Richard Corliss

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For 966 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 4.3 points higher than other critics. (0-100 point scale)

Richard Corliss' Scores

  • Movies
  • TV
Average review score: 67
Highest review score: 100 Zero Dark Thirty
Lowest review score: 0 The Last Airbender
Score distribution:
  1. Negative: 97 out of 966
966 movie reviews
    • 60 Metascore
    • 70 Richard Corliss
    This Mafia tale doesn’t aspire to the heights of a "Godfather" or the epic sprawl of "The Sopranos." Vromen and cowriter Morgan Land are content to bring subtle shadings to the tale of a strange man in a dirty business.
    • 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.
    • 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
    • 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.
    • 71 Metascore
    • 70 Richard Corliss
    Those opening trailers are hilarious and devastatingly acute, but the rest of Stiller's film could be more a deconstruction of comedy than a display of it. The brain gets the joke; the ribs are untickled.
    • 60 Metascore
    • 70 Richard Corliss
    Luhrmann, an Australian who pretty much let his camera go nuts in the egregiously overrated "Strictly Ballroom", here makes reasonable, imaginative decisions that are, arguably, true to Shakespeare.
    • 62 Metascore
    • 70 Richard Corliss
    Major League doesn't try too hard or aim too high, but it is pretty funny. With its stock characters, breezy dialogue, dense ambience and instinct for easy emotions, it could serve as the pilot for a pay-cable sitcom. The film's tone is acerb, but its climax is as predictably uplifting as Rocky's and as surefire effective as Damn Yankees'.
    • 57 Metascore
    • 70 Richard Corliss
    Savvy family entertainment.
    • 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.
    • 66 Metascore
    • 70 Richard Corliss
    The movie is finally predictable, but it has connected with a generation that believes it has been saddled with the thankless job of raising its own parents.
    • 64 Metascore
    • 70 Richard Corliss
    It has the slapdash air of a movie that was a little more fun to shoot than to watch. To say that Blades is a little sharper than "Kicking and Screaming," but not nearly so smart as the best parts of "Talladega," is like taste-testing a Big Mac against a Whopper and a Wendy's Classic Double.
    • 70 Metascore
    • 70 Richard Corliss
    Harrelson rewards watching; he's no less potent at rest than when he explodes in calculated rage.
    • 57 Metascore
    • 70 Richard Corliss
    An adoring tone and the familiar slo-mo, wide-angle baskebatics.
    • 57 Metascore
    • 70 Richard Corliss
    Blane's snooty friend Steff (Spader) could be a tired stereotype, but with his all-year tan, his hip-blase voice and hs view of high school as a "career," Steff becomes a recognizable character of any age: upscale slime in embryo. [3 Mar 1996, p.83]
    • Time
    • 64 Metascore
    • 70 Richard Corliss
    True to its grim prospectus, The Grey dwells in haunted machismo to the very end.
    • 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.
    • 74 Metascore
    • 70 Richard Corliss
    It provides intimate glimpses of people usually seen, and then only briefly, as faces on a post-office wall or numbers in a cemetery.
    • 82 Metascore
    • 70 Richard Corliss
    I wish I found The Illusionist as pleasing to sit through (twice) as to write about. I'm glad there's a "new" "Tati" film to add to his small, important body of work, yet I wish that the creator of "The Triplets of Belleville" had made a true Chomet film instead. I'll be waiting for that, with a hope to be found nowhere in this handsome, airless movie.
    • 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.
    • 42 Metascore
    • 70 Richard Corliss
    When else has the obscenity of child murder been the cause of such gravity and grace?
    • 76 Metascore
    • 70 Richard Corliss
    Because the emotional drama is so one-sided, I just can't love you.
    • 59 Metascore
    • 70 Richard Corliss
    With more sentiment and splash than the original’s sharp wit, Mr. Peabody & Sherman ends up teaching the same lesson as “Peabody’s Improbable History”: every dog should have a boy.
    • 68 Metascore
    • 70 Richard Corliss
    Quibbles aside, John Wick is the smartest display of the implacable but somehow ethical Reeves character since the "2008 Street Kings."
    • 93 Metascore
    • 70 Richard Corliss
    Inside Llewyn Davis is more deserving of a Grammy than an Oscar. Problematic movie, great album.
    • 58 Metascore
    • 70 Richard Corliss
    Slick, brutal and almost human, this is the team-spirit action movie Mission: Impossible should have been.
    • 70 Metascore
    • 70 Richard Corliss
    Doesn't aim too high or strain too hard; it is at ease inhabiting its pretty, miniature realm.
    • 64 Metascore
    • 70 Richard Corliss
    So here's my second and final verdict on the movie: it's as captivating as its heroine.
    • 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.
    • 57 Metascore
    • 70 Richard Corliss
    The cluttered climax, in a Mother Bates cellar, explains little of the killers’ psychology; for that you have to read the book. But it does let Neeson assert his primacy as the cinema’s most graven, grieving, grievous senior citizen — a figure who doesn’t so much star in his films as haunt them. This ghost of a movie star is never more at home than when walking among the tombstones.
    • 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.

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