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.
Movies and TV shows are Certified Fresh with a steady Tomatometer of 75% or
higher after a set amount of reviews (80 for wide-release movies, 40 for
limited-release movies, 20 for TV shows), including 5 reviews from Top Critics.
Percentage of users who rate a movie or TV show positively.
Dr. George Miller, the original Aussie Renaissance man, has divided his life between two great passions: medicine and cinema. Consequently, his most enduring big-screen works as a writer/director/producer -- arguably, the Mad Max series and Lorenzo's Oil -- combine these interests in subtle and not-so-subtle (but consistently electrifying) ways. Born in 1945 in the bustling metropolis of Brisbane, Queensland, Northeastern Australia, Miller was christened George Miliotis by his Greek immigrant parents, the Balloyoulus, but he anglicized his surname as a young man. He grew up in the nearby bucolic town of Chinchilla, Queensland, and developed an enduring infatuation with cinema from an early age, but medicine (and more specifically, the physiology of the human body) entranced him with competing force. He and his twin brother, John, thus enrolled jointly at the New South Wales Medical School in the late '60s, and George interned at St. Vincent's Hospital in Sydney upon graduation. During this period (1971), John and George decided to jointly produce and direct a one-minute short. Entered in a local competition, the effort won first prize, which just happened to be free enrollment in a summer film school workshop in the southern metropolis of Melbourne. During his education there, Miller met Byron Kennedy, who in time became his most significant partner and collaborator. Miller cut back to part-time work as a physician, and in off-hours he and Kennedy began to prolifically script and direct experimental shorts; in addition, Miller wrote a number of feature-length screenplays. The infamous Miller/Kennedy short-subject film Violence in the Cinema, Part 1 and Miller's first major theatrical release, the international blockbuster Mad Max (1979), are thematically linked, and both find their inspiration in the injuries that Miller witnessed at St. Vincent's (stationed as an intern in the hospital's casualty ward). Per its title, Violence juxtaposes a satirically tinged, nauseating series of violent images back to back. The parallels between the hospital work and Mad Max are perhaps less obvious, but the hyper-graphic picture caused a sensation around the world. Mad Max, of course, broke the floodgates of Australian cinema; it also made a superstar of Mel Gibson. Miller and Kennedy formed the eponymous Miller-Kennedy production company to launch the film, and its triumph yielded a sequel, The Road Warrior (1981). In 1982, Miller helmed the "Nightmare at 20,000 Feet" episode of Twilight Zone: The Movie, with John Lithgow as Valentine, a poor fellow who witnesses an imp pounding on the wing of his airplane in mid-flight. Even the many critics who savaged the film regarded this segment as compelling. That same year, however, tragedy reigned in Miller's life. One day in July 1983, Kennedy was piloting an airplane and crashed the vehicle in mid-flight. At first, Miller anticipated the end of Mad Max, without the presence of his longtime partner and friend, but he ultimately listened to his instincts and forged ahead at Kennedy-Miller, with the third installment of the Gibson series, Mad Max Beyond Thunderdome (co-starring rock diva Tina Turner), and two ten-hour television miniseries. Meanwhile, he continued to shepherd local Aussie product into the international marketplace, including John Duigan's gentle coming-of-agers The Year My Voice Broke (1987) and Flirting (1990), and Phillip Noyce's heart-pounder Dead Calm (1989). In 1986, Miller helmed the horror comedyThe Witches of Eastwick, adapted from a 1984 John Updike novel and starring Jack Nicholson as a sexually voracious Satan, seduced by three witches (Susan Sarandon, Michelle Pfeiffer, and Cher) in a small New England town. The effects-heavy picture became a box-office sensation thanks to the fine lead performances and Miller's craftsmanship, but it was purportedly a miserable experience for Miller, who fe