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.
Carol Reed was born into a family with some of the best artistic/theatrical credentials of any film director who ever lived. His father was Sir Herbert Beerbohm Tree (1853-1917), the leading actor of his day and, among many other credits, the stage's first Henry Higgins, and his mother was Tree's mistress, May Pinney Reed. Born in London, Carol Reed was educated at Kings School, Canterbury, just slightly ahead of his fellow future filmmaker Michael Powell. Reed's father passed away when he was ten years old, leaving his mother to raise him with help from a small bequest. He was drawn to the theater from an early age and wanted to become an actor, but his mother had little confidence in his ability to earn a living in that field, and encouraged him to try farming. Reed made his stage debut at age 17 as a member of Sybil Thorndike's theater company, and at 20, joined Edgar Wallace's company, where he advised the author on the adaptations of his books into plays and also served as a stage manager as well as an actor. Reed turned to movies in the early '30s, joining Associated British Talking Pictures in 1932 as a dialogue director and assistant to the studio's founder, director/producer Basil Dean. Reed made the jump to the director's chair in 1935, initially in association with Robert Wyler on It Happened in Paris. This period in Reed's career, characterized by low-budget productions, saw him making as many as three feature films a year. These were successful films, and often stood out for what style Reed was able to manifest in them, beginning with the comedy Laburnum Grove (1936). He also directed Talk of the Devil (1936); the film was co-written by Reed and future director Anthony Kimmins (who collaborated on Reed's first five movies). Reed's most distinguished early movie was The Stars Look Down (1939), starring Michael Redgrave, a drama dealing with the plight of impoverished Welsh coal miners. The film that put Reed on the map as a popular stylist was Night Train to Munich (1940). Written by Frank Launder and Sidney Gilliat, the future writer/director/producer team, it was a follow-up to their script for Hitchcock's The Lady Vanishes (1938). With the outbreak of the Second World War, Reed joined the British army's film unit, where he made a series of documentaries intended as acclimation and propaganda for new recruits, and made the best full-length feature of the war dealing with British infantrymen, The Way Ahead (1944), co-authored by Eric Ambler and Peter Ustinov. It was immediately after the war that Reed ascended to the front rank of British filmmakers with Odd Man Out (1947). This coincided with his becoming his own producer, and for the next four years, everything he touched as a director turned to gold. Odd Man Out was a beautifully complex psychological thriller that overcame its grim subject to become a critical and box-office success. Along with Michael Powell and Emeric Pressburger, David Lean, and Launder and Gilliat, Reed was part of that generation of British filmmakers whose movies transformed the British film industry, for a time, into a serious rival to Hollywood. Reed's next movie, The Fallen Idol (1948), based on the work of author Graham Greene, told the story of a boy trying desperately to hide the guilt of his friend, a butler suspected of killing his wife. It was a deeply atmospheric film, filled with haunting emotional resonances, and was a critical and box-office success. And then came The Third Man (1949), based on Greene's novella and produced jointly in association with Alexander Korda and David O. Selznick. A manhunt set amid the corruption and misery of postwar Vienna, the movie transcended the thriller genre, partly through a quintet of brilliant performances by Orson Welles, Joseph Cotten, Alida Valli, Trevor Howard, and Bernard Lee, as well as Robert Krasker's atmospheric photography, and, overall, a uniquely wry sense of humor, courtesy of Ree