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.
Though he was physically "wrong" as a dancer, Bob Fosse never let those limitations impede his artistic ambition. Molding his own imperfections into a distinct, sinuous style, Fosse left his mark on Broadway and brought an innovative dimension of sophistication and sensual energy to the movie musical in such films as Cabaret (1972) and All That Jazz (1979).Born in Chicago, Fosse began dance lessons at age nine. Though physically small and asthmatic, Fosse was a dance prodigy; by high school, he was already an experienced hoofer in Chicago's burlesque scene. After spending two years in the Navy, Fosse moved to New York in 1947. Finding work in the show Call Me Mister, Fosse and fellow dancer/first wife Mary Ann Niles began performing as a couple after Call Me Mister closed, with Fosse choreographing their routines. After meeting his second wife, dancer Joan McCracken, in 1950, Fosse began studying acting and dance at the American Theater Wing. With pigeon toes and slouching posture, Fosse hardly fit the dance ideal so he focused more on rhythm and style to make up for what he lacked physically. Spotted by a talent scout for MGM in 1952, Fosse headed to Hollywood to become a musical star. Though he displayed sufficient charm in Give a Girl a Break (1953) and The Affairs of Dobie Gillis (1953), Fosse became disillusioned with Hollywood. Before he left, however, Fosse was given the chance to choreograph his brief pas de deux with Carol Haney in the screen version of Kiss Me Kate (1953). Based on his 48 seconds of sleek, jazzy moves in Kate's "From This Moment On," Fosse was hired to choreograph Jerome Robbins and George Abbott's 1954 Broadway production The Pajama Game. After winning the Tony for choreography, Fosse re-teamed with Abbott and Robbins for 1955's Damn Yankees, devising a then-shocking "striptease" to "Whatever Lola Wants" for his eventual third wife, Gwen Verdon. Between these shows, Fosse returned to Hollywood to co-star in and choreograph My Sister Eileen (1955). His first feature-length stint designing dances for film, Fosse made the most of the widescreen, particularly in his ebullient "Challenge Dance." Fosse's gift for merging film and dance was confirmed with the hit adaptations of The Pajama Game (1957) and Damn Yankees (1958). While The Pajama Game's exuberant outdoor number "Once a Year Day" revealed Fosse's ability to stage a dance over expansive locations, "Steam Heat" became a primer for the Fosse vocabulary of knock-knees, forward-thrust hips, hats, and wrist-snaps. Damn Yankees gave Verdon her only starring turn in a movie musical; the snappy "Who's Got the Pain" mambo was Fosse's only screen appearance dancing with Verdon.Fosse, however, stuck with Broadway until the late '60s, choreographing and then directing eight musicals between 1956 and 1966, including New Girl in Town and Bells Are Ringing. After making his directorial debut with the Verdon hit Redhead in 1959, Fosse did double duties on the smash How to Succeed in Business Without Really Trying and the Federico Fellini-meets-Broadway hit Sweet Charity. Returning to films with the choreography for How to Succeed in Business Without Really Trying (1967), Fosse agreed to adapt Sweet Charity (1969) if he could direct. With former Pajama Game understudy Shirley MacLaine replacing Verdon as the optimistic hooker Charity, Fosse effectively translated such show stoppers as the rooftop jaunt "There's Got to Be Something Better Than This" and dancehall come-on "Hey Big Spender" to the CinemaScope screen. The dramatic parts, however, were not impressive and Sweet Charity failed.Fosse got another shot at movie-directing when a neophyte producer hired him to adapt Cabaret (1972). Shooting on location in Germany, restricting most of the songs and all of the dances to the cramped Kit Kat Club stage and hiring dancers who looked the part of decadent Berlinites, Fosse gave the film an authentically grungy atmosphere