Richard Corliss
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For 916 reviews, this critic has graded:
  • 56% higher than the average critic
  • 2% same as the average critic
  • 42% 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 Sweeney Todd: The Demon Barber of Fleet Street
Lowest review score: 0 W.E.
Score distribution:
  1. Negative: 91 out of 916
916 movie reviews
    • 73 Metascore
    • 100 Richard Corliss
    The first great movie of the summer.
    • 73 Metascore
    • 80 Richard Corliss
    An exhilarating ride, start to finish. Edgar Wright and Simon Pegg set a high bar for this subgenre with "Shaun of the Dead," but Reese, Werner and Fleischer may have trumped them. This isn't just a good zombie comedy. It's a damn fine movie, period. And that's high praise, coming from a vampire guy.
    • 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
    • 20 Richard Corliss
    Erin Brockovich is slick, grating and false. We bet it makes a bundle.
    • Time
    • 73 Metascore
    • 70 Richard Corliss
    If Michael Lehmann's direction were a bit more astute, the movie could be the classic genre mutation it aims to be: Andy Hardy meets "Badlands." [17 April 1989]
    • Time
    • 73 Metascore
    • 90 Richard Corliss
    Ray
    If there were an Oscar for ensemble acting, Ray would win in a stroll.
    • 73 Metascore
    • 50 Richard Corliss
    Raimi directs the film at Maguire's pensive pace. Some scenes are just inert.
    • Time
    • 73 Metascore
    • 100 Richard Corliss
    Shelton has written the wittiest, busiest screenplay since Moonstruck, and his three stars do their very best screen work. [20 June 1988]
    • 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.
    • 73 Metascore
    • 100 Richard Corliss
    Blending plot elements of "Double Indemnity" and "Natural Born Killers" with the ripe sensuality of Francis Coppola's take on "Dracula," the film should make audiences sit up in startled pleasure, as if they'd just received the most luscious neck-bite.
    • 72 Metascore
    • 80 Richard Corliss
    Go
    Here is a picture that has wit, a hairpin-turn narrative, high pizazz and ensemble star quality. Ready, set, Go.
    • Time
    • 72 Metascore
    • 90 Richard Corliss
    This is a serious filmgoer's treat: intelligence cloaked in elegance.
    • 72 Metascore
    • 80 Richard Corliss
    [Murray] has the natural actor's charm of making manners matter. He carries Groundhog Day with his uniquely frittery nonchalance and makes the movie a comic time warp anyone should be happy to get stuck in. [15 Feb 1993, p.63]
    • Time
    • 72 Metascore
    • 90 Richard Corliss
    Rambunctious, disturbing, often hilarious new documentary.
    • 72 Metascore
    • 90 Richard Corliss
    JFK
    Through his art and passion, Stone makes JFK plausible, and turns his thesis of a coup d'etat into fodder for renewed debate.
    • 72 Metascore
    • 100 Richard Corliss
    The best Hollywood movies always knew how to sneak a beguiling subtext into a crowd-pleasing story. Superman Returns is in that grand tradition. That's why it's beyond Super. It's superb.
    • 72 Metascore
    • 70 Richard Corliss
    This series will survive as well, until 2016 — when, you can bet, there will be a third Star Trek to celebrate the TV show’s 50th anniversary. Here’s hoping that those three years will bestow a measure of maturity on all concerned: Kirk and his bright curators too.
    • 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
    • 100 Richard Corliss
    The year's most thrilling, FEELING mainstream movie.
    • 72 Metascore
    • 100 Richard Corliss
    In his most painterly film, Spielberg has appropriated the lavish visual palette of John Ford movies: "The Quiet Man" for the rural settings, "The Horse Soldiers" for the war scenes. Boldly emotional, nakedly heartfelt, War Horse will leave only the stoniest hearts untouched.
    • 72 Metascore
    • 70 Richard Corliss
    I finally surrendered to the script's breezy intelligence and the movie's relatively mature sensibility. As for Emma Stone, she didn't have to win me over. She conquered me from the first A.
    • 72 Metascore
    • 90 Richard Corliss
    This daring, perhaps confusing declaration of irrelevance suggests that the epic is a form a director like Scorsese must subvert even as he invokes it. But it doesn't erase the sordid splendor of Scorsese's congested, conflicted, entrancing achievement.
    • 72 Metascore
    • 40 Richard Corliss
    A movie this implausible shouldn't be this dull.
    • 72 Metascore
    • 70 Richard Corliss
    In a movie era remarkable for its reluctance to dramatize erotic intimacy, Shame merits praise for the dark energy of its sexual encounters.
    • 72 Metascore
    • 80 Richard Corliss
    Nettelbeck is a sharp observer of life's surprises, and Gedeck has an appraising, intelligent beauty. Her Martha is like the film: tart on the outside, sweet on the inside, with a delectable aftertaste.
    • 72 Metascore
    • 70 Richard Corliss
    When they get to canoodling and conniving, you won't ask for your money back.
    • 72 Metascore
    • 80 Richard Corliss
    Binoche is especially subtle and radiant in another splendid drama from Leconte.
    • 71 Metascore
    • 90 Richard Corliss
    Not just a ripping yarn but a powerful, poignant coming-of-age story.
    • 71 Metascore
    • 80 Richard Corliss
    [Pfeiffer & Demme] and a gang of co-stars have created a coherent farce symphony.
    • 71 Metascore
    • 90 Richard Corliss
    Green shoots his groping lovers in the art-film style -- long takes, static frame -- but his tone isn't at all minimalist; it's achingly, breathtakingly romantic, like the old Hollywood love stories his kids have never seen.