The Tomatometer rating – based on the published opinions of hundreds of film and
television critics – is a trusted measurement of movie and TV programming quality
for millions of moviegoers. It represents the percentage of professional critic reviews
that are positive for a given film or television show.
From the Critics
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The Tomatometer is 60% or higher.
The Tomatometer is 59% or lower.
The Tomatometer is 75% or higher, with 40 reviews (movies) or 20 reviews (TV). At least 5 reviews from Top Critics.
Percentage of users who rate a movie or TV show positively.
This week, Spike Lee's Miracle at St. Anna hits
theaters, telling the story of the struggle of African American soldiers in
World War II. So RT thought it would be a good time to take a closer look at the
work of Lee, one of cinema's most provocative, probing, and stylistically
audacious filmmakers. Here, from worst to best reviewed, is every single Spike
tagline that boasts "One heterosexual male. 18 lesbians. His fee: $10,000...
each," anyone could tell just from looking at the poster that She Hate Me
was either going to be an incredibly pointed look at sexual politics and
modern gender roles, or the source of some of the worst reviews of Spike Lee's
career. Unfortunately, the latter proved to be the case; critics piled onto She
Hate Me, calling it a muddled, overreaching mess. (One of the only critics
to give it a positive review was Roger Ebert -- and in his writeup, he
correctly predicted its eventual 20 percent Tomatometer.) Trying to summarize
the plot -- whistleblowing executive loses his job, agrees to impregnate his
lesbian ex-girlfriend for cash, and ends up turning it into a lucrative
business -- is enough to give a person fits; toss in a few confused subplots,
a title inspired by XFL player Rod Smart, and some heavy-handed allusions to
the story of Watergate security guard Frank Wills, and it isn't hard to
understand why She Hate Me prompted such a negative reaction. Still,
some scribes were able to see the good in the film, such as the Chicago
Tribune's Michael Wilmington, who says it's "Chock full of provocative
statements about corporate morality, sexual hypocrisy, and what's wrong about
directing a movie about a phone sex operator (with soundtrack duties held down
by Prince!) sounded like a failsafe winner in 1996 -- at least until Girl
6 reached theaters, at which point critics loudly proclaimed their
inability to figure out what to do with it, and audiences pretty much just
ignored it. (As an indicator of Girl 6's position in the Lee canon,
consider that it didn't receive a proper DVD release until a full 10 years
after it reached theaters.) In retrospect, the film was a courageous choice
for Lee; he had, after all, been accused of misogyny throughout his career,
and in tackling this subject matter, he had to know he was opening himself up
to further criticism. Indeed, more than one critic complained that Lee was the
wrong director for Suzan-Lori Parks' script; he came under particularly heavy
fire for the film's opening scene, in which the cameras play right along with
the lechery of Quentin Tarantino's character. On the bright side, Theresa
Randle's performance as Girl 6 was repeatedly singled out as the film's high
point; Variety's Todd McCarthy was just one of the critics who praised her for
her "luminous presence and dignity."