The Tomatometer score — based on the opinions of hundreds of film and television critics — is a trusted measurement of critical recommendation for millions of fans. 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 below 60%.
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.
Few actors were more beloved of audiences across multiple generations -- and from more different fields of entertainment -- than Edward Everett Horton. For almost 70 years, his work delighted theatergoers on two coasts (and a lot of the real estate in between) and movie audiences, first in the silents and then in the talkies, where he quickly became a familiar supporting player and then a second lead, often essaying comically nervous "fuddy-duddy" parts, and transcended the seeming limitations of character acting to rival most of the leading men around him in popularity; he subsequently moved into television, both as an actor and narrator, and gained a whole new fandom for his work as the storyteller in the animated series "Fractured Fairy Tales." Edward Everett Horton was born in Brooklyn, NY, in 1886 -- when it was a separate city from New York City -- the son of Edward Everett Horton and Isabella Diack Horton. His grandfather was Edward Everett Hale, the author of the story The Man Without a Country. He attended Boys High School and later studied at the Brooklyn Polytechnic Institute and at Oberlin College in Ohio, and Columbia University in Manhattan. His path to graduation was thwarted when he joined the university's drama club -- despite his 6'2" build, his first role had him cast as a woman. He never did graduate from Columbia, but he embarked on a performing career that was to keep him busy for more than six decades. In those days, he also sang -- in a baritone -- and joined the Staten Island-based Dempsey Light Opera Company for productions of Michael Balfe's The Bohemian Girl and Gilbert & Sullivan's The Mikado. His singing brought him to the Broadway stage as a chorus member, and he subsequently spent three years with the Louis Mann company honing his acting skills while playing in stock -- Horton made his professional acting debut in 1908 with a walk-on role in The Man Who Stood Still. By 1911, he was working steadily and regularly, and often delighting audiences with his comedic talents, and remained with the Mann company for another two years. He was a leading man in the Crescent Theatre stock company, based in Brooklyn, and spent the remainder of the teens playing leading roles in theater companies across the United States, eventually basing himself in Los Angeles. Horton entered movies in 1918, and became well known to screen audiences with his performance in the 1923 version of Ruggles of Red Gap. He was identified almost entirely with comedic work after that, and by the end of the '20s had starring roles in a string of comedic shorts. It was after the advent of sound, however, that he fully hit his stride on the big screen. Horton's first talking feature was The Front Page (1931), directed by Lewis Milestone, based on the hit play by Ben Hecht and Charles MacArthur, in which he played fidgety reporter Roy Bensinger. Starting in the early '20s, Horton based most of his stage work on the West Coast, producing as well as acting. He leased the Majestic Theater in Los Angeles and found success with works such as The Nervous Wreck, in which he worked with Franklin Pangborn, a character actor who would also -- like Horton -- specialize in nervous, fidgety roles (though Pangborn, unlike Horton, never rose beyond character actor and supporting player status in features). In 1932, he leased the Hollywood Playhouse, which he subsequently operated for a season starring in Benn Wolfe Levy's Springtime for Henry, in which he performed more than 3000 times, making enough money from that play alone to buy his summer home in the Adirondacks. Horton fit in his movie work in between productions of Springtime for Henry (which was filmed in 1934, without Horton), and was always in demand. Amid his many roles over the ensuing decade, Horton worked in a half-dozen of the Fred Astaire/Ginger Rogers musicals at RKO. His other notable roles onscreen during the 1930s included a portrayal of The Mad Hatter in the 1933 Alice in Wonderlan