Richard Corliss

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For 992 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 3.3 points higher than other critics. (0-100 point scale)

Richard Corliss' Scores

  • Movies
  • TV
Average review score: 67
Highest review score: 100 The Princess and the Frog
Lowest review score: 0 The Last Airbender
Score distribution:
  1. Negative: 97 out of 992
992 movie reviews
    • 70 Metascore
    • 70 Richard Corliss
    The plot, though, is only the lid of this Pandora's toy chest. Inside, the alert viewer will find humor, imagination and a little Oriental mysticism.
    • 81 Metascore
    • 70 Richard Corliss
    While trading on viewers’ familiarity with the series’ venerable fetishes (a cheer rises at the sight of Bond’s old Aston Martin and the sound of Monty Norman’s guitar theme from Dr. No), Skyfall has the life, grandeur and gravity of a satisfying, stand-alone entertainment.
    • 67 Metascore
    • 90 Richard Corliss
    It’s an enormous, steroidal blast, and as much ingenious fun as a blockbuster can be.
    • 34 Metascore
    • 60 Richard Corliss
    Laughter trumps political fairness, and Get Hard made me laugh at, and with, situations I hadn’t thought could tickle me. The movie has a warm heart beating under its seemingly scabrous shell.
    • 42 Metascore
    • 40 Richard Corliss
    It’s wandering, not urgent, while indicating that all-Shailene-all-the-time can be too much of a pretty good thing.
    • 67 Metascore
    • 90 Richard Corliss
    Nearly a century after that black-and-white cartoon short, and 65 years after a “classic” animated feature that missed the mark, Disney finally got Cinderella right — for now and, happily, ever after.
    • 46 Metascore
    • 50 Richard Corliss
    Sometimes intelligent, often cuddlesome and ultimately bland.
    • 89 Metascore
    • 80 Richard Corliss
    A movie like Selma should be a relic in a time capsule from 1965, a clue to how well we heeded King’s words and how far we have advanced. Instead it is a reminder that the “American problem” has yet to be solved.
    • 88 Metascore
    • 80 Richard Corliss
    Directing with a cool, steady hand that renounces shaky-cam the way Fletcher would denounce rock ‘n roll, and getting strong performances from his two leads, Chazelle provides a potent metaphor for artistic ambition as both a religion and an addiction.
    • 72 Metascore
    • 100 Richard Corliss
    It shows Eastwood, at 84, in his finest directorial effort since the 2008 "Gran Torino," while painting on a much broader canvas. Utterly in command of his epic material, he films the Iraqi action in terse, tense panoramas with little cinematic editorializing, as if he were an old Greek or Hebrew God who is never surprised at man’s ability to kill his fellow men, or to find reasons to do so. Directing 34 films over 44 years, Eastwood has honed his craft to its essentials: make it seem as if the story is telling itself.
    • 59 Metascore
    • 80 Richard Corliss
    If the Unbroken needle stops at Impressive and doesn’t quite rise to Enthralling, it’s because Jolie stints on exploring the doubts that tortured Louis nearly as much as Watanabe’s punishments did, and whose details so enriched Hillenbrand’s biography.
    • 62 Metascore
    • 60 Richard Corliss
    The Keane story is a rich parable that deserves either a wilder or a more acute telling than Burton provides here.
    • 47 Metascore
    • 30 Richard Corliss
    Did anyone have a good time making this movie? The actors seem to be reading their lines at gunpoint, in an enterprise whose mood is less summer camp than internment camp.
    • 52 Metascore
    • 50 Richard Corliss
    The joke barrage becomes hit-or-miss, as if the creators — including screenwriter Dan Stewart, working from a story by Rogen and Greenberg — don’t know or care which is which.
    • 59 Metascore
    • 90 Richard Corliss
    If The Hobbit doesn't equal the achievement of Jackson's earlier Middle-earth movies -- and, honestly, what could? -- it is still, in sum, a thrilling effort.
    • 73 Metascore
    • 100 Richard Corliss
    On its bright face, The Imitation Game, written by Graham Moore and directed by Morten Tyldum, fits into that cozy genre of tortured-genius biopics that sprout like kudzu just in time for the Oscars. But that’s not fair to the film, which outthinks and outplays other examples of the genre.
    • 72 Metascore
    • 70 Richard Corliss
    The film gives Jones (Oxford) a chance to take control of its emotional center, and she seizes it with spectacular subtlety. She proves that behind this Great Man movie is a woman – an actress – who’s every bit her man’s equal.
    • 64 Metascore
    • 50 Richard Corliss
    Though we still believe that Lawrence, who turned 25 in August, can do no wrong, she isn’t given much opportunity to do anything spectacularly right here. Her performance is a medley of sobs and gasps, in mournful or radiant closeup. This time, her Katniss is as much a prisoner of her circumstances as Peeta is. She and the movie are both victims of burnout.
    • 81 Metascore
    • 70 Richard Corliss
    Tatum’s is the central performance: most daring because it’s least giving. He has often played young men of thick athleticism and slow wit. It’s proof of Tatum’s intelligence that he can make the audience feel smarter than the characters he plays – until they reveal a sly brilliance halfway through the movie.
    • 81 Metascore
    • 70 Richard Corliss
    Never quite transcending the sum of its agreeably disparate parts, IV is less groovy than gnarled and goofy, but in a studied way. Call it an acquired taste with a kinky savor.
    • 76 Metascore
    • 90 Richard Corliss
    If you see him (Jake Gyllenhaal)onscreen in Nightcrawler, you’ll have a closeup view of one of the movie year’s most compelling sociopaths. He’s something you can’t turn away from.
    • 74 Metascore
    • 80 Richard Corliss
    With Interstellar, Nolan’s reach occasionally exceeds his grasp. That’s fine: These days, few other filmmakers dare reach so high to stretch our minds so wide.
    • 68 Metascore
    • 70 Richard Corliss
    Quibbles aside, John Wick is the smartest display of the implacable but somehow ethical Reeves character since the "2008 Street Kings."
    • 64 Metascore
    • 70 Richard Corliss
    World War II was a historical event, but also a movie genre, and Fury occasionally prints the legend. The rest of it is plenty grim and grisly. Audience members may feel like prisoners of war forced to watch a training-torture film.
    • 65 Metascore
    • 70 Richard Corliss
    The lumpiness of The Good Lie’s progression – from infancy to adulthood, and from the horrors of war to gentle social comedy and back again – proclaims a respect for facts and truths that can’t be molded into a smooth narrative.
    • 79 Metascore
    • 80 Richard Corliss
    In a movie of subtle tones and wild swerves, Pike expertly mixes a cocktail of hot and cold blood. She is the Amazing Amy you could fall for, till death do you part.
    • 61 Metascore
    • 80 Richard Corliss
    The movie has its political-parable aspect, with malevolent forces convincing both the 1% and the 99% that they have reasons to fear the other. But The Boxtrolls is mainly a delight for the sharp eye and the capricious mind.
    • 57 Metascore
    • 80 Richard Corliss
    If The Equalizer is the hit it should be, it will give this veteran action star his very first movie franchise. In the sequel, Denzel-McCall could make things right in Ukraine as Obama’s Secretary of Defense and one-man army.
    • 44 Metascore
    • 50 Richard Corliss
    So put it this way: If the Altmans were a real family sitting shiva, I’d drop by to commiserate and give a cheek-kiss to a few of the mourners (Bateman, Driver, Fey, maybe Fonda). I enjoyed seeing them, but I’d hate to be sentenced to being with them for the full seven-day stretch.
    • 57 Metascore
    • 70 Richard Corliss
    The cluttered climax, in a Mother Bates cellar, explains little of the killers’ psychology; for that you have to read the book. But it does let Neeson assert his primacy as the cinema’s most graven, grieving, grievous senior citizen — a figure who doesn’t so much star in his films as haunt them. This ghost of a movie star is never more at home than when walking among the tombstones.

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