Richard Schickel
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For 479 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 5.8 points higher than other critics. (0-100 point scale)

Richard Schickel's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 The Untouchables
Lowest review score: 0 Billy Madison
Score distribution:
  1. Negative: 62 out of 479
479 movie reviews
    • 83 Metascore
    • 80 Richard Schickel
    This very patient film reaches out and unshakably grips us.
    • 49 Metascore
    • 80 Richard Schickel
    At some low, what's-next level, Sleepers works like, well, gangbusters. [28 October 1996, p. 113]
    • Time
    • 60 Metascore
    • 80 Richard Schickel
    Rene Russo is both knowing and vulnerable, proving beyond a doubt that she is modern Hollywood's one true heiress to the screwball tradition. [19 August 1996, p.68]
    • Time
    • 74 Metascore
    • 80 Richard Schickel
    The movie has two other qualities you don't always find in films of this kind: a sense of humor and a sense of character. [15 August 1994, p. 61]
    • Time
    • 82 Metascore
    • 80 Richard Schickel
    This isn't just a thrill ride; it's a rocket into the thrilling past, when directors could scare you with how much emotion they packed into a movie.
    • 62 Metascore
    • 80 Richard Schickel
    Murphy, abetted by director Tom Shadyac and a whole raft of writers, cannot entirely escape the curious blend of aspiration and sloppiness that marked the earlier film.
    • 60 Metascore
    • 80 Richard Schickel
    Its major sin--a certain ineluctable improbability--is pretty much offset by the moments of winsome humanity Gibson finds for his freebooter; by the rich, nicely tuned portrayals of the other actors; and by director Ron Howard's smoothly professional mastery of yet another genre that is new to him.
    • 49 Metascore
    • 80 Richard Schickel
    For us dog saps, it is especially nice to see cuddlesomely real pooches instead of drawn ones doing smart-pet tricks.
    • 83 Metascore
    • 80 Richard Schickel
    Solondz observes all this activity from an objectifying distance, very much the anthropologist trekking through the heart of darkness
    • 60 Metascore
    • 80 Richard Schickel
    Director Harlin's only large mistake is staging the several violent deaths too authentically. They momentarily mar the high-speed implausibility of a movie that, like his Die Hard 2, agreeably combines the edgy and the genial.
    • 38 Metascore
    • 80 Richard Schickel
    And while more than 30 writers worked on the screenplay and untold numbers labored to re-create the ambiance and effects that the animators once tossed off with a few squiggles of their pencils, The Flintstones doesn't feel overcalculated, over-produced or overthought.
    • 87 Metascore
    • 80 Richard Schickel
    A stylish, well-paced film with a good variety of moods and moves.
    • 78 Metascore
    • 80 Richard Schickel
    Writer-director Carl Franklin's cool, expert adaptation of Devil in a Blue Dress, Mosley's first novel, evokes the spirit of '40s film noir more effectively than any movie since Chinatown.
    • 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.
    • 80 Metascore
    • 80 Richard Schickel
    The central conflict, the struggle for Calogero's soul, is stated with a fable's starkness. But the tone of the film is musing, reflective, gently insinuating.
    • 78 Metascore
    • 80 Richard Schickel
    There is not a cheap note or a careless image, not an easy judgment or a forced emotion, in the 2 hr. 43 min. of Bird. It permits a man's life its complexity. It invites us to experience the redeeming grace of his music. And with its passionate craft, it proclaims that Eastwood is a major American director.
    • 73 Metascore
    • 80 Richard Schickel
    This memory piece, shy in manner but tough in spirit, has brought out the best in everyone connected with it.
    • 74 Metascore
    • 80 Richard Schickel
    The result is a film consistent narratively, confident stylistically and abounce with the quaint quality that animated both the hero and his times, something we used to call pep.
    • 66 Metascore
    • 80 Richard Schickel
    [Murphy] makes Trading Places something more than a good-hearted comedy. He turns it into an event.
    • 60 Metascore
    • 80 Richard Schickel
    Murray, with his curious blend of pathos and aggressiveness, is terrific, and so is an acutely uptight Dreyfuss, never once copping a plea for our sympathy.
    • 82 Metascore
    • 80 Richard Schickel
    There is something brave and original about piling up most of our worst parental nightmares in one movie and then daring to make a midsummer comedy out of them. It really shouldn't work, but it does. The movie does not linger too long over any moment or mood, and it permits characters to transcend type, offering a more surprising range of response to events. [7 August 1989, p.54]
    • Time
    • 55 Metascore
    • 80 Richard Schickel
    Future III is all smiles, nostalgically respectful of the western genre, serenely sure of the strength of its own more immediate heritage and of our affection for it.
    • 64 Metascore
    • 80 Richard Schickel
    Murphy exudes the kind of cheeky, cocky charm that has been missing from the screen since Cagney was a pup, snarling his way out of the ghetto. But as befits a manchild of the soft-spoken '80s, there is an insinuating sweetness about the heart that is always visible on the sleeve of Murphy's habitual sweatshirt.
    • 55 Metascore
    • 80 Richard Schickel
    It features as ghastly a group of interstellar pirates, the Klingons, as ever entered the star log, plus a spectacularly self-destructive planet and plenty of technically adroit and sometimes witty special effects. These are classic directorial occasions, and Nimoy rises to them with fervor, in effect beaming his film up onto a higher pictorial plane than either of its predecessors.
    • 67 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.
    • 87 Metascore
    • 70 Richard Schickel
    For all its brave beginnings and real achievements--its assault on western mythology, its discovery of a subversive sexual honesty in an unexpected locale--Brokeback Mountain finally fails to fully engage our emotions.
    • 58 Metascore
    • 70 Richard Schickel
    This often vivid movie, though it doesn't quite attain its highest intentions, is well worth seeing. And thinking about.
    • 75 Metascore
    • 70 Richard Schickel
    Out of a borrowed and preposterous premise, Audiard has fashioned a film that is more haunting--and more compellingly watchable--than it has any right to be.
    • 52 Metascore
    • 70 Richard Schickel
    There's no attempt to address the show's endemic weak spots--a slow start and a contrived end. Mostly Stroman just lets it rip. But in some respects the movie is an improvement on the show.
    • 53 Metascore
    • 70 Richard Schickel
    The story never runs completely off the rails and is, in any event, just a pretext for a lot of very sharp badinage by Jason Smilovic--a screenwriter who would have been at home writing for Cary Grant--for yards of terrific movie acting and for some well-timed direction by Paul McGuigan.