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.
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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.
I'm into fantasy, reality, vice,
El cine es un momento sagrado. Sentarse en la oscuridad frente a la pantalla es un acto de fe, es experimentar una comunicación directa con el portal de un universo paralelo por el que merodearemos solo al terminar esta vida. En el ahora, la verdadera vida se nos otorga en pequeñas dosis, al dormir y al estar frente a la pantalla, solo en dichos momentos se alcanza la perfecta comunión con el demiurgo y su peculiar creación, y se nos prepara para el sueño eterno.
To live inside a fable, where we can play with time, places and sentiments, a perfect sphere of existence that can only be reached in dreams is a pleasant thought we all cinephiles love to have. As mere mortals, or the infants we still are, we have two ways to conquer that fantasy world, we can either sleep, or we can enter and sit in a dark room, operate a machine and enjoy the ride while we are awake.
All the forms of art are affluents that flow into an infinitely vast ocean called cinema, where all other arts end...this one begins.
It is the seventh art, the art of the 20th century, the art that crosses borders, religions, languages, ethnicities and economical backgrounds. It is formed by image and sound; the same stuff that dreams are made of...
Dissapointing plunge into the mind of heady writer Thomas Pynchon. A muddled plot with no humorous nor dramatic interest, numb and uninspired performances. It hurts to watch how expectations crumble with each passing minute, I even dare to say this is Paul Thomas Anderson's worst film to this day, he can't find his own voice in this material, which is a real shame considering he was probably up to (as almost always) match his talents with his idol, the late great Robert Altman and his brilliant neo noir "The Long Goodbye".
Eddie Redmayne's performance as this formidable man is the single greatest thing about a film with fine craftsmanship, poetic beauty in visual and musical sense, but overall there is no lasting impression, as it recurs to common and seemingly unavoidable sanctimonious clichés in the biopic catalog.