Richard Corliss, Time
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For 893 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 7.2 points higher than other critics. (0-100 point scale)

Richard Corliss' Scores

  • Movies
Average review score: 66
Highest review score: 100 Sweeney Todd: The Demon Barber of Fleet Street
Lowest review score: 0 Ace Ventura: When Nature Calls
Score distribution:
  1. Negative: 85 out of 893
893 movie reviews
    • 75 Metascore
    • 100 Richard Corliss
    No goggles, no gloom. And no competition for the coolest, orneriest, funniest, best-looking movie of early 2011.
    • 75 Metascore
    • 80 Richard Corliss
    Well acted and acutely observed, the film doesn't try to be a conventionally satisfying coke-land action film.
    • 75 Metascore
    • 80 Richard Corliss
    A small epic with subtle strengths.
    • 75 Metascore
    • 70 Richard Corliss
    A delicate counterpoise of passion and restraint, The Invisible Woman is a major work in a minor key.
    • 75 Metascore
    • 100 Richard Corliss
    The movie is not just spectacle; it's got a tender, ultimately tragic love story and enough deadly political scheming to fill a Gaddafi playbook. Indeed, in its narrative cunning, luscious production design and martial-arts balletics, Detective Dee is up there with the first great kung-fu art film, King Hu's 1969 "A Touch of Zen." We'd call it "Crouching Tiger, Freakin' Masterpiece."
    • 75 Metascore
    • 90 Richard Corliss
    Repressing its rage to tell an important story, The Invisible War identifies soldiers who are true heroes because they dared to fight for justice.
    • 75 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]
    • 75 Metascore
    • 80 Richard Corliss
    Spinning in that wedding dress, or glaring in wary repose, Lawrence catches fire on screen.
    • 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.
    • 75 Metascore
    • 90 Richard Corliss
    Side Effects virtually demands a three-word review: Just see it.
    • 75 Metascore
    • 90 Richard Corliss
    But the writer-director is canny enough to salt the stew with poignance, so that by the end these attitude machines have become human beings -- more than the sum of their chiseled jokes.
    • 75 Metascore
    • 80 Richard Corliss
    The film's spare wit is as applicable to Broward County as to the Persian Gulf. Secret Ballot offers further evidence that an Islamic regime can foster humanist satires with a critical, political edge.
    • 74 Metascore
    • 80 Richard Corliss
    Most films today are afraid to try anything new. Natural Born Killers is an explosive device for the sleepy movie audience, a wake-up call in the form of a frag bomb. [29 August 1994, p.66]
    • 74 Metascore
    • 80 Richard Corliss
    As both harangue and movie tragicomedy, Sicko is socko.
    • 74 Metascore
    • 70 Richard Corliss
    Plays like a vacation at a seedy seaside resort. The issue at hand - whether McKinney engaged in criminal behavior with Anderson - is of little moment; what's important is the personality of the lady in question.
    • 74 Metascore
    • 90 Richard Corliss
    Frankenweenie has that youthful verve and the ghoulishness of strange kids who will some day be eccentric creators. This movie is an attic experiment for its makers to be proud of and for audiences to cherish.
    • 74 Metascore
    • 80 Richard Corliss
    Elia Suleiman's Divine Intervention is a cure for nagging ethnic generalities. This Palestinian sort-of-comedy has a sly wit that amuses and disturbs in equal, salubrious measure.
    • 74 Metascore
    • 90 Richard Corliss
    Both horrifying and hopeful.
    • 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]
    • 74 Metascore
    • 70 Richard Corliss
    For its first hour or so, this upscale heart tugger motors along familiar trails. So ennobling -- and predictable -- in director Penny Marshall's fidgety rendering of a case study by Oliver Sacks. [24 Dec 1990, p.77]
    • 74 Metascore
    • 100 Richard Corliss
    Inception is precisely the kind of brainy, ambitious, grand-scale adventure Hollywood should be making more of.
    • 74 Metascore
    • 40 Richard Corliss
    Doesn't offer much.
    • 74 Metascore
    • 90 Richard Corliss
    A documentary as vivid as any horror film, as heartbreaking as any Oscar-worthy drama.
    • 74 Metascore
    • 90 Richard Corliss
    This is rapture in pictures. [22 December 1997, p. 81]
    • 74 Metascore
    • 100 Richard Corliss
    A witty comedy of manners that arcs into poignance, this is a Christmas movie only a Grinch could hate... One of the brightest, bittersweetest fables of this or any-year. [10 Dec 1990, p.87]
    • 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
    • 80 Richard Corliss
    An excellent film. [16 Jan 1989, p.64]
    • 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
    • 80 Richard Corliss
    As director, Farmiga is a strong believer in cinematic democracy, allowing the other actors to seize the center of the action and the frame.