    • 70 Richard Corliss
    The movie is best seen as straightforward, sometimes harrowing melodrama, packed with mistaken identities, beautiful villains, a kindly tourist who can outrace the bad guys, and a lost little girl whom the film brazenly sends onto a highway full of speeding cars. It's as if Dakota Fanning had wandered onto the streets of Ronin.
    • 40 Metascore
    • 40 Richard Corliss
    There's a point at which movies become only merchandise, and the Paranormal franchise may be heading for that nexus, that nadir.
    • 40 Metascore
    • 30 Richard Corliss
    By our count, three of the core SEALs are maimed or dead by the end. A new baby is left without her loving father. The picture ends not with a parade but with a funeral. And that may be the toughest, most lasting image in this cockamamie, Pentagon-approved war adventure.
    • 40 Metascore
    • 50 Richard Corliss
    If the movie had been content to replicate the Taken formula, and left the fatherhood angle as a subtext, it would be easier to take. Instead, even for Costner admirers, it’s a hard 2 hours to kill.
    • 40 Metascore
    • 50 Richard Corliss
    X-Men Origins: Wolverine is an O.K., not great, Marvel movie...Wolverine doesn't rise above the level of familiar competence.
    • 39 Metascore
    • 50 Richard Corliss
    Apart from some spiffy visual effects, which create coherent, scary textures and architecture for outer space, Green Lantern is the most generic of summer time wasters.
    • 39 Metascore
    • 10 Richard Corliss
    Director Joe Johnston's elaborately dressed kids' movie--about a board game that sucks its players into a perilous jungle overrun by lions, rhinos, monkeys, crocodiles and spiders--spends so much time on the how of special effects that it neglects the why of characterization.
    • 39 Metascore
    • 70 Richard Corliss
    As to the chief complaint about Clash of the Titans -- that the movie stinks -- what can I say? I liked it. This is a full-throttle action-adventure, played unapologetically straight.
    • 39 Metascore
    • 60 Richard Corliss
    This is cinema reduced or distilled to its purest definition, of movies that move. If you want dewy humanity in your entertainment, watch Lifetime.
    • 39 Metascore
    • 30 Richard Corliss
    Another dreadful entry in the festering form of romantic comedy: the forced intimacy of two people who have nothing in common but hatred for each other.
    • 39 Metascore
    • 50 Richard Corliss
    A wildly flawed but fitfully diverting picture.
    • 39 Metascore
    • 40 Richard Corliss
    And yet, all three women are less watchable and amusing that Nicki Minaj as Carly’s legal assistant Lydia.
    • 39 Metascore
    • 70 Richard Corliss
    Makes for a long, lumpy trip with a charismatic guide and some brilliant detours.
    • 39 Metascore
    • 30 Richard Corliss
    This one is bad — a little comedy that flops in big ways.
    • 39 Metascore
    • 10 Richard Corliss
    Director John Huston offers production numbers full of empty extravagance, a host of familiar characters (like Punjab and the Asp) with little to do - and a chorus of baby Mormans knowingly strutting their stuff, breaking the sound and charm barriers.
    • 39 Metascore
    • 70 Richard Corliss
    Not quite in the class of the first film, Underworld 4 is still the most enlightened girl-power film of the week, nosing out Gina Carano's "Haywire" by the length of Pinocchio's proboscis.
    • 38 Metascore
    • 30 Richard Corliss
    Alas, The Outsiders is not quite a good one. Because it falls in with the undulating rhythm of the life of its heroes, for whom a fatal fight and a quiet night have almost equal importance, the picture never manages to reach the peaks of satisfying Hollywood melodrama.
    • 38 Metascore
    • 40 Richard Corliss
    The Rite is all windup, weak delivery.
    • 38 Metascore
    • 40 Richard Corliss
    All three give performances that would suit a better movie than this pallid shocker with little heart and no bite.
    • 38 Metascore
    • 40 Richard Corliss
    "Wanna see something really scary?" asks Guest Star Dan Aykroyd at film's end. The Miller and Dante episodes are. So is the epic waste that informs much of this movie. [20 June 1983, p.73]
    • Time
    • 38 Metascore
    • 30 Richard Corliss
    Pretty lame. Sharkboy has an especially frantic, amateur atmosphere, with a mostly maladroit cast.
    • 37 Metascore
    • 60 Richard Corliss
    Wrath of the Titans, like its predecessor, is a slightly-better-than-OK mashing of one of history's great literary troves: the Greek myths.
    • 37 Metascore
    • 40 Richard Corliss
    It’s got too much on its mind, and it’s unsure of its tone. This is the rough cut of a slimmer, better movie
    • 37 Metascore
    • 60 Richard Corliss
    The Other Woman earns a viewer's respect for the grace notes that director-screenwriter Don Roos finds beneath these familiar tunes, for the unassertive skill with which he paints upper-class life on the Upper East Side, and for the rightness of the performances.
    • 37 Metascore
    • 20 Richard Corliss
    The shaky-cam as used in "Cloverfield" and the Paul Greengrass "Bourne" films, and in TV shows from "NYPD Blue" to "24" to "The Office," is worse than amateurism; it's fake amateurism, the visual equivalent of a comedian pretending to have Parkinson's.
    • 37 Metascore
    • 30 Richard Corliss
    The collision of violent spasms and art-film ennui leave the viewer’s brain bloody but unfilled.
    • 37 Metascore
    • 40 Richard Corliss
    Mostly the movie is like the marriage: good casting, golden promise, yet somehow a grating ordeal.
    • Time
    • 37 Metascore
    • 70 Richard Corliss
    The film bubbles with acid wit, in the tradition of Billy Wilder and Preston Sturges, while simmering with the ache of lust pursued and love lost.
    • 37 Metascore
    • 70 Richard Corliss
    Speed Racer announces the arrival of the virtual movie. If you watch the film overwhelmed by the assault of seductive visual information and wonder what you're seeing, here's the happy answer: the future of movies.
    • 37 Metascore
    • 0 Richard Corliss
    It's a shame that W.E. smells so bad.
    • 36 Metascore
    • 60 Richard Corliss
    This is what lifts Seven Pounds above other Smith dramas -- he does tentatively allow another adult onto his solitary planet.
    • 36 Metascore
    • 10 Richard Corliss
    Massively stupid: preposterous yet boring.
    • 36 Metascore
    • 40 Richard Corliss
    Instead of the meeting of maestros at the top of their form, Righteous Kill has the feeling of Roger Clemens and Barry Bonds facing off for the first time in an exhibition game. It's like Old Timers' Day at the Motion Picture Home.
    • 36 Metascore
    • 40 Richard Corliss
    A gaudily ornamented medieval banquet table groaning with junk food and open entrails.
    • 36 Metascore
    • 40 Richard Corliss
    Lady doesn't work. Although he detonates a few terrific frissons involving the scrunt, the stabs at comedy are lurching and arrant. The spreading of tension from one character to many dilutes the mood. The would-be rapturous Spielbergian ending is on the wussy side.
    • 36 Metascore
    • 50 Richard Corliss
    Corelli is a coffee-table movie: one leafs through the gorgeous vistas and nods through the narrative.
    • Time
    • 36 Metascore
    • 40 Richard Corliss
    You're unlikely to laugh much, and you may get an unexpected case of the non-art-imitates-bad-life creeps.
    • 35 Metascore
    • 30 Richard Corliss
    But this is a sloppy job, both in little goofs...and in the cast's gung-ho amateurism. It's like Shakespeare done by the "Fame" kids.
    • 35 Metascore
    • 40 Richard Corliss
    It's too empty to applaud, too insignificant to deplore.
    • 35 Metascore
    • 40 Richard Corliss
    The director is going through the motions, and he doesn't display the cinematic skill, at least in the release version, to bring off an exercise in either Hitchcockian or Shyamalanian suspense.
    • 35 Metascore
    • 30 Richard Corliss
    Jumper is so lame -- undernourished in its characterizations, stillborn in its action scenes -- that it inevitably leads the idled mind to wondering how this movie got past the pitch stage.
    • 35 Metascore
    • 40 Richard Corliss
    Studying the topography of decay in a veteran actor’s face is one of the few worthy pursuits for moviegoers sitting through the epic-length, belligerently inconsequential The Expendables 3 — a picture whose very title proclaims its redundancy.
    • 35 Metascore
    • 30 Richard Corliss
    In this film we learn that it takes 8,000 lbs. of pressure to crush a car but only one credited screenwriter (Scott Rosenberg) to pound out such a lame script.
    • Time
    • 35 Metascore
    • 30 Richard Corliss
    Like Saturday Night Fever and, for that matter, the Rocky films, Flashdance has made it big by taking experiences of black youths and playing them in whiteface. But unlike its grittily romantic predecessors, Flashdance is pure glitz.
    • 35 Metascore
    • 40 Richard Corliss
    Kasdan has been a serious filmmaker, so he gives the goofiness a smart look and some pertinent metaphors about Americans wrongfully detained. But the aim is no higher than the impulse of old schlockmeisters like Roger Corman and Ed Wood: to get the audience to scream.
    • 35 Metascore
    • 70 Richard Corliss
    A fine copy.
    • 34 Metascore
    • 70 Richard Corliss
    This isn't "2001," by a long shot, but for 2000, it'll do nicely.
    • 34 Metascore
    • 20 Richard Corliss
    And now we have this ill wind, this feeble gust of an environmental horror story. The writer-director's disintegration from robust artistic health to narrative incoherence, from hitmaker to box-office loser, has an almost tragic trajectory. It's a saga worthy of being told by the young M. Night Shyamalan.
    • 34 Metascore
    • 30 Richard Corliss
    Butler has the showier part, but his impersonation of the tragic hero is undercut by his weird resemblance to Soupy Sales. You start hoping that Shelton will kill somebody with a custard (or puffer-fish) pie to the face.
    • 34 Metascore
    • 40 Richard Corliss
    Osunsanmi wants you to believe that everything he shows you that's not reenacted by professionals really happened, and is documented by the omnipresent video cameras. It's a device used far more successfully in "Paranormal Activity," which had the added benefit of being a good movie.
    • 33 Metascore
    • 20 Richard Corliss
    After sitting through this fractious fairy tale, we feel as plucked as a Christmas goose.
    • 33 Metascore
    • 30 Richard Corliss
    Sucker Punch has vast empty patches, deserts of dead air.
    • 33 Metascore
    • 50 Richard Corliss
    Von Trier has a tendency to go overboard in his denunciations of American violence (Dogville). By contrast, Dear Wendy is a cogent, comprehensive take on the land and the films that obsess him.
    • 33 Metascore
    • 30 Richard Corliss
    Running, or stumbling, only 90 minutes, After Earth may lack the neck-swiveling awfulness of Shyamalan’s "The Last Airbender," but it quickly sinks in its logorrheic solemnity. The movie makes "Oblivion" seem as jolly a romp as "Spaceballs," and gives neither Shyamalan nor Smith much to smile about.
    • 33 Metascore
    • 50 Richard Corliss
    54
    All glitz, no glory. [7 September 1998]
    • Time
    • 33 Metascore
    • 30 Richard Corliss
    It's pretty awful.
    • 33 Metascore
    • 30 Richard Corliss
    Mostly awful.
    • 33 Metascore
    • 40 Richard Corliss
    The first few minutes have promise (with an all-star list of Gen-X actors), and the last few minutes provide fun (with snapshots of lovers and losers). In between there is a void--feeble jokes, a lot of falling down and foolish declarations.
    • 32 Metascore
    • 50 Richard Corliss
    Randy and giggly, this is a femme version of "The Man Show."
    • 32 Metascore
    • 30 Richard Corliss
    The only collateral damage is in the audience, where, as you sit through the movie, you can feel your IQ drop minute by minute.
    • 32 Metascore
    • 40 Richard Corliss
    Ferrell's latest excursion into delusions of manhood is director Brad Silberling's Land of the Lost, an action comedy with the sloppy construction and saving grace notes of the star's other movies.
    • 32 Metascore
    • 30 Richard Corliss
    Nothing coheres. Movies usually try to come together at the end; this one falls apart. If that's Bay intention, then cinema has finally entered its Age of Extinction.
    • 32 Metascore
    • 0 Richard Corliss
    Untraceable really is disgraceable. It's bad enough when a movie offers up atrocity scenes that would make the Nanking soldiers seem like Hannah Montana; it's repellent when the movie dresses up the sadism in a moral message that condemns the very weakness it is exploiting.
    • 31 Metascore
    • 50 Richard Corliss
    At least in a video game the player decides who needs to be killed, and what trail to take in the labyrinth. The Max Payne moviegoers are passive hostages on a long ride they've taken so many times before.
    • 31 Metascore
    • 10 Richard Corliss
    Occasionally curious moviegoers will discover an especially rotten specimen of the genus Cinema stinkibus... a work of ur-awfulness, counterbrilliance and antigenius. Your Highness, the new medieval-fantasy farce starring and co-written by Danny McBride, is such a movie.
    • 31 Metascore
    • 30 Richard Corliss
    A triumph of bravado over self-regard, Brody's performance won't earn him a Oscar to place next to the one he earned for "The Pianist" nine years ago, but it's the only thing that makes High School marginally worth catching.
    • 31 Metascore
    • 30 Richard Corliss
    Sluggish, formulaic.
    • 31 Metascore
    • 50 Richard Corliss
    This Mummy movie is really two movies: a good adventure epic, with all the Chinese people, and a wan one, with O'Connells and the other the Westerners.
    • 30 Metascore
    • 50 Richard Corliss
    Ambitious of vision and swooping of camera, I, Frankenstein is no "I, Robot," let alone "I, Claudius," but it’s definitely watchable on a cold Jan. evening or, a few months from now, on your I, Pad.
    • 30 Metascore
    • 40 Richard Corliss
    It's all mildly deplorable and instantly forgettable. Kevin James remains a potentially appealing movie star - if only he didn't have to be in Kevin James movies.
    • 28 Metascore
    • 40 Richard Corliss
    As the director of this noble weepie, Nelson so overuses visual tricks -- zooms, zip pans and multiple perspectives on a simple scene -- that she turns the viewer into an exasperated parent; this is a directorial style in need of a spanking.
    • Time
    • 28 Metascore
    • 30 Richard Corliss
    Many of D’Souza’s charges in his movie are either piffling (Obama returned a bust of Winston Churchill to the British Embassy), wrong (the U.S. is drilling for at least as much oil now as in the George W. Bush) or murky.
    • 28 Metascore
    • 20 Richard Corliss
    In its wan attempt to be raunchy, the picture fails where Judd Apatow has usually succeeded; written by three women, this is a girl's mistaken idea of an R-rated comedy.
    • 28 Metascore
    • 30 Richard Corliss
    It’s the lamest and most vacant of the quintet — though if you mistakenly think you’re buying a ticket to a demolition derby instead of a night at the movies, you’ll feel right at home.
    • 28 Metascore
    • 10 Richard Corliss
    This eighth Madea movie is pretty lame even by Perry’s slapdash standards.
    • 27 Metascore
    • 30 Richard Corliss
    The movie is like a car wreck in which no one is injured but the onlookers.