The Tomatometer rating – based on the published opinions of hundreds of film and
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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.
As a twenty-dollar bill circulates, various classes of people assign it differing values. American class differences reveal themselves in this fine but didactic film. The conceit is interesting enough, and the stories and characters are all engaging, from the thieves to the engaged couple, but when it all comes together, in a haphazard Altman imitation, it's hard to discern that we've seen anything new or remarkable. Overall, this is a good concept, well-executed, but not as "important" as it might think.
An angel falls in love with a human woman and decides to become one of her kind. The inspiration for the Hollywood tear-jerker City of Angels, Wim Wenders's film is decidedly un-Hollywood. Filled with existential reflections and poorly paced, the film is more meditation than plot and story, more philosophical musing than love story. It feels long, though only a little over two hours. Peter Falk, who apparently is an ex-angel, plays himself, and this dash of reality seems incongruent with the fantasy that permeates the rest of the film. Overall, I didn't like either the Hollywood or European version of this story because both seem too far to the ends of extremes.
A New York couple have cold feet as they dwindle toward marriage. A collection of bad accents and trite cliches, every plot event of True Love is painfully predictable. Commitment-phobic men, mistakenly suspected adultery, and needs of independence all make up this film, which anyone has seen many times before in many forms. Overall, there's nothing true about True Love.
A young boy befriends his babysitter, an irascible middle-aged man. The strongest performance to date by Melissa McCarthy is the highlight of this basic but enjoyable film. We rarely see single mothers portrayed with the type of honesty and hard-working ethic that McCarthy brings to her character, and it was one of the few fresh aspects of St. Vincent. The rest is good but ordinary. I wish that Oliver had uncovered a more scandalous or deeper secret to Vincent's character, rather than a hodge-podge of what we had already seen, and all the reiterations about how bad he is work as "tell" sequences with little "show" to back up the thesis. Overall, McCarthy's seriocomic turn is what's new and most compelling about this film.