Richard Corliss
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For 937 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 12 Years a Slave
Lowest review score: 0 Ace Ventura: When Nature Calls
Score distribution:
  1. Negative: 92 out of 937
937 movie reviews
    • 66 Metascore
    • 70 Richard Corliss
    In Rapace, it has an actress who brings a memorable literary character to indelible movie life, as Vivien Leigh did for Scarlett O'Hara.
    • 69 Metascore
    • 70 Richard Corliss
    The perfect summation of Hollywood at this moment - an apotheosis of American male infantilism - and, on its own, a most likable mess.
    • 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.
    • 58 Metascore
    • 70 Richard Corliss
    Documentaries don't fly on figures, or even controversial arguments; they come to life with real, engaging people. And when this freakumentary hooks up with Urail King, it gets an A.
    • 64 Metascore
    • 70 Richard Corliss
    So here's my second and final verdict on the movie: it's as captivating as its heroine.
    • 56 Metascore
    • 70 Richard Corliss
    The movie will divide some Eastwood fans, conquer others. The naysayers will be grateful that, from this healthy, workaholic actor-director, there is always the promise of a good movie - if not here, then hereafter.
    • 56 Metascore
    • 70 Richard Corliss
    Knoxville and his team bring a defiant cheerfulness to their venture; the gang's idiocy is both self-aware and somehow innocent. Their gags have the anachronistic simplicity of pre-CGI stunts, when daredevils risked their lives to make an audience go "Wow!"
    • 46 Metascore
    • 70 Richard Corliss
    Yeah, well, I still like the film.
    • 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.
    • 55 Metascore
    • 70 Richard Corliss
    Wright's performance is the key to a movie that pulses with the sick thrill of historical discovery. The Conspirator reminds us that. when we surrendered so many of our Constitutional rights and judgments after 9/11, it wasn't the first time.
    • 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.
    • 57 Metascore
    • 70 Richard Corliss
    At its best moments, Thor weaves a spot of magic from the complex science of $150-million fantasy-film technology.
    • 67 Metascore
    • 70 Richard Corliss
    The new Panda has a bright palette, an amiable vibe and enough vivacity to keep kids entertained and any accompanying moms from bolting for "Bridesmaids."
    • 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.
    • 66 Metascore
    • 70 Richard Corliss
    On its own, Captain America is a modestly engaging little-big movie in the median range: well below the first "Iron Man," somewhat above "X-Men: First Class."
    • 65 Metascore
    • 70 Richard Corliss
    The Debt is a little too gray and stolid - by which we may simply mean too true to its complex milieu - to qualify as scintillating entertainment. But at the end of a summer in which anything like reality was banned from movie houses, this gnarly political thriller has a tonic effect
    • 70 Metascore
    • 70 Richard Corliss
    For a good hour, a very good first hour, the film efficiently accumulates small, terrifying incidents and images.
    • 67 Metascore
    • 70 Richard Corliss
    The Ides of March says that American politics, no less than Italian, is a beachfront property with sharks surfing the waves. That makes this skeptical, savory movie a fitting offering from Hollywood's suavest ambassador to Venice and the world.
    • 70 Metascore
    • 70 Richard Corliss
    There's no reason Banderas, after two Hollywood decades, couldn't do Robert justice; yet for a man whose mourning has turned to madness, he is strangely remote, lifeless, displaying neither rage nor poignancy. If Anaya is the heart at the center of the film, Banderas is the hole.
    • 49 Metascore
    • 70 Richard Corliss
    Applying Dad's directorial style of sweaty closeups, prowling telephoto shots and an ominous electronic score (by ex-Tindersticks member Dickon Hinchliffe), the younger Mann has dished out a meaty drama with familiar ingredients from the Law & Order kitchen but a distinctively bitter taste.
    • 56 Metascore
    • 70 Richard Corliss
    An agreeable time-waster for the onlookers and its star. The Rum Diary isn't a corrective to Johnny Depp's kid-centric career, more like a vacation from it, in a resort where the visitors are strange, the natives are restless and the flow of alcohol endless.
    • 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.
    • 70 Metascore
    • 70 Richard Corliss
    Harrelson rewards watching; he's no less potent at rest than when he explodes in calculated rage.
    • 76 Metascore
    • 70 Richard Corliss
    In his third consecutive Cronenberg film (after playing the righteous killers of A History of Violence and Eastern Promises), Mortensen is a happy surprise. Never has this tightly-wound actor seemed so relaxed in a difficult role; he is the charming papa Jung hates to overthrow but knows he must.
    • 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.
    • 68 Metascore
    • 70 Richard Corliss
    Motion capture, which transforms actors into cartoon characters in a vividly animated landscape, is the technique Spielberg has been waiting for - the Christmas gift, or senior-citizen birthday present that he's dreamed of since his movie childhood.
    • 54 Metascore
    • 70 Richard Corliss
    The Iron Lady is a clever and oddly touching entertainment.
    • 39 Metascore
    • 70 Richard Corliss
    Not quite in the class of the first film, Underworld 4 is still the most enlightened girl-power film of the week, nosing out Gina Carano's "Haywire" by the length of Pinocchio's proboscis.
    • 64 Metascore
    • 70 Richard Corliss
    True to its grim prospectus, The Grey dwells in haunted machismo to the very end.
    • 55 Metascore
    • 70 Richard Corliss
    What's unusual about the sometimes screwy but mostly smart and always heartfelt Perfect Sense - is its search for a middle ground.

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