Overview

Richard Nelson Corliss (March 6, 1944 – April 23, 2015) was a prominent American movie critic and longtime editor for Time magazine. Over several decades he reviewed films, wrote features, and helped shape the magazine's cultural coverage. Corliss became known for clear, energetic prose and a willingness to write about both mainstream releases and art-house cinema.

Career and critical style

Corliss joined Time as an editor and critic and remained associated with the publication for much of his career. He wrote regular pieces on cinema and the film industry, and produced occasional essays on wider cultural topics. His reviews combined careful attention to craft with anecdote and wit, often making complex arguments accessible to a broad readership. Colleagues and readers recognized him for his editorial judgment as well as his role upfront as a critic.

Notable contributions and phrases

Beyond reviews, Corliss contributed to the language of popular criticism. In 1985 he coined the now-familiar description "drop-dead gorgeous" when praising Michelle Pfeiffer for her work in the movie Into the Night; the phrase caught on in both journalistic and everyday use. He also wrote essays that traced trends in film, considered the careers of major directors and performers, and reflected on cinema's place in culture.

Reputation and influence

Corliss's approach—combining accessibility with a strong viewpoint—helped bridge the gap between magazine journalism and serious film criticism. He influenced younger critics through his writing and editing, and his pieces appeared in anthologies and retrospectives on modern film writing. Readers often cited his reviews when debating movies and performances.

Death and legacy

Corliss died in New York City, New York, on April 23, 2015 at age 71. The cause was a stroke. After his death, obituaries and remembrances highlighted his long service at Time and his gift for lively critical prose. Today he is remembered as a distinctive voice in late 20th- and early 21st-century American film criticism.

Characteristics of his writing

  • Clarity: emphasized readable criticism rather than academic jargon.
  • Wit: used memorable turns of phrase that often entered wider use.
  • Range: wrote about both popular and art-house films, and placed films within cultural context.

For readers seeking contemporary commentary on cinema, Corliss's body of work remains a useful example of magazine criticism that aimed to inform, entertain, and argue in equal measure.