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.
One of Hollywood's most luminous actresses, Gene Tierney remains best remembered for her performance in the title role of the 1944 mystery classic Laura. Born November 20, 1920, in Brooklyn, NY, Tierney was the daughter of a wealthy insurance broker, and was educated in Connecticut and Switzerland; she traveled in social circles, and at a party met Anatole Litvak, who was so stunned by her beauty that he requested she screen test at Warner Bros. The studio offered a contract, but the salary was so low that her parents dissuaded her from signing; instead, Tierney pursued a stage career, making her Broadway debut in 1938's Mrs. O'Brien Entertains. A six-month contract was then offered by Columbia, which she accepted. However, after the studio failed to find her a project, she returned to New York to star on-stage in The Male Animal. The lead in MGM's National Velvet was offered her, but when the project was delayed Tierney signed with Fox, where in 1940 she made her film debut opposite Henry Fonda in the Fritz Lang Western The Return of Frank James.A small role in Hudson's Bay followed before Tierney essayed her first major role in John Ford's 1940 drama Tobacco Road. She then starred as the titular Belle Starr. Fox remained impressed with her skills, but critics consistently savaged her work. Inexplicably and wholly inappropriately, she was cast as a native girl in three consecutive features: Sundown, The Shanghai Gesture, and Son of Fury. Closer to home was 1942's Thunder Birds, in which Tierney starred as a socialite; however, she was just as quickly returned to more exotic fare later that same year for China Girl. A supporting turn in Ernst Lubitsch's classic 1943 comedy Heaven Can Wait signalled an upward turn in Tierney's career, however, and the following year she starred as the enigmatic Laura in Otto's Preminger's masterful mystery. After 1945's A Bell for Adano, she next appeared as a femme fatale in the melodrama Leave Her to Heaven, a performance which won her a Best Actress Academy Award nomination -- her most successful film to date.Tierney continued working at a steady pace, and in 1946 co-starred with Tyrone Power in an adaptation of the W. Somerset Maugham novel The Razor's Edge. The 1947 The Ghost and Mrs. Muir was her last major starring role; from 1948's The Iron Curtain onward, she appeared primarily in smaller supporting performances in projects including the 1949 thriller Whirlpool and Jules Dassin's classic 1950 noir Night and the City. After 1952's Way of a Gaucho, Tierney's Fox contract expired, and at MGM she starred with Spencer Tracy in Plymouth Adventure, followed by the Clark Gable vehicle Never Let Me Go. The latter was filmed in Britain, and she remained there to shoot Personal Affair. While in Europe, Tierney also began a romance with Aly Khan, but their marriage plans were met by fierce opposition from the Aga Khan; dejectedly she returned to the U.S., where she appeared in 1954's Black Widow.After 1955's The Left Hand of God, Tierney's long string of personal troubles finally took their toll, and she left Hollywood and relocated to the Midwest, accepting a job in a small department store; there she was rediscovered in 1959, and Fox offered her a lead role in the film Holidays for Lovers. However, the stress of performing proved too great, and days into production Tierney quit to return to the clinic. In 1960 she married Texas oil baron Howard Lee. Two years later, Fox announced her for the lead role in Return to Peyton Place, but she became pregnant and dropped out of the project. Finally, Tierney returned to screens in 1962's Advise and Consent, followed a year later by Toys in the Attic. After 1964's The Pleasure Seekers, she again retired, but in 1969 starred in the TV movie Daughter of the Mind. Remaining out of the public eye for the next decade, in 1979 Tierney published an autobiography, Self-Portrait, and in 1980 appeared in the miniseries Scruples; the performance was her last -- she
[while applying lipstick] Cuz I can afford him, and understand him. He's no good but he's what I want. I'm not a nice person Laura, and neither is he. He knows I know he's - just what he is. He also knows that I don't care. We belong together because we're both weak and can't seem to help it. That's why I know he's capable of murder; he's like me.
Cause I can afford him, and understand him. He's no good but he's what I want. I'm not a nice person Laura, and neither is he. He knows I know he's - just what he is. He also knows that I don't care. We belong together because we're both weak and can't seem to help it. That's why I know he's capable of murder; he's like me.
I knew there was something on my mind. What is it? Oh yes, will you dine with me tomorrow night?
No, that isn't what's worrying me. It's the next night.
But Shelby, I can't....
Good. And what about three weeks from tonight? And all the nights in between?
Don't you think I have any other engagements?
What about two months from now and the month after that?
What about next year?
That's all settled. What about breakfast?
You seem to be completely disregarding something more important than your career: my lunch.
Do you really believe that?
I never heard of anything so selfish.
In my case, self absorption is completely justified. I have never discovered any other subject quite so worthy of my attention.
But, you write about people with such - real understanding and sentiment. That's what makes your columns so good.
The sentiment comes easy at fifty cents a word.
If that's the way you really feel - you must be very lonely.
Will you kindly continue this character analysis elsewhere? You begin to bore me.