Richard Schickel

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For 531 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 3.1 points higher than other critics. (0-100 point scale)

Richard Schickel's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 The Right Stuff
Lowest review score: 0 Battlefield Earth: A Saga of the Year 3000
Score distribution:
  1. Negative: 64 out of 531
531 movie reviews
    • 47 Metascore
    • 20 Richard Schickel
    Wyatt Earp drones past its logical conclusion, which is, of course, the great shoot-out. Since Earp's life uninstructively limped along after that event, so must the movie, further abusing our overtaxed patience and undertaxed intelligence.
    • 62 Metascore
    • 70 Richard Schickel
    Mel Gibson, directing for the first time, presents this deeply wet material in a reasonably cool and dry manner. But his film is in desperate need of smarm busting -- something, anything that would relieve the familiarity of its characters, the predictability of its structure, the bland failure to challenge its perfect correctness of outlook. [30 August 1993, p.63]
    • Time
    • 67 Metascore
    • 70 Richard Schickel
    What a concept! Mad Max meets The Cosby Show. What a surprise! It works better than a fastidious mind might imagine. One reason is that Mel Gibson himself has been recruited to play Lethal Weapon's lethal weapon, Los Angeles Police Detective Martin Riggs. [23 March 1987, p.86]
    • Time
    • 77 Metascore
    • 90 Richard Schickel
    This may be hard ground for the audience that loves to cheer the lump out of its throat at the end of a movie. But for actors, it is the high ground. There is a ferocity in Cruise's flakiness that he has not previously had a chance to tap. That, in turn, gives Newman something to grapple with. There is a sort of contained rage in his work that he has never found before, and it carries him beyond the bounds of image, the movie beyond the bounds of genre.
    • 63 Metascore
    • 80 Richard Schickel
    Colombani has created uncommonly arresting entertainment.
    • 68 Metascore
    • 70 Richard Schickel
    It is good to see Connery's grave stylishness in this role again. It makes Bond's cynicism and opportunism seem the product of genuine worldliness (and world weariness) as opposed to Roger Moore's mere twirpishness.
    • 76 Metascore
    • 80 Richard Schickel
    I don't think it attains the Godfather level -- it lacks dark passion and grand-scale irony -- but it is an intelligent, well-made and seductive movie.
    • 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.
    • 42 Metascore
    • 20 Richard Schickel
    Dorothy encounters a pumpkin with stick limbs, a tin soldier and something called a Gump, which looks suspiciously like your basic moosehead. They are all mechanical marvels, not actors, which means they can do anything except win an audience's heart. Still, it would defy the gifts of an Olivier to find interesting, amusing life in a context as charmless and joyless (and songless) as the one Murch and his design team have concocted. [1 July 1985, p.63]
    • Time
    • 74 Metascore
    • 100 Richard Schickel
    It takes its place on the very short list of the unforgettable movies about war and its ineradicable and immeasurable costs.
    • Time
    • 62 Metascore
    • 80 Richard Schickel
    The sensible formality of Taylor Hackford's direction has the effect of cooling the film's narrative frenzies and helping the actors dig some simple, truthful stuff out of the hubbub.
    • 77 Metascore
    • 90 Richard Schickel
    There's something old-fashioned and dauntless about the way the film pushes past our initial resistance to its setting and subject matter, past pain, past defeat, to make this point. Because it rejects easy victories, this may be one of the few inspirational movies that could actually inspire someone, somewhere, sometime.
    • 73 Metascore
    • 100 Richard Schickel
    If this were not such great American-vernacular moviemaking -- hilarious yet hypnotic -- one would be tempted to see something Greek in the tragedy that Ed never comprehends.
    • 52 Metascore
    • 50 Richard Schickel
    The best you can say for this version of Charlie's Angels is that it retains a sort of chipper, eerie good nature as it wastes the studio's money and our time.
    • Time
    • 69 Metascore
    • 80 Richard Schickel
    Eventually you may come to think of Talk to Me as a true movie rarity -- a very honest yet curiously affecting experience.
    • 84 Metascore
    • 90 Richard Schickel
    Ironizes without parodying an antique screen manner, then reaches out from beneath this smooth cover to grab us.
    • 76 Metascore
    • 30 Richard Schickel
    Crude and inept.
    • Time
    • 66 Metascore
    • 80 Richard Schickel
    This is a good, serious and absorbing movie -- especially, perhaps, for a reviewer who is roughly Kepesh's age and, of course, eagerly evading the issues his story forces up.
    • 53 Metascore
    • 50 Richard Schickel
    There's something about her (Nair) Vanity Fair that doesn't quite work. There is no depth beneath its bright surfaces, no potent emotional undercurrents.
    • 17 Metascore
    • 70 Richard Schickel
    But if you can see past the thicket of dollar signs surrounding Hudson Hawk, you may discern quite a funny movie -- sort of an "Indiana Jones" send-up with a hip undertone all its own. [10 June 1991]
    • Time
    • 48 Metascore
    • 20 Richard Schickel
    This is potentially near tragic material, and playing it as an all-forgiving comedy is a waste of everyone's time.
    • 61 Metascore
    • 70 Richard Schickel
    The blend of digital animation and live action is first rate.
    • 69 Metascore
    • 70 Richard Schickel
    Despite its novel milieu somehow remains trapped in genre conventions. It's still basically a boxing picture, not essentially different from dozens of other movies about life in and around what the old time sportswriters used to call "the squared circle." Mamet's circle is, alas, just a little too square.
    • 69 Metascore
    • 50 Richard Schickel
    The story is achingly familiar, and though Stallone has a certain power, he is certainly not the subtlest actor to crawl out from under Marlon's overcoat. But the picture goes most wrong in the conceit it employs to lift Rocky out of the clubs and into the big arena for his title challenge.
    • 80 Metascore
    • 100 Richard Schickel
    Think of A Fish Called Wanda as the next best thing to a Looney Tunes-Merrie Melodies summerfest…Wanda defies gravity, in both senses of the word, and redefines a great comic tradition. [July 18, 1988]
    • Time
    • 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
    • 49 Metascore
    • 80 Richard Schickel
    Simone is a funny, smart, improbably successful satire on contemporary celebrity obsessions, the waning summer's most delirious comedy.
    • 60 Metascore
    • 80 Richard Schickel
    The film is high romance, rather like those American movies of the 1940s -- people snatching at happiness in a world aflame. We don't make them anymore -- stupid us --but we ought to be glad someone does.
    • 57 Metascore
    • 40 Richard Schickel
    The Santa Clause presents us with an Anti-Claus, Tim Allen of Home Improvement, hard-edged, discomfitingly frenetic and spritzing cheerless one-liners.
    • 55 Metascore
    • 20 Richard Schickel
    Valmont arrives stiffened by the elegant, inert formalism of Forman's direction, and chilled by Carriere's all too sober respect for his source and by their mutual determination to apply modern psychological understanding to the behavior of the principal figures.

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