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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.
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A Most Violent Year is an interesting take on the American Dream. Columbian born Abel Morales is not the stereotypical all American boy next door. With his wavy black hair and dark eyes he rocks a camel-hair topcoat with a suave personality to match. Plus he's got the work ethic that says he's going places. The wardrobe is key - so well dressed. The only thing that rivals Abel's succession of double breasted suits, is Chastain's seemingly endless wardrobe of outfits. Just try and watch the couple engage a potential investor at dinner and NOT stare at Anna's plunging neckline. It complements her personality. What I'm really saying is I love the mood of A Most Violent Year. Along with a haunting score by Alex Ebert, Director J.C. Chandor weaves a deep tale of the American Dream that authentically portrays the time period as if it was genuinely filmed in 1981. Chandor has directed 3 critically acclaimed movies to date, and for my money, this is his most entertaining. If he's reading, "Keep up the great work! I can't wait to see what you do next."
Paddington is unabashedly wholesome. That's not to say the script is schmaltzy. Nicole Kidman pops up as the villain - a beguiling museum taxidermist sporting a blonde bob hairstyle. Her Millicent injects some sinister edge into a story that could've been a saccharine tale. An even more fundamental ingredient is our star, an Andean bear. Ben Whishaw, is the voice of the CGI fellow replacing Colin Firth, whose voice was deemed too mature. The character, who is the personification of goodness, strikes just the right balance of sweetness and mischief. Paddington's amusing mishaps often rely on his naiveté. His misadventure involving returning a lost wallet is a humorous case of mistaken identity. It's too early to anoint this as the best children's film of 2015, but if this is representative of family entertainment this year, 2015 is off to a great start.
It isn't credible that a company would decide whether to rehire a sick employee back, by placing that decision in the hands of said person's co-workers . Perhaps this kind of egalitarianism on the job is commonplace in Belgium but in the U.S. there is a distinct hierarchy in the workplace. At any level of responsibility, one reports to a person known as a supervisor and that boss is responsible for making decisions in the best interest of the company. Whether people get hired or fired is not left to one's peers to decide. The premise is so contrived and far fetched that it makes the nature of the tragedy seem kind of ridiculous. Add to the fact that the entire movie essentially consists of watching a woman, albeit a sympathetic one, beg for her job to one person after another for 90 minutes. Marion Cotillard commands your attention but the drama itself is awkward, demeaning and unpleasantly repetitive.
Citizenfour is an insider's look into a groundbreaking event. What Poitras records is Edward Snowden's anxiety. The fear of an ordinary man that is exposing what he must in a Hong Kong hotel room. At one point a fire-alarm test in the building has him utterly paranoid that the authorities are coming to get him. The document is filmed over 8 days detailing Snowden's discussions with journalists Greenwald and MacAskill. Occasionally we break away and witness U.S. officials in court give contradictory testimony. They assert no such surveillance is being done, despite warnings to the contrary. These governmental practices are supposedly necessary in a post 9/11 world - the unfortunate result of terrorist activity. Citizenfour is a rather claustrophobically set in a hotel room. As a revolutionary moment in history that chronicles the life-changing decision of a brave man, it's an important work that demands to be seen. In that sense, this feature is indispensable. As a work of entertainment, however, it leaves something to be desired.
Mr. Turner spotlights the painter's final quarter century of life when his more experimental side was being explored. He's already in his 50s at the beginning of this tale. Leigh's aim is to offer little vignettes in Turner's life that almost subvert the traditional biopic. To Leigh's credit, he doesn't elevate his subject, so I guess that's unexpected in a drama detailing the work of a great artist. The director's focus is to wallow in the depths of a boorish clown - a man more inspired to shag his housekeeper (Dorothy Atkinson) than to paint great works of art. His biography could hardly be used as a way to learn about the man. An array of historical figures are paraded before the camera with no regard for establishing who they are or why they're important. I learned more information from the first paragraph of Turner's Wikipedia article than I did from this nearly three hour film. But for those who like a some facts, Turner is a preeminent British painter, "the painter of light" noted for his gorgeous landscapes. The production's biggest merit is the cinematography where several cinematic vistas are captured that do convey the picturesque subjects Turner paints. Unfortunately most of Mr. Turner is a limp portrait presenting a repulsive man that happened to create transcendent art. If that's Mike Leigh's idea of an ironic joke, I'm not laughing.