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.
An artistic maverick whose reputation in the United States did not match his prestige in Europe, Robert Aldrich directed some of Hollywood's more intense examinations of violence, morality, and survival during the 1950s and '60s. Scion of a prominent New England family, Aldrich played football and studied economics at the University of Virginia. Rather than enter the family businesses, however, Aldrich preferred movies. Securing a job at RKO through connections, Aldrich headed to Hollywood in 1941. Benefiting from the shortage of manpower (and an old injury) with the advent of WWII, Aldrich was quickly promoted to assistant director and production manager. At RKO and independent Enterprise Studios, and as a free agent, Aldrich spent the next decade working for a number of esteemed directors, including Lewis Milestone, Joseph Losey, Robert Rossen, Abraham Polonsky, and Charlie Chaplin, learning about moviemaking on such films as Force of Evil (1948), Body and Soul (1947), and Limelight (1952). Branching out into TV directing in the early '50s, including the China Smith series starring Dan Duryea, Aldrich got his chance at feature directing with sports programmer The Big Leaguer (1953), starring Edward G. Robinson. Following this inauspicious debut with more TV work, Aldrich shot the low-budget spy thriller World for Ransom (1954) with much of the China Smith crew and star Duryea during the series' break. Aldrich finally broke out of TV and B-movies when Burt Lancaster's company, Hecht-Lancaster, hired the promising director (and erstwhile employee) to helm the Technicolor A-Western Apache (1954). Apache became Aldrich's first hit, and Lancaster and Aldrich re-teamed for the more expansive SuperScope Western Vera Cruz (1954). Despite American critical disdain, Vera Cruz was an even bigger hit, giving Aldrich carte blanche to make his next film as he wished. Asked by producer Victor Saville to adapt one of Mickey Spillane's Mike Hammer novels, Aldrich transformed Kiss Me Deadly (1955) into a film noir masterpiece of moral relativism and anarchic style. Starring Ralph Meeker as an unabashedly thuggish Hammer, Kiss Me Deadly evoked Cold War paranoia in its story about chasing down the Great Whatsit, while Aldrich's extreme lighting, high- and low-angle shots, moving camera, and creative soundtrack enhanced the chaotic, apocalyptic atmosphere. Though not as popular as Vera Cruz, Kiss Me Deadly was successful enough to enable Aldrich to form his own production company, Associates and Aldrich. Turning to headier source material, Aldrich then adapted Clifford Odets' scathing play The Big Knife. Shot in noir-esque black-and-white, The Big Knife (1955) unstintingly portrayed the Hollywood venality that breaks Jack Palance's reluctant movie star. A critical hit, The Big Knife won the Venice Film Festival's Silver Lion, a then-rare accolade for a filmmaker with less than three years' experience of directing films. Regardless of his exalted status, The Big Knife's financial failure compelled Aldrich to sign a contract with Columbia. Moving away from his controversial screen brutality, Aldrich made the "classy soap opera" Autumn Leaves (1956). Centering on Joan Crawford and Cliff Robertson's troubled May-December romance, Autumn Leaves garnered Aldrich the Silver Bear at the Berlin Film Festival. Returning to the troubled realm of masculine violence, Aldrich turned out the taut antiwar war film Attack (1956), featuring Palance and Lee Marvin; Attack collected the critics' award at Venice. Aldrich's deal with Columbia fell apart, however, when he was fired during production of The Garment Jungle (1957). Aldrich later summed up the period 1958 to 1962 as "four bad films and the dissolution of a marriage." While not blameless for the films' weaknesses, Aldrich was upset when The Angry Hills (1959) and Ten Seconds to Hell (1959) were reedited by the studio; oddball Western