Richard Corliss

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For 948 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 5 points higher than other critics. (0-100 point scale)

Richard Corliss' Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Green Zone
Lowest review score: 0 Ace Ventura: When Nature Calls
Score distribution:
  1. Negative: 92 out of 948
948 movie reviews
    • 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.
    • 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.
    • 76 Metascore
    • 80 Richard Corliss
    Not a conventionally satisfying movie but a kind of illustrated journalism: an engrossing, insider's tour of the world's hottest spots, grandest schemes and most dangerous men.
    • 58 Metascore
    • 80 Richard Corliss
    Fans of the nasty Baron Cohen may regret his being borderline nice in The Dictator. But we should welcome his decision to stop being the best at something few others dare try and instead to inhabit a more familiar comedy style--just going denser, wilder, better. He pulls it off.
    • 74 Metascore
    • 80 Richard Corliss
    An excellent film. [16 Jan 1989, p.64]
    • Time
    • 84 Metascore
    • 80 Richard Corliss
    By the end of the movie, whether or not you're a member of Sinn Fein, the Brits' brutality toward the Conlons will get your Irish up.
    • 70 Metascore
    • 80 Richard Corliss
    Nichols and his once and current partner, screenwriter Elaine May, can make a funny, knowing, ultimately judicious film from the deliciously satyric satire.
    • 91 Metascore
    • 80 Richard Corliss
    Mirren, who won an Emmy playing Elizabeth I for HBO, may deserve an Oscar for this ripe appraisal of Elizabeth II.
    • 63 Metascore
    • 80 Richard Corliss
    The film doesn't judge or prod its characters, just watches the long fuse of the plot dwindle, then explode.
    • 78 Metascore
    • 80 Richard Corliss
    The fascinating film equivalent of a humane execution.
    • 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.
    • 79 Metascore
    • 80 Richard Corliss
    The message to take from Jodorowsky’s Dune: movies once had brains and balls, and lost them.
    • 69 Metascore
    • 80 Richard Corliss
    Hazel and Augustus will live in film lore because of the young actors who play them.
    • 71 Metascore
    • 80 Richard Corliss
    You may leave the movie with Seussian anapests dancing in your happy head. Here's mine: A treat for the eye, an epic event/ This film is delightful, one hundred percent.
    • 69 Metascore
    • 80 Richard Corliss
    A savory cocktail with a bitter twist.
    • 73 Metascore
    • 80 Richard Corliss
    This film is as smart and funny as its topic and its stars.
    • 63 Metascore
    • 80 Richard Corliss
    Knightley embodies Anna as a girlish woman who has never felt erotic love; once smitten, she is raised to heavenly ecstasy before tumbling into the abyss of shame. It's a nervy performance, acutely attuned to the volcanic changes a naive creature must enjoy and endure on her first leap into mad passion. She helps make Anna Karenina an operatic romance worth singing about.
    • 64 Metascore
    • 80 Richard Corliss
    Seduction is more important than deduction in this chic display of star quality to the eighth power.
    • 88 Metascore
    • 80 Richard Corliss
    Directing with a cool, steady hand that renounces shaky-cam the way Fletcher would denounce rock ‘n roll, and getting strong performances from his two leads, Chazelle provides a potent metaphor for artistic ambition as both a religion and an addiction.
    • 62 Metascore
    • 80 Richard Corliss
    A tortured testament from a true believer.
    • Time
    • 69 Metascore
    • 80 Richard Corliss
    The Avengers doesn't aim for transcendence, only for the juggler's skill of keeping the balls smoothly airborne, and in 3-D too (converted after production). At that it succeeds.
    • 65 Metascore
    • 80 Richard Corliss
    The Merchant-Ivory attention to period detail often seems like the movie equivalent of good penmanship. But here it accrues a kind of ethical eloquence.
    • 71 Metascore
    • 80 Richard Corliss
    A furiously time-looping joy ride and the smartest action film of the early summer season.
    • 63 Metascore
    • 80 Richard Corliss
    Rio
    If you don't go in panting for a Pixar-level masterpiece, you should have a blast at this cartoon carnaval.
    • 76 Metascore
    • 80 Richard Corliss
    The purity of Dequenne's performance inspires awe.
    • 85 Metascore
    • 80 Richard Corliss
    So here's a tip for those attending this handsomely acted, epic-length little film. Ease into the sleaze, stare at the party animals, look but don't touch, and, oh, boogie all night. [October 6, 1997]
    • Time
    • 66 Metascore
    • 80 Richard Corliss
    The Coens are artists too, and their cool dazzler is an elegy to a day when Hollywood could locate moral gravity in a genre film for grownups. [24 Sept 1990, p.83]
    • Time
    • 75 Metascore
    • 80 Richard Corliss
    Well acted and acutely observed, the film doesn't try to be a conventionally satisfying coke-land action film.
    • 65 Metascore
    • 80 Richard Corliss
    A.I. will beguile some viewers, perplex others. Its vision is too capacious, its narrative route too extended, the shift in tone (from suburban domestic to rural nightmare to urban archaeology) too ornery to make the film a flat-out wowser of the E.T. stripe.

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