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.
From the Critics
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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.
Alexandre Astruc is one of the great film theorists; he was also a filmmaker. Unfortunately, but for one exception, his films fell short of his own critical ideals. One of his strongest arguments was for the idea of la caméra-stylo in which the camera is seen as a pen with its own unique language and that the images themselves add nuance and develop the narrative as much as the dialog does. According to Astruc in his article "The Birth of a New Avant-Garde: La caméra-stylo," camera movements "relate objects to objects and characters to objects. All thought, like all feeling, is a relationship between one human being and another human being...." Astruc started his film career in 1947 as an assistant to Marc Allegret on the film Blanche Fury. He spent the next two years working on two amateur films, and collaborating on two scripts with Archad. He made his professional directorial debut in 1949. The films he made were highly academic representations of his theories with an overattentiveness to style that frequently resulted in their having a cool abstract quality devoid of real human feeling or drama. His one notable exception is his film Une Vie (195, an adaptation of Maupassant that was exquisitely photographed by Claude Renoir.