Richard Corliss
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For 932 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 Hidden
Lowest review score: 0 W.E.
Score distribution:
  1. Negative: 92 out of 932
932 movie reviews
    • 76 Metascore
    • 80 Richard Corliss
    This remake hits the jackpot with Wasikowska (pronounced VashiKOVska) and, not far behind, Fassbender.
    • 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.
    • 67 Metascore
    • 80 Richard Corliss
    The picture delivers the high-octane, testosteronic goods of a warm-weather smash, and maybe the first great film of the post-human era. It's just a shame that every theater showing this nonstop auto race, this animated car-toon, can't be a drive-in.
    • 86 Metascore
    • 80 Richard Corliss
    An enthralled and mostly enthralling guided tour of what Herzog describes as "one of the greatest art discoveries in the history of human culture."
    • 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.
    • 59 Metascore
    • 80 Richard Corliss
    The filmmakers throw in a few cheesy scares: mom in a monster mask, a baby sitter jumping in front of a camera. But the rest is pretty freaking cool.
    • 80 Metascore
    • 80 Richard Corliss
    For stretches of the film, von Trieria is as welcome as Siberia. You must stay to the end for a potent payoff, when the tragic magic of the opening scenes is reasserted.
    • 50 Metascore
    • 80 Richard Corliss
    Everything that happens in Happy Feet Two is good-to-great.
    • 85 Metascore
    • 80 Richard Corliss
    At two hours, the film version is a third the miniseries' length, requiring severe compression by screenwriters Peter Straughan (The Debt) and Bridget O'Connor, which they've accomplished smartly.
    • 62 Metascore
    • 80 Richard Corliss
    The Woman in Black is a welcome addition to the old canon; renouncing innovation, embracing anachronism, it's almost "The Artist" of ghost movies. To anyone who fancies throwback stories of the supernatural, there's nothing so appealing as a well-preserved corpse.
    • 74 Metascore
    • 80 Richard Corliss
    Transcending Holo-kitsch, In Darkness is often a thrilling adventure picture - as if Anne Frank had found an "Inglourious Basterd" to help her make "The Great Escape."
    • 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.
    • 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.
    • 84 Metascore
    • 80 Richard Corliss
    Cheers for a Cannes director who has infused his technical mastery with radiant life. In the Museum of the World of Wes Anderson, the dolls are dancing.
    • 60 Metascore
    • 80 Richard Corliss
    Boldly and gaily sustained the madcap momentum for the whole of its eighty-few minutes.
    • 69 Metascore
    • 80 Richard Corliss
    Visually the most ravishing and complex Pixar movie, Brave evokes memories of Walt Disney's early experiments with the multiplane camera, but with the more persuasive intricacies available to CGI artists.
    • 75 Metascore
    • 80 Richard Corliss
    Well acted and acutely observed, the film doesn't try to be a conventionally satisfying coke-land action film.
    • 62 Metascore
    • 80 Richard Corliss
    McConaughey's fans might be shocked to see him in this role - more likely, they'd skip the opportunity - but they ought to give his performance a shot. The dimpled demon lover proves he can be just as seductive playing Texas's creepiest, craziest cop.
    • 68 Metascore
    • 80 Richard Corliss
    If this riveting, repelling film is to be seen, it must be not at home but in a theater, where you are confined in a room, like Sandra and Becky, deciding whether to watch, and how you would react.
    • 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.
    • 73 Metascore
    • 80 Richard Corliss
    Sometimes engrossing, sometimes exasperating romance. In these scenes, Cotillard shows she doesn't need the validation of Cannes or the Academy. Her strong, subtle performance is gloriously winning on its own.
    • 84 Metascore
    • 80 Richard Corliss
    A fanciful film with the patina of hyper-realism, Looper is well served by actors who behave not as if they were dropped carelessly into the future but spent their whole desperate lives there.
    • 65 Metascore
    • 80 Richard Corliss
    Bad 25 is an intimate view of a performer at his peak in the intense splendor of creativity.
    • 86 Metascore
    • 80 Richard Corliss
    This high-IQ sermon is long but never lazy. Renouncing his tendency to make every movie take emotional flight, Spielberg sticks to the story as Kushner has artfully compressed it. Lincoln is brain food and, at another pivotal moment in American political history, an instructive feast.
    • 81 Metascore
    • 80 Richard Corliss
    A pastiche that's nearly as funny as it is long (2hr. 45min.), and quite as politically troubling as it may be liberating, Django Unchained is pure, if not great, Tarantino.
    • 62 Metascore
    • 80 Richard Corliss
    Besides rehabbing a hero who overcomes anxiety to save the world and defeat the terror-industrial complex by the simple matter of cloning his body armor, the movie proves that there’s still intelligent life on Planet Marvel. As you’re propelled out of the theater on IM3′s hydraulic lift of pleasures, you’re likely to say, “That is how it’s done.”
    • 75 Metascore
    • 80 Richard Corliss
    Spinning in that wedding dress, or glaring in wary repose, Lawrence catches fire on screen.
    • 74 Metascore
    • 80 Richard Corliss
    The impact of this sisterhood fable on viewers should be as warm and rapturous as Olaf the snowman’s dream of summer. Child, teen or septuagenarian, you’ll warm to Frozen.
    • 85 Metascore
    • 80 Richard Corliss
    It has many of A Separation’s strengths — the acute observation of complex characters in a story that keeps unpacking surprises — but they have become familiar. They lack the revelatory wallop of the first film.
    • 79 Metascore
    • 80 Richard Corliss
    The message to take from Jodorowsky’s Dune: movies once had brains and balls, and lost them.

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