Richard Schickel

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For 513 reviews, this critic has graded:
  • 54% higher than the average critic
  • 2% same as the average critic
  • 44% lower than the average critic
On average, this critic grades 3.6 points higher than other critics. (0-100 point scale)

Richard Schickel's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Marooned in Iraq
Lowest review score: 0 Billy Madison
Score distribution:
  1. Negative: 63 out of 513
513 movie reviews
    • 71 Metascore
    • 40 Richard Schickel
    Neither jokes nor fast, flashy action can completely distract audiences from the failure to establish an authentic, rather than a purely conventional connection between Nolte and Murphy.
    • 71 Metascore
    • 90 Richard Schickel
    A true movie rarity: a brutally honest romance. If you loved "Sleepless in Seattle," you'll just hate it.
    • 71 Metascore
    • 70 Richard Schickel
    There is delicacy and restraint in all these performances as they ease a far-fetched premise toward believability under Richard Pearce's clear, cool direction.
    • 71 Metascore
    • 40 Richard Schickel
    This is, alas, one weary ride--77 minutes that sometimes feel like that many hours.
    • 71 Metascore
    • 100 Richard Schickel
    Perhaps the funniest movie for grownups so far this year.
    • Time
    • 71 Metascore
    • 60 Richard Schickel
    What makes The Good Girl worthwhile is its performances. All the actors play their entrapment with a weirdly convicted blankness. That's especially true of Aniston.
    • 71 Metascore
    • 90 Richard Schickel
    It proposes that you can make an extraordinarily satisfying comedy without writing a joke. Subtly played and elegantly directed, this is an Adults Only movie in the best sense of the term.
    • 71 Metascore
    • 40 Richard Schickel
    Eight Men Out lacks either the spacious simplicity of legend or the patient detailing of realism. And Sayles often seems like a man who, trying to stretch a single, gets caught between bases and is desperately trying to evade the rundown.
    • 71 Metascore
    • 70 Richard Schickel
    Ordinarily such trespasses against truth would be enough to condemn such a movie, but Rhames' gravity and grace, Voight's pinched anguish as he wills himself to do right, the moving work of actors like Don Cheadle and Esther Rolle do much to redeem this film for human if not historical reality.
    • 71 Metascore
    • 90 Richard Schickel
    Now and then McGrath's film feels a bit rushed and breathless, but mostly you sink gratefully into its handsomely staged plenitude.
    • 71 Metascore
    • 70 Richard Schickel
    One leaves the film neither hugely thrilled nor greatly awed, but with a pleasant sense of having caught up with old friends and found them to be just fine, pretty much the way one hoped they would turn out in later life.
    • 71 Metascore
    • 80 Richard Schickel
    Well acted, and it achieves a strong, smart, engaging life of its own.
    • 71 Metascore
    • 80 Richard Schickel
    As much a dark, odd couple comedy as it is a quirky, efficient little thriller.
    • 71 Metascore
    • 100 Richard Schickel
    As reversible misunderstandings grow into irreversible tragedy, it slowly dawns on you that this is a superior, heartbreaking film.
    • 71 Metascore
    • 90 Richard Schickel
    The film is more than a murder mystery and more than a study in character conflict. At its best, it is an intense and complex portrait of an urban landscape on which the movies' gaze has not often fallen.
    • 71 Metascore
    • 80 Richard Schickel
    Before Director Ron Howard and his gargle of writers (Lowell Ganz, Babaloo Mandel and Bruce Jay Friedman) arrange a satisfactorily romantic ending for their odd couple, they also manage to satirize everything from presidential politics to daytime television. They are a jostling, busily observant, fundamentally good-natured crew, and audiences are well advised to take a plunge on Splash.
    • 71 Metascore
    • 70 Richard Schickel
    Sunshine is a trifle schematic. But it also makes you feel, quite poignantly, the crushing tides of history: heedless, inhuman--and tragic.
    • 71 Metascore
    • 80 Richard Schickel
    Whoever thought of having evil's final manifestation take the form of a 100-ft. marshmallow deserves the rational mind's eternal gratitude. But praise is due to everyone connected with Ghostbusters for thinking on a grandly comic scale and delivering the goofy goods, neatly timed and perfectly packaged.
    • 71 Metascore
    • 80 Richard Schickel
    The result is an admittedly minor, but authentic, holiday treat.
    • 70 Metascore
    • 30 Richard Schickel
    This is soft-gore porn, obvious in its strategies, witless in the play of its ideas, absurdist only in its pretense to seriousness.
    • 70 Metascore
    • 50 Richard Schickel
    Hearts sinking, we are obliged to endure much pseudo-serious gabble as we head toward another painfully predictable triumph of the human spirit. There must be some better way of hunting our--and Oscar's--goodwill. [Dec. 1,1997]
    • Time
    • 70 Metascore
    • 50 Richard Schickel
    Nolan's effort is not dishonorable, but what it needs, and doesn't have, is a Joker in the deck--some antic human antimatter to give it the giddy lift of perversity that a bunch of impersonal explosions, no matter how well managed, can't supply.
    • 70 Metascore
    • 50 Richard Schickel
    Morris's manner of relating this story is very often quite inappropriate to its substance. It is a sordid and appalling tale and what it demands is almost an anti-style -- rough, crude, grim, technically poor imagery unrelieved by sleek, slick fancy work. If you are going to rub our noses in this ugliness, you must not let up until, perhaps, we have learned our lesson.
    • 70 Metascore
    • 80 Richard Schickel
    Like its title -- blunt, thruthful, uncompromising. It is hard on an audience, even harrowing. But that's exactly what Martin Scorsese was put on earth to do.
    • Time
    • 70 Metascore
    • 70 Richard Schickel
    Gere and Molina are themselves terrific as the con men.
    • 70 Metascore
    • 80 Richard Schickel
    It may be a first film, but Labaki, employing a cast that is full of non-professional actresses, is a slick and knowing filmmaker. Her multiple plot lines are neatly braided and though her characters are conventionalized they are also charming and capable of surprising us.
    • 70 Metascore
    • 50 Richard Schickel
    What Willis proves in Die Hard is that it is not one you can ease through, especially if your preparation runs more to body building than to character building. [July 25, 1988]
    • Time
    • 70 Metascore
    • 90 Richard Schickel
    Their sweet, determined, gently understated struggle for fulfillment in a superstitiously conservative society makes this densely, deftly packed movie a quiet joy to behold.
    • 70 Metascore
    • 80 Richard Schickel
    Not for everyone. The plot is full of holes, and its language is worse than it has to be. But it has some swell supporting performances and a lot of vulgar inventiveness, and best of all, it plugs into -- and electrifies -- the mostly unacknowledged grimness that lies just beneath our holiday cheer.
    • 70 Metascore
    • 90 Richard Schickel
    Makes everything Hollywood has lately done in the action genre look clumsy, dull and stale. It is a short, nonstop stuntfest that, by going back to basics and placing them on the screen with simple, breathless stylishness, turns what is essentially a lowlife movie form into something one is not embarrassed to call "pure" cinema--all energy, movement and high kinetic wit.

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