Richard Corliss

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For 1,008 reviews, this critic has graded:
  • 56% higher than the average critic
  • 2% same as the average critic
  • 42% lower than the average critic
On average, this critic grades 1.3 points higher than other critics. (0-100 point scale)

Richard Corliss' Scores

  • Movies
  • TV
Average review score: 67
Highest review score: 100 Green Zone
Lowest review score: 0 Ace Ventura: When Nature Calls
Score distribution:
  1. Positive: 603 out of 1008
  2. Mixed: 307 out of 1008
  3. Negative: 98 out of 1008
1008 movie reviews
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    • 58 Metascore
    • 60 Richard Corliss
    Stoker
    The movie is less to be experienced than to be appreciatively studied, like an insect, a stuffed bird, or the sketch by a gifted artist in the style of an Old Master — in this case, the Master of Suspense. It’s not pure Park or pure Hitchcock but a muted, mildly mesmerizing blend of the two. You might want to take a careful stroll in this Hitchpark.
    • 63 Metascore
    • 30 Richard Corliss
    Spring Breakers
    "Trash Humpers" at least had the artistic courage of its own lunatic convictions, but Spring Breakers is all surface and sham; it’s trash about humpers.
    • 28 Metascore
    • 30 Richard Corliss
    A Good Day to Die Hard
    It’s the lamest and most vacant of the quintet — though if you mistakenly think you’re buying a ticket to a demolition derby instead of a night at the movies, you’ll feel right at home.
    • 75 Metascore
    • 90 Richard Corliss
    Side Effects
    Side Effects virtually demands a three-word review: Just see it.
    • 23 Metascore
    • 50 Richard Corliss
    Hansel and Gretel: Witch Hunters
    The blend of fairy-tale sentiment and knowing irony worked exactly once, in "The Princess Bride," and fails here. But there's enough visual ingenuity - eye candy, if you will - to make this Hansel & Gretel an intermittently tasty temptation.
    • 54 Metascore
    • 70 Richard Corliss
    The Last Stand
    It's an enjoyably old-fashioned shoot-out, if you can shake off the current headlines and sink in to a fantasy of hyper-violence that plays like an NRA vision of America the Beautiful.
    • 49 Metascore
    • 30 Richard Corliss
    Broken City
    So Broken City stokes a lot of hopes. Too bad for all of us, the makers and the watchers alike, that it's a grimy botch.
    • 55 Metascore
    • 40 Richard Corliss
    Promised Land
    Left-wingers in the mainstream media - by which I mean me - are supposed to lap up a movie that plays to our farm-loving, tree-hugging prejudices. But even we know that well-meaning does not automatically equal good movie. Some organic life is needed. And the only crop Promised Land harvests is Capra Corn.
    • 65 Metascore
    • 40 Richard Corliss
    Not Fade Away
    Painful, and not in a good way. A glimpse into the '60s should give us not just the warm bath of recognition but the shock of the new, as least as it felt in days of old. That doesn't happen, in a movie that evokes less empathy than apathy.
    • 56 Metascore
    • 50 Richard Corliss
    On the Road
    The archivist's meticulousness with which this movie was assembled defeats the starving-hysterical-naked urgency of its source material. Could the old Hollywood pharisees have been right? Maybe On the Road is unfilmable.
    • 50 Metascore
    • 50 Richard Corliss
    Jack Reacher
    Even when the film is cool, it manages to be wrong.
    • 81 Metascore
    • 80 Richard Corliss
    Django Unchained
    A pastiche that's nearly as funny as it is long (2hr. 45min.), and quite as politically troubling as it may be liberating, Django Unchained is pure, if not great, Tarantino.
    • 63 Metascore
    • 50 Richard Corliss
    Les Miserables
    Sensitive souls in search of wrenching emotion can be guaranteed their Kleenex moments; you will get wet. But aside from that opening scene, you will not be cinematically edified. This is a bad movie.
    • 58 Metascore
    • 50 Richard Corliss
    The Hobbit: An Unexpected Journey
    The movie lacks majesty. Grand in parts, the movie is too often grandiose or grandiloquent; and the running time is indefensible.
    • 52 Metascore
    • 50 Richard Corliss
    Deadfall
    Deadfall, though, is a thing of pieces: splendidly efficient in its action sequences (car crash, knife fight, snowmobile chase), dawdling in dialogue scenes that should smolder with tension.
    • 95 Metascore
    • 100 Richard Corliss
    Zero Dark Thirty
    The word docudrama doesn't hint at Boal's achievement. This is movie journalism that snaps and stings, that purifies a decade's clamor and clutter into narrative clarity, with a salutary kick.
    • 87 Metascore
    • 80 Richard Corliss
    Lincoln
    This high-IQ sermon is long but never lazy. Renouncing his tendency to make every movie take emotional flight, Spielberg sticks to the story as Kushner has artfully compressed it. Lincoln is brain food and, at another pivotal moment in American political history, an instructive feast.
    • 85 Metascore
    • 100 Richard Corliss
    Holy Motors
    It's an exhilarating trip of movie madness and sadness.
    • 69 Metascore
    • 80 Richard Corliss
    Bad 25
    Bad 25 is an intimate view of a performer at his peak in the intense splendor of creativity.
    • 51 Metascore
    • 60 Richard Corliss
    Nobody Walks
    The acting ensemble is crucial. Everyone's really fine.
    • 40 Metascore
    • 40 Richard Corliss
    Paranormal Activity 4
    There's a point at which movies become only merchandise, and the Paranormal franchise may be heading for that nexus, that nadir.
    • 76 Metascore
    • 90 Richard Corliss
    Flight
    A canny director and a top star decided to dig deep to find the core of a compromised hero. And when they reach that center of gravity, Flight soars.
    • 66 Metascore
    • 70 Richard Corliss
    Seven Psychopaths
    Small in stature but consistently entertaining, Seven Psychopaths is a vacation from consequence for the Tony- and Oscar-winning author, and an unsupervised play date for his cast of screw-loose stars.
    • 45 Metascore
    • 70 Richard Corliss
    Taken 2
    Somehow Neeson makes the ridiculous plausible. A mature, real man in an era of superhero fantasy, he radiates something rare in movie musclemen: a haunted gravity to match his outsize physique.
    • 74 Metascore
    • 90 Richard Corliss
    Frankenweenie
    Frankenweenie has that youthful verve and the ghoulishness of strange kids who will some day be eccentric creators. This movie is an attic experiment for its makers to be proud of and for audiences to cherish.
    • 79 Metascore
    • 100 Richard Corliss
    Life of Pi
    Pi is a giant leap forward, outward and upward in expanding the resources of the evolving medium of movies. Magical realism was rarely so magical and never before so real.
    • 84 Metascore
    • 80 Richard Corliss
    Looper
    A fanciful film with the patina of hyper-realism, Looper is well served by actors who behave not as if they were dropped carelessly into the future but spent their whole desperate lives there.
    • 68 Metascore
    • 50 Richard Corliss
    End of Watch
    The performances here are so sharp that viewers may wish End of Watch has been shot by someone who knew how to find the right point of view for a scene and leave it there.
    • 58 Metascore
    • 70 Richard Corliss
    Trouble with the Curve
    If the modest and moving Trouble With the Curve won't overwhelm anybody, it's still an engaging winner, like a junk-ball pitcher who stays in the bigs on grit and heart.
    • 81 Metascore
    • 70 Richard Corliss
    Silver Linings Playbook
    The performances of these actors are reason enough to go. The reason to stay is Lawrence.
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