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.
The first motion picture producer ever to receive a knighthood, Alexander Korda was a guiding force behind the British film industry throughout the 1930s as a studio chief, producer, and sometime director, and continued as a major -- and highly influential -- film producer until his death in 1956. Although synonymous to the world with British films, Korda was Hungarian-born, and worked in movies in Austria, Germany, and America, without finding any particularly notable success, before coming to England in 1930. He was a crafty businessman as well as a flamboyant personality; he favored bold, ambitious, opulent productions -- Michael Powell and Emeric Pressburger modeled Boris Lermontov, the egotistical ballet impresario of The Red Shoes, partly on Alexander Korda. And toward that end, by 1933 he had founded a major (though always financially shaky) studio in London Films, and managed to pull off a seemingly impossible feat by directing and producing The Private Life of Henry VIII (1933). The latter film succeeded as no British picture since the advent of the talkies had, becoming a major hit in America, also earning an Oscar nomination as Best Picture and turning its star, Charles Laughton (who won the Best Actor Oscar), into an international star.From that first great flash of success, London Films went on to occupy a unique niche in the firmament of the British cinematic world. Indeed, the studio was a study in brilliance and contradictions. For starters, there was its name -- it may have been "London" Films, but it was built on Korda's production genius, and also the work of his brothers, Zoltan Korda (one of England's best directors) and Vincent Korda (a world-renowned art director), along with their assembled staffs of writers, artists, costumers, etc., almost all of them expatriate Hungarians. Despite the national origins of its founder and most of its employees, however, the studio seemed bent on "selling" the British Empire all over the world, a fact not lost on the British bankers who financed the film industry or government officials whose financial and regulatory policies had profound impact on the motion-picture business.Korda also saw success with a handful subsequent movies, including The Scarlet Pimpernel (1934), The Ghost Goes West (1935), and The Man Who Could Work Miracles (1936). Rembrandt (1936), starring Laughton, is still considered by many to be among the great artist biopics; Things to Come (1936) is a multi-generational science fiction epic that expanded the boundaries of cinematic to a range that neither had exhibited since the heyday of the silents; Fire Over England (1937) is an account of Elizabeth I and England's successful defense against the Spanish Armada, which the storyboard for Warner Bros.' subsequent production of The Sea Hawk; Clouds over Europe (1939), starring Laurence Olivier is an espionage comedy that anticipated the 1960s series The Avengers; and The Thief of Bagdad (1940), starring Sabu and Conrad Veidt, remains one of the finest fantasy films of the time.By the end of 1939, Korda was in the midst of the extended production of The Thief of Bagdad, but had literally run out of money and credit in England. The outbreak of the Second World War in September of that year was the tipping point, forcing Korda to move his operations to America early in the following year. He was able to finish the film in Hollywood, in the process bringing over his two brothers as well as composer Miklos Rozsa, all of the film's stars, and a brace of other production notables who would make their careers in America, some for the duration of the war and some permanently. The Thief of Bagdad was successful enough to wipe out most of his debts and allow the producer to set up Alexander Korda Productions -- using the same Big Ben logo that had opened all of the London Films releases -- in Hollywood.The most important production to come out of Korda's H