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
From RT Users Like You!
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.
Sydney Greenstreet ranked among Hollywood's consummate character actors, a classic rogue whose villainous turns in motion pictures like Casablanca and The Maltese Falcon remain among the most memorable and enigmatic depictions of evil ever captured on film. Born December 27, 1879, in Sandwich, England, Greenstreet's initial ambition was to make his fortune as a tea planter, and toward that aim he moved to Sri Lanka at the age of 18. A drought left him penniless, however, and he soon returned to England, where he worked a variety of odd jobs while studying acting in the evening under Ben Greet. In 1902, he made his theatrical debut portraying a murderer in Sherlock Holmes, and two years later he traveled with Greet to the United States. After making his Broadway debut in Everyman, Greenstreet's American residency continued for the rest of his life.Greenstreet remained exclusively a theatrical performer for over three decades. He shifted easily from musical comedy to Shakespeare, and in 1933 he joined the Lunts in Idiot's Delight, performing with their Theatre Guild for the duration of the decade. While appearing in Los Angeles in a touring production of There Shall Be No Night in 1940, Greenstreet met John Huston, who requested he play the ruthless Guttman in his 1941 film adaptation of Dashiell Hammett's The Maltese Falcon. A heavy, imposing man, Greenstreet was perfectly cast as the massive yet strangely effete Guttman, a dignified dandy who was in truth the very essence of malevolence. Making his film debut at the age of 62, he appeared alongside the two actors with whom he would be forever connected, star Humphrey Bogart and fellow character actor Peter Lorre. The acclaim afforded Greenstreet for The Maltese Falcon earned him a long-term contract with Warner Bros., where, after appearing in They Died With Their Boots On, he again played opposite Bogart in 1942's Across the Pacific. In 1942, he appeared briefly in Casablanca, another reunion with Bogart as well as Lorre. When Greenstreet and Lorre again reteamed in 1943's Background in Danger, their fate was sealed, and they appeared together numerous other times including 1944's Passage to Marseilles (again with Bogart), The Mask of Dimitrios, The Conspirators, and Hollywood Canteen, in which they portrayed themselves. Yearning to play comedy, Greenstreet got his wish in 1945's Pillow to Post, which cast him alongside Ida Lupino. He also appeared opposite Bogart again in the drama Conflict and with Barbara Stanwyck in Christmas in Connecticut. In 1952, he announced his retirement, and died two years later on January 18, 1954.
I couldn't be fonder of you if you were my own son. But, well, if you lose a son, it's possible to get another. There's only one Maltese Falcon.
Cornelius Latimer Leyden:
Goodbye Mr. Peters. Au revoir. Sorry you won't be able to go to the Indies now.
You see, there's not enough kindness in the world.
If you kill, me how you going to get the bird? And if I know you can't afford to kill me, how you going to scare me into giving it to you?
Kasper Gutman the Fat Man:
Well, sir, there are other means of persuasion besides killing and threatening to kill.
Yes, that's . . . That's true. But, there're none of them any good unless the threat of death is behind them. You see what I mean? If you start something, I'll make it a matter of your having to kill me or call it off.
Kasper Gutman the Fat Man:
That's an attitude, sir, that calls for the most delicate judgement on both sides. Because, as you know, sir, in the heat of action men are likely to forget where their best interests lie and let their emotions carry them away.
Then the trick from my angle is to make my play strong enough to tie you up, but not to make you mad enough to bump me off against your better judgement.