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.
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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.
Keisuke Kinoshita is considered one of the cinematic masters of the Japanese postwar generation, a generation almost completely overshadowed by the titanic presence of Akira Kurosawa. Kinoshita's films combine wild cinematic invention with sentimental plot. Though his films found a wide audience in Japan, but they have rarely been seen abroad. Born in December 1912, Kinoshita was the son of a grocer in the Hamamatsu, Shizuoka prefecture. From a very young age, he became a passionate cinema buff. Though he dutifully attended a technical high school at his parents' behest, he dreamed of work in film. Upon hearing that the best way to crack into the industry was as a cinematographer, Kinoshita promptly enrolled in the Oriental Photography School. In 1933, after graduation, he applied at Shochiku studios for a job as an assistant cameraman, but he could only muster a job in the film-processing lab. Eventually, he got a job as an assistant to Yasujiro Shimazu's cinematographer. Though he spent three years as a camera assistant, he was frequently reprimanded for watching acting rehearsals instead of focusing on the camera, until Kozaburo Yoshimura, an assistant under Shimazu who would later become a major director in his own right, suggested that Kinoshita transfer to the directors' section. Two years later, Kinoshita managed to do just that after Shimazu's chief assistant Shiro Toyoda was promoted to director. He spent six years along side Yoshimura as assistant director, working exceedingly long hours and enduring Shimazu's famously autocratic demeanor on the set. In 1943, Kinoshita directed his first feature Hana Saku Minato. A light comedy about the difference between country bumpkins and city slickers, the film showcased Kinoshita's deft comic touch. Though he would return to comedy repeatedly throughout his long and productive career, Kinoshita showed a willingness and a remarkable ability to work in virtually every genre found in Japanese cinema. Just as Kurosawa's first film, Sugata Sanshiro (which also debuted 1943), heralded his signature existential humanism, so did Hana Saku Minato presage an enduring theme which would run throughout Kinoshita's works: a fascination with innocence and purity. After his second effort, an ostensible domestic propaganda film entitled Army (1944), ran afoul of wartime censors, he withdrew from filmmaking altogether until the war was over. Kinoshita reached his creative peak during the '50s with a series of popular domestic comedies and dramas. Almost all of these films featured women who are thoroughly good-hearted and naïve. In his joyously optimistic yet sharply satirical comedies such as Carmen Comes Home (1951) and Carmen's Pure Love (1952), this purity manages to overwhelm the societal barrier of class and geography. In his bleak tear-jerking tragedies, society wins out. In Nihon no Higeki, a widowed mother works and slaves only to be rejected by her greedy, materialistic children. In his masterpiece Nijushi no Hitomi (1952), a young schoolteacher who lost both child and husband to the war teaches peace to her young students only to be fired by the militaristic authorities. Like the women that populate the films of Kenji Mizoguchi, the women in Kinoshita's tragedies sacrifice, nurture, and endure.Though his plots tend toward the traditional and sentimental, Kinoshita continuously experimented with his film's visual style. In Morning for the Osone Family (1946), he shot the entire film within a single interior set of a house (save the final scene, which the U.S. occupation forced him to shoot at a prison) while his 1948 work Onna was shot entirely on the craggy hills of the Atami peninsula. His 1951 comedy Carmen Comes Home was the first feature in Japan to be entirely shot in color. The Ballad of Narayama makes deft use of spotlights, expressionistic color, and sets that recall Kabuki theater while You Were like a Wild Chrysanthemum (1