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 Crouching Tiger, Hidden Dragon
Lowest review score: 0 Ace Ventura: When Nature Calls
Score distribution:
  1. Negative: 92 out of 932
932 movie reviews
    • 69 Metascore
    • 80 Richard Corliss
    Pummeling, exhilarating.
    • 63 Metascore
    • 80 Richard Corliss
    Pacino seems to recall, from his early Michael Corleone days, the power of whispered menace.
    • 75 Metascore
    • 80 Richard Corliss
    The film's spare wit is as applicable to Broward County as to the Persian Gulf. Secret Ballot offers further evidence that an Islamic regime can foster humanist satires with a critical, political edge.
    • 70 Metascore
    • 80 Richard Corliss
    Samantha Morton, as Emmet's "mute orphan half-wit" of a girlfriend, is the sweet revelation. Rarely has a performer mined such complex and potent emotion from such simple materials: a smile, a shrug, an attentive winsomeness.
    • 55 Metascore
    • 80 Richard Corliss
    Veronica Guerin paid with her life. This film would make her proud, for it is ultimately not depressing but -- we say without a shred of journalistic irony -- inspiring.
    • 50 Metascore
    • 80 Richard Corliss
    Constantine is a one-of-a-kind hybrid: a theological noir action film. And until it goes irrevocably goofy at the end, it's a smart ride--and smart-looking too.
    • 64 Metascore
    • 80 Richard Corliss
    Robots goes for a color scheme that is cool, muted, instantly aged. Director Chris Wedge wants the eye to concentrate on the gags he and his writers (including veteran comedy craftsmen Lowell Ganz and Babaloo Mandel) have stuffed into the film.
    • 59 Metascore
    • 80 Richard Corliss
    The film doesn't scale Shakespearean heights, but it does give its star a nicely gnarled ogre to play.
    • 81 Metascore
    • 80 Richard Corliss
    It turns a hot topic into a pretty cool entertainment--one that satisfies the viewers' need for righteous revenge while leaving them a queasy little question on the way out: Does gun diplomacy make sense only in movies? Or do Americans want it to play out in real life?
    • 71 Metascore
    • 80 Richard Corliss
    Under the suave direction of Jonathan Frakes, who also plays the Enterprise's second-in-command, the movie glides along with purpose and style.
    • 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.
    • 69 Metascore
    • 80 Richard Corliss
    This is no breathless film fantasy; its pulse is stately, contemplative. But anyone who has keen eyes and an open heart will surely go soaring and crashing with the lovers lost in Malick's exotic, erotic new world.
    • 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.
    • 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.
    • 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.
    • 68 Metascore
    • 80 Richard Corliss
    Marvin's Room, the 1991 Scott McPherson play, filmed by Jerry Zaks, is an old-fashioned weepie of noble mien with many bright moments and a superb cast.
    • 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.
    • 44 Metascore
    • 80 Richard Corliss
    Writer Shane Black mines his thriller premise while musing on issues of identity and redemption; he also shaped the itchy camaraderie of Davis and Jackson.
    • 73 Metascore
    • 80 Richard Corliss
    This film is as smart and funny as its topic and its stars.
    • 68 Metascore
    • 80 Richard Corliss
    Fetching little monument to the bard of rapturous bereavement.
    • 64 Metascore
    • 80 Richard Corliss
    The Road to Guantánamo is his (Winterbottom’s) most unsparing statement yet of war's brutalizing effect on both the prisoner and his jailer.
    • 70 Metascore
    • 80 Richard Corliss
    Chris Paine's documentary makes an unapologetic case for the car and an unofficial indictment of the forces allied against it.
    • 68 Metascore
    • 80 Richard Corliss
    By the end, the canniest viewers may not be fooled, but--and you can believe this--they may be mesmerized.
    • 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.
    • 70 Metascore
    • 80 Richard Corliss
    Diane Keaton, directing her first fictional feature, gets us safely through a movie that could have turned to mush at any moment.
    • 71 Metascore
    • 80 Richard Corliss
    [Pfeiffer & Demme] and a gang of co-stars have created a coherent farce symphony.
    • 69 Metascore
    • 80 Richard Corliss
    Obsession has seldom looked as gaudy or thrilling as here.
    • 69 Metascore
    • 80 Richard Corliss
    [A] sexy, spiky love story.
    • 62 Metascore
    • 80 Richard Corliss
    Indeed, the entire film is a kind of sock-hop benefit for Approaching Middle Age. This maturing generation never played Taps with such glamour or good humor. Play the music and let the big chill—the knowledge that "we're all alone out there, and we're going out there tomorrow"—melt away in the warmth of the feel-good movie of '83.
    • 60 Metascore
    • 80 Richard Corliss
    Cronenberg delivers.

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