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
From RT Users Like You!
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.
Unlike her older sister Norma Talmadge, whose specialty was heavy drama, American silent film actress Constance Talmadge was most comfortable with bubbly light comedy. Beginning her career as a $5-a-day extra, Constance scored her first success as the tomboyish Mountain Girl in the Babylonian segment of director D.W. Griffith's gargantuan multi-episode production Intolerance (1916). So popular was her portrayal that, as a balm to audiences, Griffith refilmed the Moutain Girl's death scene for the Babylonian sequence when it was reissued separately in 1919 as The Fall of Babylon, allowing Talmadge a happy ending. The actress' brother-in-law, producer Joseph M. Schenck, set up the Constance Talmadge Film Company in 1917, giving her full control regarding script and costar approval. Though few of her films survive, Constance Talmadge is still remembered by her aging fans for such sprightly feature comedies as A Virtuous Vamp (1919), Polly of the Follies (1922) and Her Sister from Paris (1925), the last-mentioned film providing an early costarring opportunity for Ronald Colman. Not wishing to bother with the advent of talking pictures, Talmadge retired after shooting her last silent film, Venus (1929), in France. Too wealthy to worry about her fame passing, Constance Talmadge devoted her last years to her fourth husband and her charity work, never once entreating or even considering a movie comeback.