Richard Corliss

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For 973 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 4.1 points higher than other critics. (0-100 point scale)

Richard Corliss' Scores

  • Movies
  • TV
Average review score: 67
Highest review score: 100 Ratatouille
Lowest review score: 0 Cocktail
Score distribution:
  1. Negative: 97 out of 973
973 movie reviews
    • 33 Metascore
    • 30 Richard Corliss
    Mostly awful.
    • 39 Metascore
    • 70 Richard Corliss
    Makes for a long, lumpy trip with a charismatic guide and some brilliant detours.
    • 87 Metascore
    • 100 Richard Corliss
    To transport picturegoers to a unique place in the glare of the earth, in the darkness of the heart--this, you realize with a gasp of joy, is what movies can do.
    • 83 Metascore
    • 90 Richard Corliss
    The film is about joy--in conniving and surviving, in connecting with audiences, in its own fizzy, jizzy style.
    • 66 Metascore
    • 80 Richard Corliss
    The film dances; the heart sings.
    • Time
    • 62 Metascore
    • 60 Richard Corliss
    Flouting all rules of the sea but honoring every war-epic cliche about guts under pressure.
    • 44 Metascore
    • 40 Richard Corliss
    Last Action Hero starts out mostly nuts, and winds up mostly bolts. Or, rather, winds down. That's a problem with pastiche: it must be constantly jump-started with ingenuity, and even that ultimately pales. By the end, nothing matters. [21 June 1993, p67]
    • Time
    • 44 Metascore
    • 40 Richard Corliss
    Warm-hearted humanism is glopped all over Renaissance Man in the hopes that we won't notice that the story makes no sense.
    • 59 Metascore
    • 70 Richard Corliss
    The film is full of sharp acting and home truths, but its ambition to be different finally surrenders to its need to be loved.
    • 52 Metascore
    • 70 Richard Corliss
    in a larger sense Be Kind Rewind declares that the riches of cinema history touch each of us personally. Films become so deep a part of us that we own them that our memories of them, whether faithful or fanciful, become their meanings. As a movie critic and, even before and above that, a movie lover, how can I disagree with that?
    • 49 Metascore
    • 50 Richard Corliss
    It's strenuous, smartly-made and ordinary to an extraordinary degree.
    • 73 Metascore
    • 100 Richard Corliss
    Intoxicating. [19 Dec 1988, p.78]
    • Time
    • 51 Metascore
    • 20 Richard Corliss
    The only thing Schumacher and his scrupulous craftsfolk forgot to give the movie was life -- the energizing spirit of wit and passion that makes scenes work and characters breathe.
    • 52 Metascore
    • 70 Richard Corliss
    Redacted pretty successfully sustains a dual level of hysteria (in its content) and disinterest (in its film-long framing devices). It's an amazingly vigorous work for a filmmaker who turns 67 on Sept. 11... The movie is a cry of national shame; for De Palma, it's a new badge of honor for a wily old vet.
    • 67 Metascore
    • 70 Richard Corliss
    The film's success is due in large part to actors who are both faithful to all the social minutiae and seductive enough to keep you watching.
    • 61 Metascore
    • 70 Richard Corliss
    Fond, zippy new documentary about the Bruce who, on the Hollywood circuit, is the real Boss.
    • Time
    • 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.
    • 50 Metascore
    • 70 Richard Corliss
    With their technical astonishments, Director Henson and Executive Producer Lucas have been faithful to the pioneering Disney spirit. In suggesting the thrilling dilemmas that await a wise child, they have flown worlds beyond Walt. [7 July 1986, p.65]
    • Time
    • 87 Metascore
    • 70 Richard Corliss
    Ceases to be a cogent study of the disease of genius and devolves into two lesser creatures: an ordinary weepie and an Oscar contender.
    • 55 Metascore
    • 70 Richard Corliss
    This is a comedy with the old-time blend of wit and sentiment. Years from now, when you stumble across it on TV, you could persuade yourself that, back in the two-thousand-oughts, they made pretty good movies.
    • 62 Metascore
    • 90 Richard Corliss
    It's a terrific movie. I love the look and the verve of the thing, the confidence of its epic design, its smart use of half a dozen noted British thesps, lending weight and wit to the supporting roles.
    • 36 Metascore
    • 50 Richard Corliss
    Corelli is a coffee-table movie: one leafs through the gorgeous vistas and nods through the narrative.
    • Time
    • 45 Metascore
    • 20 Richard Corliss
    I Love You to Death lacks the precision, ferocity and guts needed for black farce.
    • 90 Metascore
    • 90 Richard Corliss
    Nemo, with its ravishing underwater fantasia, manages to trump the design glamour of earlier Pixar films.
    • 55 Metascore
    • 80 Richard Corliss
    A film worthy of being displayed on a screen eight stories high.
    • 81 Metascore
    • 80 Richard Corliss
    Cool, shiny, handsomely made and, in its compelling-repelling way, mordantly funny.
    • 82 Metascore
    • 100 Richard Corliss
    Three of the hippest indie film princes make a perfect commercial comedy.
    • 83 Metascore
    • 100 Richard Corliss
    The most beguiling romantic comedy this side of "Broadcast News." [11 Jan 1988]
    • Time
    • 36 Metascore
    • 60 Richard Corliss
    This is what lifts Seven Pounds above other Smith dramas -- he does tentatively allow another adult onto his solitary planet.
    • 60 Metascore
    • 30 Richard Corliss
    It's a brilliant idea, for about 10 minutes. Then the bare set is elbowed out of a viewer's mind by the threadbare plot and characterizations.
    • 64 Metascore
    • 70 Richard Corliss
    Van Damme has been known as a martial-arts legend, movie star and pain in the ass. But never an actor -- until now.
    • 73 Metascore
    • 80 Richard Corliss
    The film's pleasures are simple and obvious: an original plot, lots of slapstick and a lead performance by the Bushman N!xau, who registers every absurdity with the aplomb of an aboriginal Buster Keaton.
    • 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.
    • 83 Metascore
    • 90 Richard Corliss
    A gravely beautiful fairy tale of longing and loss. [20 Sept 1993, p.82]
    • Time
    • 45 Metascore
    • 40 Richard Corliss
    Maybe Wellesley isn't the only injured party here. Can an audience sue for cruel and edifying punishment?
    • 52 Metascore
    • 50 Richard Corliss
    The new film is conflicted about its subject -- it both derides and adores what it means to parody -- and it's miscast at the top. Still, the Eve Ahlert -- Dennis Drake script has a gentle heart to humanize its sharp sitcom wit.
    • 76 Metascore
    • 90 Richard Corliss
    Miller suggests violence; he does not exploit it. He throws the viewer off-balance by mixing the ricochet rhythms of his chase scenes with tableaux of Walpurgisnacht grandeur.
    • 57 Metascore
    • 80 Richard Corliss
    Cecil B. proves how a dose of smart bad taste can be jolly good fun.
    • Time
    • 64 Metascore
    • 50 Richard Corliss
    Che
    In the end, the Cuban newspaper was nearly right: it's not the Castro character but the whole of this grand, doomed experiment that lacks "charisma and depth."
    • 89 Metascore
    • 90 Richard Corliss
    Kaufman may be counting on the audience's will, insistence and yearning to create a coherent love story from the shards and shrapnel he provides us.
    • 67 Metascore
    • 90 Richard Corliss
    As bustling and impassioned as the best Sturges and Capra movies, this one captures both the purposeful edginess of Administration Pooh-Bahs (Martin Sheen, Michael J. Fox, David Paymer and Samantha Mathis--nice jobs, all) and the isolation of the President. [20 Nov 1995, p.117]
    • Time
    • 86 Metascore
    • 90 Richard Corliss
    Apted...has the storytelling skills to weave a powerful and poignant snapshot of some decent folks who have become, collectively, Britain's first family.
    • 69 Metascore
    • 80 Richard Corliss
    Obsession has seldom looked as gaudy or thrilling as here.
    • 81 Metascore
    • 100 Richard Corliss
    This is more than an Important Documentary: it is engaging and, finally, enraging - as captivating as any "Superman" movie, and as poignant as a child's plea for help.
    • 54 Metascore
    • 70 Richard Corliss
    A feel-good ending is mandatory, even in a comedy like this, which promises to be transgressive because it's the first major-studio job for a director with an underground reputation for being crazy-bold.
    • 85 Metascore
    • 90 Richard Corliss
    This enthralling, enigmatic, romantic drama from Asia's most influential auteur (Chungking Express) is an essay in appetite and inhibition.
    • 61 Metascore
    • 70 Richard Corliss
    The audience gets as pulverizing a workout as the stars do. Or rather, the stars' stunt doubles, who deserve Oscars for best supporting masochism.
    • 32 Metascore
    • 0 Richard Corliss
    Untraceable really is disgraceable. It's bad enough when a movie offers up atrocity scenes that would make the Nanking soldiers seem like Hannah Montana; it's repellent when the movie dresses up the sadism in a moral message that condemns the very weakness it is exploiting.
    • 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.
    • 47 Metascore
    • 70 Richard Corliss
    Politics aside, this is a handsome film with orange skies to die for, or under, and a lovely score by Carter Burwell. The picture has some ponderous and snooze-worthy stretches, but it attains a certain melancholic grandeur, with the actors and crew fighting as desperately as Crockett and Bowie to make the best of a fated adventure.
    • 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.
    • 73 Metascore
    • 80 Richard Corliss
    Binoche is especially subtle and radiant in another splendid drama from Leconte.
    • 76 Metascore
    • 80 Richard Corliss
    Shine a Light isn't the record of a unique event, so it's not on the exalted level of "The Last Waltz." But it has its own fascination. The film is less about the music than about the dedication of show-biz troupers--about doing your job, year after year, as if it's your joy.
    • 81 Metascore
    • 70 Richard Corliss
    You can try not liking this adaptation of the Off-Broadway musical hit -- it has no polish and a pushy way with a gag -- but the movie sneaks up on you. [29 Dec 1986, p.71]
    • Time
    • 94 Metascore
    • 100 Richard Corliss
    It towers over the year's other movies as majestically and menacingly as a gang lord at a preschool. [10 Oct 1994]
    • Time
    • 80 Metascore
    • 70 Richard Corliss
    For closeup conflict and emotional kick, the Frost/Nixon movie tops the play. But neither can match the tension and weird poignancy of the original interviews -- reality TV of the highest, queasiest order.
    • 44 Metascore
    • 60 Richard Corliss
    The film's payoff raises more questions than it answers, which may be Shyamalan's intent in this political parable of fear.
    • 45 Metascore
    • 0 Richard Corliss
    Wearying, stupefying, dumber than dumb, When Nature Calls would be a career ender for Carrey--except that a zillion people have seen it. Stop this, folks. It'll only encourage him.
    • 61 Metascore
    • 50 Richard Corliss
    At the core, though, one finds a slacky, sappy film. The human mystery that breathed so easily in "Shawshank" is often forced here.
    • Time
    • 71 Metascore
    • 60 Richard Corliss
    The movie is a little gimpy. But Murray's molto impressive. He drops his voice half an octave; he walks like a golem tailored by Armani; he puts his silky style in the service of menace. It's a whole nother dimension to him. [8 March 1993]
    • Time
    • 78 Metascore
    • 80 Richard Corliss
    With Half-Blood Prince, again we have a stalwart, satisfying visualization of the Rowling cosmos.
    • 61 Metascore
    • 50 Richard Corliss
    This agitated comedy could be called "The Big Chillin'" if it had a smidge of the 1983 film's wit and charm.
    • 48 Metascore
    • 50 Richard Corliss
    Until a vigorous climax, the action scenes have little punch.
    • 73 Metascore
    • 80 Richard Corliss
    Here's another warning: you may laugh yourself sick--as sick as this ruthlessly funny movie is.
    • 71 Metascore
    • 80 Richard Corliss
    Even when the movie sags and strains a bit in Act III, Clooney keeps it flying with old-fashioned movie-star allure. He's got it all: Cary Grant's looks and, inside, Bob Hope's snake-oil-salesman soul.
    • 57 Metascore
    • 90 Richard Corliss
    To their old fascination with Sunbelt pathology, to their side-winding Steadicam and pristine command of screen space, the Coens have added a robust humor, a plot that keeps outwitting expectations and a surprising dollop of sympathy for their forlorn kidnapers. [23 March 1987]
    • Time
    • 68 Metascore
    • 70 Richard Corliss
    Wants to contain multitudes -- high ideals and high tech, the poignant and the silly. Doing so, it becomes a lexicon of modern filmmaking. It could be its own creature: Super-Generico. That's not the worst thing for a movie to be, but it's not quite Marvel-ous either.
    • 70 Metascore
    • 70 Richard Corliss
    Jason Patric is the chief sleaze; Ben Stiller adds to his gallery of wormy guys; and Aaron Eckhart is the doleful husband who, when asked who his best lay was, unabashedly answers, "Me." [24 August 1998, p. 85]
    • Time
    • 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
    • 50 Richard Corliss
    The film's blithe misogyny soon becomes wearying; it refuses to see women as more than the sum of their private parts.
    • 52 Metascore
    • 60 Richard Corliss
    It should make audiences happy. But then so did most of his earlier movies, and they were lame, gnat-brained pieces of demagogic doo-doo!
    • 47 Metascore
    • 80 Richard Corliss
    You could also say the picture lacks a coherent plot and complex characterization, but those are irrelevant to the genre. The movie is like a superior athlete who gets tongue-tied in a post-game interview but on the field is poetry in motion.
    • 95 Metascore
    • 100 Richard Corliss
    The rewards for paying attention are mammoth and exhilarating. This is a high-IQ movie that gives viewers an IQ high.
    • 75 Metascore
    • 80 Richard Corliss
    A small epic with subtle strengths.
    • 61 Metascore
    • 40 Richard Corliss
    The film has just enough collisions to be a crashing bore.
    • 89 Metascore
    • 90 Richard Corliss
    Watch Murray's eyes in the climactic scene in the hotel lobby: while hardly moving, they express the collapsing of all hopes, the return to a sleepwalking status quo. You won't find a subtler, funnier or more poignant performance this year than this quietly astonishing turn.
    • 57 Metascore
    • 70 Richard Corliss
    Vivid, relevant and of elevating scariness.
    • 63 Metascore
    • 70 Richard Corliss
    In its purposeful accumulation of depravities, both individual and institutional, the director's non-style has an honorable payoff that's rare in modern Hollywood cinema: the story's weight could come close to burying you in despair.
    • 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.
    • 54 Metascore
    • 70 Richard Corliss
    The differences between the two Assaults--the new one's pretty good, the old one near great--are of tone, style and perspective.
    • 28 Metascore
    • 40 Richard Corliss
    As the director of this noble weepie, Nelson so overuses visual tricks -- zooms, zip pans and multiple perspectives on a simple scene -- that she turns the viewer into an exasperated parent; this is a directorial style in need of a spanking.
    • Time
    • 82 Metascore
    • 90 Richard Corliss
    The film's both mental and experimental, more melodious than Yentl and at heart as soft and gentle as a Christmas kiss.
    • 55 Metascore
    • 50 Richard Corliss
    The Terminal is Spielberg's shortest feature since the first "Jurassic Park," yet it drags, plods, piling one lifeless situation atop another. For all the effort and good intentions, the movie is in-terminal-ble.
    • 83 Metascore
    • 100 Richard Corliss
    We the viewers are its beneficiaries, watching and waiting for something awful to happen. Here it does, first subtly, then spectacularly. The twist is not revealed until the last shot--if you keep your avid eyes open.
    • 92 Metascore
    • 90 Richard Corliss
    With craft, crackle, a little bombast and plenty of residual rage, he has created a time-capsule movie that explodes like a frag bomb in the consciousness of America, showing how it was back then, over there.
    • 91 Metascore
    • 100 Richard Corliss
    It is a ripping yarn and a spectacularly new and odd vision.
    • 49 Metascore
    • 30 Richard Corliss
    May leave viewers emotionally disconnected from this distinctly unchipper Mr. Chips.
    • 54 Metascore
    • 70 Richard Corliss
    But the film is keyed to Posey's performance: perfectly brittle, faultlessly false. As the most toxic of this family of vipers, she creeps and stings, and no one dares look away.
    • 63 Metascore
    • 60 Richard Corliss
    Rumble Fish is the messiest, most provocative inkblot of the year.
    • 79 Metascore
    • 90 Richard Corliss
    Wings of Desire works hard to be both an essay and a love story, a mural and an intimate portrait. To savor this film, the viewer must work hard too. But when the artists behind the screen and the angels in the audience meet, it's like a smoke and coffee: fantastic! (1998 May 9, p. 79)
    • Time
    • 51 Metascore
    • 90 Richard Corliss
    Sexy, funny, sad and defiantly romantic, Feast of Love is the rare movie to cuddle up to.
    • 77 Metascore
    • 70 Richard Corliss
    We should hail a movie that recalls creepy political thrillers of the mid-'70s, back when some films were made for grownups and the comfortable catharsis of a happy ending was not required -- think of the panoramically cryptic worldview of "The Parallax View" and "Three Days of the Condor," and of course, "Chinatown."
    • 32 Metascore
    • 30 Richard Corliss
    The only collateral damage is in the audience, where, as you sit through the movie, you can feel your IQ drop minute by minute.
    • 69 Metascore
    • 100 Richard Corliss
    His films will never be mainstream fare; audiences who wander into the theater may well find them derisive, needlessly shocking, perhaps unforgivable. But I'd call them, and especially Life During Wartime, unforgettable.
    • 60 Metascore
    • 50 Richard Corliss
    In Susan Minot's goofy script, Tyler ministers to ailing writer Jeremy Irons and other artsy layabouts while searching for the man on whom to bestow her virginity. The climactic deflowering scene provides the only giggles in an otherwise stodgy mess.
    • 48 Metascore
    • 30 Richard Corliss
    We [Farrellys'] mock, they say, because we care. But that doesn't make the film elevating or amusing.
    • 78 Metascore
    • 90 Richard Corliss
    Fincher, whose work on "Fight Club" and "Panic Room" displayed his expertise in melding the suspenseful and the lurid, plays it cool here. He lets his stars do their thing.
    • 88 Metascore
    • 80 Richard Corliss
    If this sounds like an old-fashioned sex comedy, it is -- sexy, for sure, and funny, in wild spurts.
    • 70 Metascore
    • 100 Richard Corliss
    This is a declaration of love: The Opposite of Sex is the smartest, edgiest, most human and handsomely acted romantic comedy in elephant years.
    • 72 Metascore
    • 90 Richard Corliss
    This daring, perhaps confusing declaration of irrelevance suggests that the epic is a form a director like Scorsese must subvert even as he invokes it. But it doesn't erase the sordid splendor of Scorsese's congested, conflicted, entrancing achievement.
    • 58 Metascore
    • 40 Richard Corliss
    Tom Cruise heads a tony cast in a best-seller movie that is firm at the start and infirm by the end.
    • 82 Metascore
    • 80 Richard Corliss
    It's a long drink of water at the fountain of pop-social memory.
    • 78 Metascore
    • 80 Richard Corliss
    "Shrek," this film's prime competition for the first Animated Feature Oscar, is a synoptic parody of fairy tales. In Monsters, Inc. the gags aren't as spot-on but the technique is miles ahead. The vision is grander and warmer.
    • Time
    • 68 Metascore
    • 60 Richard Corliss
    The Cotton Club is not a bad film, just a bland one; not inept, just inert. Given its garish production history, one rather expected The Cotton Club to sing with hot-jazz desperation. Instead, we get the mediocre craftsmanship of a pit band in Vegas.
    • 70 Metascore
    • 50 Richard Corliss
    It lacks overall focus, and at the end you may have a question for Michael Mann: Why'dyou bother? [July 6, 2009, p.59]
    • Time
    • 62 Metascore
    • 60 Richard Corliss
    There's enough narrative for three fine films. But not enough for The Interpreter. The thriller pieces feel assembled rather than organic.
    • 73 Metascore
    • 20 Richard Corliss
    Erin Brockovich is slick, grating and false. We bet it makes a bundle.
    • Time
    • 86 Metascore
    • 100 Richard Corliss
    A coda that will have the movie's audience gasping in exhilarated exhaustion, whispering astonished gratitude to Sokurov for having created vigorous art out of 21st century video technique and asking themselves, "What's the Russian word for Wow!?"
    • 78 Metascore
    • 90 Richard Corliss
    If the film is just as strange and endearing as its glowing protagonist -- and it is -- that's because the director and co-writer (with Mignola) is Guillermo del Toro, 43, who has the wildest imagination and grandest ambitions of anybody in modern movies.
    • 55 Metascore
    • 70 Richard Corliss
    O.K., Ritchie mistakes flash for style. Perhaps that's the price you pay for storytelling exuberance. If he keeps making films as down and witty as Snatch, we may learn to forgive him.
    • Time
    • 70 Metascore
    • 70 Richard Corliss
    The picture is worth catching for the delicate and toxic nuances of Rudd's performance. And one of its funniest corollaries is that it shows how hilarious and instructive a star this perennial supporting player can be.
    • 72 Metascore
    • 90 Richard Corliss
    This is a serious filmgoer's treat: intelligence cloaked in elegance.
    • 69 Metascore
    • 80 Richard Corliss
    [A] sexy, spiky love story.
    • 77 Metascore
    • 60 Richard Corliss
    Invigorating and annoying, Lola could use a dose of Ritalin. Best to take this 76-minute riff on alternate destinies as an antidote to Europe's minimalist art-house cinema and to enjoy Potente's sweaty radiance.
    • 60 Metascore
    • 80 Richard Corliss
    Designed and destined to win no awards, Machete is expert, cartoon-violent, lighthearted fun. Just the thing to send Junior back to school in a good mood.
    • 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.
    • 83 Metascore
    • 100 Richard Corliss
    A final word for those of you who just don't care for musicals: The movie's true lyricism is less in its score than in its visual and emotional palette, and in watching Depp rise to the majesty of madness. So give Sweeney Todd a try. Even Victor, when he finally saw it, agreed: it's bloody great.
    • 56 Metascore
    • 70 Richard Corliss
    Chow Yun-fat, the epitome of swaggering suavity in John Woo's Hong Kong crime films, wears his role as a good-bad cop dapperly in this good-middling drama set in Manhattan's Chinatown.
    • 54 Metascore
    • 50 Richard Corliss
    To evaluate For Your Eyes Only and the other Bond movies, it helps to think of them not as, say, different vintages of a fine Bordeaux but as successive models off the Pontiac assembly line. In one vehicle there may be an annoying ping in the engine of narrative; in another the dialogue may be as sleek as Genuine Corinthian Leather. But all meet the same standards of speed, styling and emotion control. If there is no Rolls-Royce in the Bond series, there is also no Pinto.
    • 47 Metascore
    • 40 Richard Corliss
    Tin tailspins into silliness and never regains its flight pattern.
    • 70 Metascore
    • 80 Richard Corliss
    This documentary, a gallivanting time trip through a bolder film era, is Herzog's final collaboration with Kinski: an act of love and exorcism.
    • 50 Metascore
    • 60 Richard Corliss
    Does Solondz feel remorse for libeling his own kind? He might need to if his portraits didn't have the gift of dark wit, the ring of social truth. One makes allowances for a master storyteller.
    • Time
    • 33 Metascore
    • 50 Richard Corliss
    Von Trier has a tendency to go overboard in his denunciations of American violence (Dogville). By contrast, Dear Wendy is a cogent, comprehensive take on the land and the films that obsess him.
    • 43 Metascore
    • 30 Richard Corliss
    You will simply want to shoot yourself by the third inning.
    • Time
    • 86 Metascore
    • 80 Richard Corliss
    At times Dead Ringers also tilts out of coherence, with scenes that are dramatically stillborn. But Irons is splendid in both roles, and Cronenberg can create tour-de-force tableaux with his effortless black magic. [26 Sept 1988]
    • Time
    • 76 Metascore
    • 70 Richard Corliss
    There are a few longueurs, and moments when the plot trips, like Jeremy, over its own complications. But The Secret of NIMH is more important as Bon Bluth's declaration of dependence on a form of popular art that can infuse every corner of the imagination with its rainbow light.
    • 56 Metascore
    • 70 Richard Corliss
    So Twilight isn't a masterpiece -- no matter. It rekindles the warmth of great Hollywood romances, where foreplay was the climax and a kiss was never just a kiss.
    • 87 Metascore
    • 100 Richard Corliss
    This is spellbinding reality cinema about duplicity and, worse, ignorance at the highest level.
    • 74 Metascore
    • 80 Richard Corliss
    As both harangue and movie tragicomedy, Sicko is socko.
    • 82 Metascore
    • 80 Richard Corliss
    Enjoy the savory witches' brew that Cuaron has cooked up in his Harry pot. For on its own terms, this one is truly wizard.
    • 57 Metascore
    • 70 Richard Corliss
    The new film is more an embellishment than an improvement on the snazzy Raiders.
    • 60 Metascore
    • 80 Richard Corliss
    Take a while to get their vehicle to sail and soar. But when it does, this Planet is a treasure.
    • 68 Metascore
    • 80 Richard Corliss
    A romantic comedy so smart and sweetly mature, it's liberating.
    • 74 Metascore
    • 100 Richard Corliss
    Inception is precisely the kind of brainy, ambitious, grand-scale adventure Hollywood should be making more of.
    • 77 Metascore
    • 80 Richard Corliss
    Body Heat is full of meaty characters and pungent performances...a film to be seen at a drive-in, on a heavy summer night, with someone you trust.
    • 46 Metascore
    • 20 Richard Corliss
    A lot of it's real pretty, the colors and creatures and all, but these days, you know, every movie is pretty pretty. I guess the only thing that kept me glued to my seat was the gum somebody'd stuck on the upholstery. [16 July 1984, p.71]
    • Time
    • 68 Metascore
    • 70 Richard Corliss
    It's like a restaurant where you go for the food and go back for the atmosphere. Or for the waitress. [13 July 1995]
    • Time
    • 80 Metascore
    • 90 Richard Corliss
    The perfect e-ticket for a flight of fancy into a world far more gorgeous than our own. The film doesn't halve itself to appeal to two generations. At its best, it turns all moviegoers into innocent kids, slack-jawed with wonder.
    • 74 Metascore
    • 60 Richard Corliss
    The real battle here is between two generations of acting styles: meticulous method vs. star quality.
    • 64 Metascore
    • 50 Richard Corliss
    Conran hasn't attached his technical virtuosity to a ripping yarn or infused it with behavioral brio. The first of its kind often doesn't work; Sky Captain may be the Moses that leads other directors to a blue-sky, blue-screen promised land.
    • 69 Metascore
    • 30 Richard Corliss
    His point here seems to be that voyeurism can induce a trancelike emotional paralysis—a message feminists could appreciate if Body Double took less pleasure in the mechanics of mutilation, and that ordinary moviegoers could ponder if the characters' motivations were not so numbingly nitwit. Upscale sleaze—so what else is new?
    • 54 Metascore
    • 80 Richard Corliss
    The real fun is in seeing Hong Kong pop cinema at its innocent, crowd-pleasing best. And for Jackie, that goes double.
    • 84 Metascore
    • 90 Richard Corliss
    In this judicious, irresistible romantic comedy, all the performers are tops. [14 Dec 1987, p.82]
    • Time
    • 68 Metascore
    • 30 Richard Corliss
    It could be a distillation of some unaired black soap opera, so predictable are the plot contrivances--adultery, pregnancy, illness, missing money--and so cartoonishly are the characters drawn.
    • 83 Metascore
    • 90 Richard Corliss
    Viewers will feel as though they've just finished a great meal but aren't sure what they've been served. Behind them, the chef smiles wickedly.
    • 28 Metascore
    • 20 Richard Corliss
    In its wan attempt to be raunchy, the picture fails where Judd Apatow has usually succeeded; written by three women, this is a girl's mistaken idea of an R-rated comedy.
    • 66 Metascore
    • 60 Richard Corliss
    The Informant! may end up closer to the non-starters. Its lunacy is too deadpan, and its denouement too drawn out, to appeal to those who liked the Bourne movies, or, for that matter, the Gore. But it's worth seeing, and a salutary achievement.
    • 45 Metascore
    • 30 Richard Corliss
    The 70-minute movie -- which was co-written by the British-Pakistani commentator Tariq Ali, author of the 2006 study "Pirates of the Caribbean: Axis of Hope," and photographed in part by docu-doyen Albert Maysles -- is amateur night as cinema, as lopsided and cheerleadery as its worldview.
    • 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.
    • 60 Metascore
    • 40 Richard Corliss
    It yearns for Pixar-style wit without quite earning it.
    • 50 Metascore
    • 40 Richard Corliss
    The film promises so much more than it delivers that, by the end, I felt like registering a complaint with the Obama Administration's Consumer Protection squad.
    • 79 Metascore
    • 70 Richard Corliss
    But the actor (Nolte) finds truth in Wade's emotional clumsiness, in the despair of a man who hasn't the tools or the cool to survive. There are too many of these men in life, and not enough films that tell their sad tales.
    • 48 Metascore
    • 40 Richard Corliss
    At this late stage in a long career, Allen might consider not trying to make films like the early, funny ones. Instead he should aim simply to match "Match Point."
    • 56 Metascore
    • 70 Richard Corliss
    It's hard to know how to respond to Falling Down: deplore its crudeness or admire its shrewdness. But it is occasionally the movies' job to plunge into the national psyche, root around in its chaotic darkness and return to the surface with some arresting fantasy that helps bring our uglier imaginings into focus. In that sense, this often vulgar and exploitative movie has some value. [1 March 1993, p63]
    • Time
    • 86 Metascore
    • 100 Richard Corliss
    Michael Tolkin's script abounds in such cynical wisdom, but it never loses an appreciation for the grace with which these snakes consume their victims. [13 April 1992]
    • Time
    • 57 Metascore
    • 60 Richard Corliss
    Forman and Weller have created an impressive but strangely lopsided movie.
    • 85 Metascore
    • 100 Richard Corliss
    The movie is one continuous, exhausting, exhilarating chase.
    • 57 Metascore
    • 50 Richard Corliss
    Its visual thrills are chilly and wearying compared with the other films' quirky humanity. It's not a megamovie; it's a Sega movie.
    • 57 Metascore
    • 70 Richard Corliss
    Harold and Kumar are pothead patriots in the first feel-good torture film.
    • 71 Metascore
    • 70 Richard Corliss
    This British film has the regal, clubby aura of Masterpiece Theatre. [21 July 1997, p. 70]
    • Time
    • 76 Metascore
    • 50 Richard Corliss
    To find that valuable truth, you have to dig through an avalanche of d--- jokes and strenuous slapstick.
    • 34 Metascore
    • 40 Richard Corliss
    Osunsanmi wants you to believe that everything he shows you that's not reenacted by professionals really happened, and is documented by the omnipresent video cameras. It's a device used far more successfully in "Paranormal Activity," which had the added benefit of being a good movie.
    • 57 Metascore
    • 70 Richard Corliss
    Well, it's sorta funny, and most genial: for all their ranking on parents and drooling over hot babes, Wayne and Garth are innocent kids wasting time creatively.
    • 88 Metascore
    • 90 Richard Corliss
    Hoffman and the film are terrific. Supported by the eminent Catherine Keener (as author Harper Lee) and Chris Cooper (as detective Alvin Dewey), Hoffman begins with a dead-on impersonation of Capote that soon becomes a kind of channeling as the audience comes to see this American tragedy through his eyes.
    • 69 Metascore
    • 100 Richard Corliss
    By next semester, some grad student will be writing a thesis on the B-movie influences on this A+ film.
    • 58 Metascore
    • 30 Richard Corliss
    The Bond women are pallid mannequins, and so is the misused Dalton -- a moving target in a Savile Row suit. For every plausible reason, he looks as bored in his second Bond film as Sean Connery did in his sixth.
    • 66 Metascore
    • 50 Richard Corliss
    When in doubt, director Tony Scott ("Top Gun", "Days of Thunder") lets loose a spray of water, sparks and sweat-the signature flourish of this Helmut Newton of movie machismo.
    • 39 Metascore
    • 10 Richard Corliss
    Director John Huston offers production numbers full of empty extravagance, a host of familiar characters (like Punjab and the Asp) with little to do - and a chorus of baby Mormans knowingly strutting their stuff, breaking the sound and charm barriers.
    • 62 Metascore
    • 50 Richard Corliss
    This naive little movie hopes to prove itself the Flashdance of football.
    • 57 Metascore
    • 50 Richard Corliss
    He (Tony) could be a self-destructive hero out of a Dostoyevsky or Mailer novel. That portrait gives Iron Man 2 its fascination. The rest is a cluttered, clattering toy story.
    • 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.
    • 69 Metascore
    • 60 Richard Corliss
    For all the carnage, Lee's tone is contemplative.
    • 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.
    • 81 Metascore
    • 90 Richard Corliss
    Fresh alchemizes the terrifying cliches of urban melodrama into annihilating poetry.
    • 64 Metascore
    • 70 Richard Corliss
    Though this Nick and Norah have a lot more angst, they're just as worth watching, admiring and cuddling up to.
    • 93 Metascore
    • 100 Richard Corliss
    A marvelously sad and funny docucomedy. [22 Oct 1990]
    • Time
    • 74 Metascore
    • 80 Richard Corliss
    An excellent film. [16 Jan 1989, p.64]
    • Time
    • 96 Metascore
    • 100 Richard Corliss
    Artful but not arty, Spirited Away is a handcrafted cartoon, as personal as an Utamaro painting, yet its breadth and heart give it an appeal that should touch American viewers of all ages.
    • 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.
    • 76 Metascore
    • 90 Richard Corliss
    Can a movie have too much good stuff? Not when it's stuffed like this one.
    • 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.
    • 25 Metascore
    • 30 Richard Corliss
    A picture that registers between Abysmally Awful and Mildly Mediocre. Such a one would be When in Rome, which is possible to sit through without wanting to stick darts in your eyes or frag the screen. Call it medi-awful.
    • 73 Metascore
    • 100 Richard Corliss
    Shelton has written the wittiest, busiest screenplay since Moonstruck, and his three stars do their very best screen work. [20 June 1988]
    • Time
    • 56 Metascore
    • 40 Richard Corliss
    The entire film is in fact a ferocious meditation on the dilemma of a son choosing his father. Which one will Bud emulate: the noble failure or the triumphant sleaze? The outcome is never really in doubt, so streamlined and predictable are the characters. [14 Dec 1987, p.82]
    • Time
    • 71 Metascore
    • 70 Richard Corliss
    An epic-size, largely entertaining parable of repression and awakening.
    • 58 Metascore
    • 70 Richard Corliss
    Kurylenko, a lovely Russian-Ukrainian hybrid who is oddly duskied up to look vaguely Latina, is a whiz at raising Quantum's temperature and gradually luring Bond out of his stolid shell.
    • 54 Metascore
    • 90 Richard Corliss
    An exhilarating two hours of serious fun.
    • Time
    • 75 Metascore
    • 50 Richard Corliss
    A humongous, visionary parable that intermittently enthralls and ultimately disappoints. [8 July 1991, p.55]
    • Time
    • 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.
    • 66 Metascore
    • 50 Richard Corliss
    Along with other cast members, Penn takes ages registering his stares and scowls, until the movie is finally not about gangs but about actors' attitudes. Dressed up in '80s street slang, this is a '60s exercise in Method excess. [18 Apr 1988]
    • Time
    • 65 Metascore
    • 60 Richard Corliss
    The word "mixed" isn't mixed enough to fit my response to this film.
    • 73 Metascore
    • 100 Richard Corliss
    Blending plot elements of "Double Indemnity" and "Natural Born Killers" with the ripe sensuality of Francis Coppola's take on "Dracula," the film should make audiences sit up in startled pleasure, as if they'd just received the most luscious neck-bite.
    • 52 Metascore
    • 30 Richard Corliss
    The first Lynch film in which his motives -- to hang a haberdashery of bizarre incidents on the merest hook of plot -- are apparent... What's lacking is the old sense of delicious, disturbing mystery. [20 Aug 1990, p.63]
    • Time
    • 78 Metascore
    • 80 Richard Corliss
    The fascinating film equivalent of a humane execution.
    • 43 Metascore
    • 40 Richard Corliss
    M. Butterfly, the David Cronenberg film of David Henry Hwang's Broadway play, fumbles its romantic and political metaphors and loses the game.
    • 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.
    • 52 Metascore
    • 60 Richard Corliss
    If you take Tykwer's film even half-seriously, it will be like one of those horror movies that you leave, suspecting that the crazy, ingenious super-killer is waiting for you outside. A warning, then, to the susceptible: After seeing The International, don't dare go to an ATM.
    • 66 Metascore
    • 90 Richard Corliss
    Kick-Ass moves with such bloody assurance that you'd be forgiven for not seeing how smart it is. But smart it is. Smart, important and deadly.
    • 86 Metascore
    • 100 Richard Corliss
    What amazes is that at just 26, Soderbergh displays the three qualities associated with mature filmmakers: a unique authorial voice, a spooky camera assurance, and the easy control of ensemble acting. [31 July 1989, p.65]
    • Time
    • 70 Metascore
    • 60 Richard Corliss
    A serious film about the gnawing of conscience and the thirst for redemption, but the tone is so dispassionately vile it may leave viewers shaken or sick. [16 Nov 1992, p.95]
    • Time
    • 42 Metascore
    • 50 Richard Corliss
    A film that's fun to argue with.
    • 70 Metascore
    • 40 Richard Corliss
    In this space epic, no one will hear you laugh.
    • 21 Metascore
    • 30 Richard Corliss
    Take what pleasure you can from the two stars. They look great; it's just the state of romantic comedy that looks terminal.
    • 46 Metascore
    • 50 Richard Corliss
    The film, though, lies dormant in its own decency.
    • 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.
    • 70 Metascore
    • 90 Richard Corliss
    Beetlejuice means something good: that imaginative artists can bring a fading genre back from the dead. [11 Apr 1988]
    • Time
    • 62 Metascore
    • 60 Richard Corliss
    It's hard to know whom to blame for the film's choppiness, its mixture of rage and sentimentality, the stridency of some of the acting.
    • 40 Metascore
    • 70 Richard Corliss
    The movie is best seen as straightforward, sometimes harrowing melodrama, packed with mistaken identities, beautiful villains, a kindly tourist who can outrace the bad guys, and a lost little girl whom the film brazenly sends onto a highway full of speeding cars. It's as if Dakota Fanning had wandered onto the streets of Ronin.
    • 74 Metascore
    • 40 Richard Corliss
    The film is one-note; misery is the only game in town.
    • 73 Metascore
    • 80 Richard Corliss
    This film is as smart and funny as its topic and its stars.
    • 33 Metascore
    • 20 Richard Corliss
    After sitting through this fractious fairy tale, we feel as plucked as a Christmas goose.
    • 64 Metascore
    • 80 Richard Corliss
    Seduction is more important than deduction in this chic display of star quality to the eighth power.
    • 45 Metascore
    • 60 Richard Corliss
    Pfeiffer restores honor to the family drama.
    • 62 Metascore
    • 80 Richard Corliss
    A tortured testament from a true believer.
    • Time
    • 58 Metascore
    • 60 Richard Corliss
    So little wit is expended on the dialogue and so much on the imagination of disaster that you may as well sit back and enjoy the jolting ride.
    • 74 Metascore
    • 80 Richard Corliss
    Sixty years after Snow White, Hercules proves that Walt's art form is still sassy and snazzy.
    • 90 Metascore
    • 100 Richard Corliss
    So Almost Famous is almost fabulous. Oh, all right. The movie's so clever and endearing, you can forget the almost.
    • Time
    • 74 Metascore
    • 70 Richard Corliss
    Ward Serrill's feel-good doc, which covers seven years in the life of Resler's Roughriders, is hobbled by a narration so syrupy, it could be poured on pancakes. But the movie soars because of the sport's natural drama and its luck in finding a complex heroine.
    • 76 Metascore
    • 60 Richard Corliss
    Lynch and his film will surely be reviled, but as an experiment in expanding cinema's dramatic and technical vocabulary, Blue Velvet demands respect. [Sept. 22, 1986]
    • Time
    • 57 Metascore
    • 60 Richard Corliss
    Neither the acting nor the story matters much here; the movie is simply the sum of its 3D effects.
    • 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.
    • 74 Metascore
    • 90 Richard Corliss
    Both horrifying and hopeful.
    • 47 Metascore
    • 50 Richard Corliss
    Crowe, despite his loutish rep, is forever surprising viewers by slipping snugly into the disparate characters he plays. This time he surprises by failing. Oh, he can do engaging as smartly as he does stalwart or tortured, but he gets sabotaged by the cloying script.
    • 57 Metascore
    • 90 Richard Corliss
    A banquet of creepy, gory or grotesque incidents is on display in Hannibal. but this superior sequel has romance in its dark heart.
    • Time
    • 84 Metascore
    • 100 Richard Corliss
    Three decades ago, Milk and his ilk were able to enlist President Jimmy Carter and future President Ronald Reagan in the gay fight against Prop. 6. But this fall, Barack Obama was all but mute on Prop. 8. Some community organizers, like the President-elect, are more cautious than others. It's a shame Harvey Milk wasn't around to recruit him.
    • 55 Metascore
    • 60 Richard Corliss
    If Hollywood is going to remake a '70s movie, it might as well be Pelham, and it ought to work as competently as this one. But wouldn't it be nice, once in a while, for Hollywood to turn contemporary traumas into vigorous movies instead of hijacking the anxieties of the past?
    • 35 Metascore
    • 40 Richard Corliss
    It's too empty to applaud, too insignificant to deplore.
    • 70 Metascore
    • 60 Richard Corliss
    The film mostly simmers.
    • 37 Metascore
    • 70 Richard Corliss
    The film bubbles with acid wit, in the tradition of Billy Wilder and Preston Sturges, while simmering with the ache of lust pursued and love lost.
    • 84 Metascore
    • 90 Richard Corliss
    Droll, reticent, flawlessly filmed fable of generosity.
    • 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.
    • 80 Metascore
    • 90 Richard Corliss
    This miniature epic is a film that, like its young hero, will enrich those who peer into its poignant heart.
    • Time
    • 69 Metascore
    • 100 Richard Corliss
    Poignant, troubling and altogether splendid new film.
    • 74 Metascore
    • 100 Richard Corliss
    Sin City is brazenly, thrillingly alive.
    • 76 Metascore
    • 80 Richard Corliss
    The purity of Dequenne's performance inspires awe.
    • 59 Metascore
    • 50 Richard Corliss
    No deep thoughts here; this is a product of shiny surfaces and glittering patter, the cinematic equivalent of a derivatives offering. Instead of whacking Wall Street, Stone gives it a poke that ends up as a tickle.
    • 65 Metascore
    • 50 Richard Corliss
    Shaggily amusing but familiar and way-too-long.
    • 40 Metascore
    • 50 Richard Corliss
    X-Men Origins: Wolverine is an O.K., not great, Marvel movie...Wolverine doesn't rise above the level of familiar competence.
    • 46 Metascore
    • 50 Richard Corliss
    Though the movie is no more than agreeable, it does provide a swell showcase for New Zealand wundercomic Rhys Darby (Murray the hapless agent on HBO's Flight of the Conchords) and gives the astrally adorable Zooey Deschanel a rare shot at a lead role in a big Hollywood movie.
    • 86 Metascore
    • 70 Richard Corliss
    Best to savor The Grifters for its handsome design -- the picture looks as clean as a Hockney landscape -- and its juicy performances. [11 Feb 1991]
    • Time
    • 87 Metascore
    • 100 Richard Corliss
    Towers, while not quite so varied as Fellowship in its moods and settings, has a grave gusto that energizes every moment...a thrilling work of film craft.
    • 76 Metascore
    • 50 Richard Corliss
    Like the ZAZ lads' other films, this is a movie made for a VCR Saturday night. They supply the jokes; you bring the microwave popcorn and modest expectations. [12 Dec 1988]
    • Time
    • 65 Metascore
    • 60 Richard Corliss
    This spectacle of strenuous improvising is more stunt than true experiment.
    • 58 Metascore
    • 70 Richard Corliss
    Brothers isn't up there in the empyrean of classic movies, but it is a solid drama -- about a family at war with itself.
    • 78 Metascore
    • 100 Richard Corliss
    Moviemaking doesn't get much smarter, funnier, handsomer, better than this.
    • 80 Metascore
    • 60 Richard Corliss
    This is a Bond with great body but no soul.
    • 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
    • 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.
    • 49 Metascore
    • 50 Richard Corliss
    After a while, Nine plays like some Hollywood charity revue.
    • 46 Metascore
    • 50 Richard Corliss
    Somewhere in recreational value between an afternoon on a San Diego beach and one at a Detroit public swimming pool. Either way, before you know it, it's evening.
    • 76 Metascore
    • 80 Richard Corliss
    In its pagan fervor, this is an almost religious experience.
    • 77 Metascore
    • 80 Richard Corliss
    Rescue Dawn is a tale of heroism untainted by political skepticism. In an age when U.S. soldiers are seen as villains or victims, the movie offers a GI who bravely, or madly, simply refuses to die.
    • 77 Metascore
    • 40 Richard Corliss
    Don't ask us why this minimalist drama won prizes last year at Cannes or why it is getting raves in its U.S. release.
    • 59 Metascore
    • 80 Richard Corliss
    Where can mass-moviegoers find release for their tenderer feelings? Only at dozens of inspirational sports movies, where guys (on screen and in the audience) get to cry and cheer and win. And, this weekend, at Spider-Man 3.
    • 56 Metascore
    • 70 Richard Corliss
    Director Peter Berg cannily hypes the tension and the sentiment in the only one of the current Middle East political movies designed to appeal to the action crowd. Hard truths are absorbed while stuff blows up.
    • 47 Metascore
    • 60 Richard Corliss
    It's soppy enough to suit the requirements of the weepie genre...But the movie also has an aching solidity that allows you to surrender to its cuddly-creepy feelings without hating yourself in the morning.
    • 74 Metascore
    • 100 Richard Corliss
    A witty comedy of manners that arcs into poignance, this is a Christmas movie only a Grinch could hate... One of the brightest, bittersweetest fables of this or any-year. [10 Dec 1990, p.87]
    • Time
    • 53 Metascore
    • 70 Richard Corliss
    Wahlberg could be the actor that action movies have been looking for since Sly, Arnold, Harrison, Bruce, Jackie and Jean-Claude -- all in their 50s or 60s -- got too old to execute the leg lifts necessary to kick bad guys in the butt.
    • 79 Metascore
    • 100 Richard Corliss
    Clint Eastwood has crafted a bold and meticulous epic.
    • 67 Metascore
    • 60 Richard Corliss
    The movie is way too colorful - cute, in a repulsive way, with its crawly special effects - and tame compared with its source.
    • 64 Metascore
    • 50 Richard Corliss
    The film lacks moviemaking buoyancy -- the feeling of soaring in space that Rowling's magic-carpet prose gives the reader. The picture isn't inept, just inert.
    • Time
    • 88 Metascore
    • 90 Richard Corliss
    In this arid landscape, the edifice of Ghost World, with all its acute insolence, stands out like the Taj Mahal.
    • Time
    • 83 Metascore
    • 90 Richard Corliss
    Plenty of tech-noir savvy to keep infidels and action fans satisfied.[26 Nov 1984, p. 105]
    • Time
    • 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?
    • 36 Metascore
    • 40 Richard Corliss
    Lady doesn't work. Although he detonates a few terrific frissons involving the scrunt, the stabs at comedy are lurching and arrant. The spreading of tension from one character to many dilutes the mood. The would-be rapturous Spielbergian ending is on the wussy side.
    • 81 Metascore
    • 30 Richard Corliss
    It's a startling, exhausting spectacle - and, like the rest of Leigh's performance, very, very bad.
    • 24 Metascore
    • 50 Richard Corliss
    The Love Guru is a shambling, hit-or-miss thing, like an old Laurel and Hardy two-reeler. And like the situations those comics often got into, this movie is a fine mess.
    • 41 Metascore
    • 70 Richard Corliss
    The humor is gross-out but inoffensive, since it's rooted in whimsy, not malice. Smith finesses the sophomore jinx with sophomoric high jinks. [6 Nov 1995]
    • Time
    • 72 Metascore
    • 80 Richard Corliss
    Nettelbeck is a sharp observer of life's surprises, and Gedeck has an appraising, intelligent beauty. Her Martha is like the film: tart on the outside, sweet on the inside, with a delectable aftertaste.
    • 35 Metascore
    • 30 Richard Corliss
    But this is a sloppy job, both in little goofs...and in the cast's gung-ho amateurism. It's like Shakespeare done by the "Fame" kids.
    • 56 Metascore
    • 70 Richard Corliss
    Manages to make its point--that we are all impaired, short on that rarest quality, common sense--without being imprisoned by its complex format.
    • 68 Metascore
    • 80 Richard Corliss
    Like the virtual game he plays on us, the film is weird, it's addictive, and Lord, it's alive!
    • 66 Metascore
    • 50 Richard Corliss
    Schrader's objectification of sad and stupid material is neither tragic nor transgressive. It is just undramatic and uninvolving.
    • 56 Metascore
    • 70 Richard Corliss
    Another crowd-pleasing, expert-babysitting vaudeville turn.
    • 68 Metascore
    • 80 Richard Corliss
    It is pristinely acted; and its range and heart dwarf other summer films, so cogent is it about our common aches and dreams.
    • 67 Metascore
    • 60 Richard Corliss
    Picaresque movies often feel longer than they are. For them to work, they need an interior spring with more thrust than Darjeeling's attempt at reconstituted brotherhood. The problem is in Anderson's approach, which is so supercool, it's chilly. Anderson has the attitude for comedy but not the aptitude.
    • 72 Metascore
    • 80 Richard Corliss
    [Murray] has the natural actor's charm of making manners matter. He carries Groundhog Day with his uniquely frittery nonchalance and makes the movie a comic time warp anyone should be happy to get stuck in. [15 Feb 1993, p.63]
    • Time
    • 67 Metascore
    • 70 Richard Corliss
    It proves that, at the end, he was still a thriller. Fans and doubters alike can look at the gentle, driven singer-dancer at the center of this up-close document and say admiringly, This was him.
    • 85 Metascore
    • 40 Richard Corliss
    All attitude and low aptitude.
    • 44 Metascore
    • 60 Richard Corliss
    A decent sampler for Americans who've never seen a full-out Bollywood musical, since it goes heavy on the action scenes and light on the big dance numbers.
    • 67 Metascore
    • 40 Richard Corliss
    Pretty lethargic stuff. Monty, a convicted drug dealer on his last day before he is to report to prison, does more moping than moving.
    • 79 Metascore
    • 90 Richard Corliss
    Most of the movie is Actors Acting: gifted guys (Harvey Keitel, Tim Roth, Steve Buscemi, Chris Penn) running nattering riffs on familiar lout themes. [16 Nov 1992]
    • Time
    • 48 Metascore
    • 40 Richard Corliss
    Its tone swings violently from pratfall to preachment, from an indictment of featherbed laziness to an extended beer-commercial celebration of the mythical American worker.
    • 31 Metascore
    • 50 Richard Corliss
    At least in a video game the player decides who needs to be killed, and what trail to take in the labyrinth. The Max Payne moviegoers are passive hostages on a long ride they've taken so many times before.
    • 27 Metascore
    • 30 Richard Corliss
    That imperishable affability, that eagerness to please his Hollywood bosses, allows Chan to elude many of the indignities thrown his way in The Spy Next Door. It may also be the reason he says yes to a junky movie like this.
    • 81 Metascore
    • 100 Richard Corliss
    Master and Commander is to movies what Russell Crowe is to acting. With subtlety and power, it explores the complexities of men at war, even with themselves. It puts the passion into action, and the thrill into thought.
    • 70 Metascore
    • 80 Richard Corliss
    Gremlins has enough style and savvy to stand on its own as the summer's most original Hollywood picture.
    • 54 Metascore
    • 70 Richard Corliss
    In an era when films reduce the aged to comic cranks, Rifkin is heroic--the Lear of grumpy old men.
    • 16 Metascore
    • 0 Richard Corliss
    Obscene level of incompetence, excessive inanity in the story line, gross negligence of the viewer's intelligence, a prurient interest in the quick buck. [2 Oct 1995]
    • Time
    • 45 Metascore
    • 20 Richard Corliss
    Every ambitious picturemaker should be allowed one wild misfire at no lasting cost to his reputation. Crowe (Jerry Maguire, Almost Famous) can now put this aside and go back to making good films.
    • Time
    • 74 Metascore
    • 80 Richard Corliss
    Most films today are afraid to try anything new. Natural Born Killers is an explosive device for the sleepy movie audience, a wake-up call in the form of a frag bomb. [29 August 1994, p.66]
    • Time
    • 81 Metascore
    • 70 Richard Corliss
    A British romantic comedy with not much inside its pretty head but the spinning out of an ancient Hollywood riddle.

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