Richard Schickel, Time
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For 478 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 6 points higher than other critics. (0-100 point scale)

Richard Schickel's Scores

  • Movies
Average review score: 65
Highest review score: 100 No End in Sight
Lowest review score: 0 Billy Madison
Score distribution:
  1. Negative: 62 out of 478
478 movie reviews
    • 64 Metascore
    • 70 Richard Schickel
    This is a Cuisinart of a movie, mixing familiar yet disparate ingredients, making something odd, possibly distasteful, undeniably arresting out of them. [5 Dec 1994, p. 93]
    • 61 Metascore
    • 70 Richard Schickel
    Good--sometimes witty—suspense. [28 Jul 1997, p. 69]
    • 63 Metascore
    • 70 Richard Schickel
    On the whole, the eek-for-yuks trade-off is more than fair--hip without being campy or condescending to one of the better movie franchises. [1 Dec 1997, p. 84]
    • 63 Metascore
    • 70 Richard Schickel
    Alive to the--yes--sometimes humorous, and therefore humanizing, struggles of the slaves and their would-be rescuers to surmount the language and cultural barriers that separate them. [15 Dec 1997, p. 108]
    • 31 Metascore
    • 70 Richard Schickel
    Cameron Diaz is sublimely screwy as the single-minded bride determined not to let anything--including the deadly mishaps that keep shrinking the wedding party--spoil her nuptials. [30 November 1998, p. 111]
    • 56 Metascore
    • 70 Richard Schickel
    If you surrender to the film's often inexplicable rhythms, if you let its dark materials reach out and envelop you, it can be a curiously rewarding experience -- a blend of silences and sudden bursts of violence that, despite its highly stylized manner, feels more edgily lifelike and more disturbing than most movies.
    • 61 Metascore
    • 70 Richard Schickel
    Tom Hanks doesn't turn Polar Express into much of a thrill ride. For that you need 3-D goggles.
    • 62 Metascore
    • 70 Richard Schickel
    This good-natured movie is very much in the spirit of those ancient comedies from Ealing Film Studios in which nice, silly people defend some enclave of old-fashioned sanity against the forces of brute modernism. [27 January 1997, p. 68]
    • 66 Metascore
    • 70 Richard Schickel
    Leaves a quiz show's quantity of unanswered questions. But it has the optimism and determination of a corporate whistle-blower. It makes us believe, for a moment, that it's possible to end-run the spirit of Enron.
    • 62 Metascore
    • 70 Richard Schickel
    Men is a little too neat structurally, its moral and human issues a little too clear-cut: at heart it is old-fashioned melodrama. But Sorkin's dialogue is spit-shined, and the energy and conviction with which it is staged and played is more than a compensation; it's transformative. And hugely entertaining. [14 Dec 1992]
    • 79 Metascore
    • 70 Richard Schickel
    It's a gentle film about somewhat alien beings, who entertain us by creating instead of destroying.
    • 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.
    • 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.
    • 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.
    • 61 Metascore
    • 70 Richard Schickel
    The Wachowskis have the predilection for loopy camera setups common to first-time directors, but their hearts are in the right transgressive place, and their film will tide some of us over until Quentin gets...well...unbound.
    • 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.
    • 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
    Most of the fun comes from seeing people fooled by what seems to us, who are in on the joke, a completely penetrable ruse. Curiously enough, what's really unpersuasive about Mrs. Doubtfire -- not to say draggy -- is its nondrag sequences.
    • 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.
    • 64 Metascore
    • 70 Richard Schickel
    This cheeky movie does not impose heavy-duty meaning on Page's life and times. It just lets us draw our own ambiguous conclusions about what she did. It is the better, the more enticing, for so doing.
    • 37 Metascore
    • 70 Richard Schickel
    You can, if you will, think of All the King's Men as a purely political parable, but that is to miss its blackest, bleakest meanings.
    • 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.
    • 70 Metascore
    • 70 Richard Schickel
    Gere and Molina are themselves terrific as the con men.
    • 49 Metascore
    • 70 Richard Schickel
    Not in any sense a great movie, a masterpiece that future generations will want to rediscover. But it is a solid, well-made, generally gripping and intelligent movie -- and how many of those have lately been made in America?
    • 64 Metascore
    • 70 Richard Schickel
    If sometimes this loose and anecdotal film loses dramatic pace, it always rights itself. And it remains steadily in touch with its best qualities - generosity, common sense and a mature decency that is neither smug nor sentimental.
    • 76 Metascore
    • 70 Richard Schickel
    Witness, which is one of the most originally conceived and gracefully made suspense dramas of recent years, to work into edgy juxtaposition the representatives of two subcultures that are ordinarily mutually exclusive.
    • 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]
    • 49 Metascore
    • 70 Richard Schickel
    Somehow it works, in part because of the way director Howard keeps his crowded frames abustle with activity, in part because of the sheer indomitability with which his leading characters are endowed by the actors and by writer Dolman, but mostly because the movie takes enlivening chances with its material.
    • 60 Metascore
    • 70 Richard Schickel
    The nerve of these people, recycling that story. No, the shrewdness of these people. For Days of Thunder offers adolescent males the possibility of a high-speed crash almost every minute. It offers their dates the possibility of a shy, winning Tom Cruise smile on an equal-opportunity basis. The boys get some sober, silly chat about the nature of courage. The girls get to see one of their sex (Nicole Kidman) play doctor with Cruise. [16 July 1990, p.87]
    • 53 Metascore
    • 70 Richard Schickel
    Metroland finally makes a good, subtle case for the bearable weightiness of middle-class being, for the higher morality of muddling through.