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.
At the tender age of eight, Thelma Ritter was regaling the students and faculty of Brooklyn's Public School 77 with her recitals of such monologues as "Mr. Brown Gets His Haircut" and "The Story of Cremona". After appearing in high school plays and stock companies, Ritter was trained at the American Academy of Dramatic Arts. Throughout the Depression years, she and her actor husband Joe Moran did everything short of robbing banks to support themselves; when vaudeville and stage assignments dried up, they entered slogan and jingle contests. Moran forsook performing to become an actor's agent in the mid-1930s, while Ritter also briefly gave up acting to raise a family. She started working professionally again in 1940 as a radio performer. In 1946, director George Seaton, an old friend of Ritter, offered her a bit role in the upcoming New York-lensed Miracle on 34th Street. Ritter's single scene as a weary Yuletide shopper went over so well that 20th Century-Fox head Darryl F. Zanuck insisted that the actress' role be expanded. After Ritter garnered good notices for her unbilled Miracle role, Joseph L. Mankiewicz wrote a part specifically for her in his 1948 film A Letter to Three Wives (1949). She was afforded screen billing for the first time in 1949's City Across the River. During the first few years of her 20th Century-Fox contract, Ritter was Oscar-nominated for her performance as Bette Davis' acerbic maid in All About Eve, and for her portrayal of upwardly mobile John Lund's just-folks mother in The Mating Season (1951). In all, the actress would receive five nominations -- the other three were for With a Song in My Heart (1952), Pickup on South Street (1953) and Pillow Talk (1959) -- though she never won the gold statuette. Ritter finally received star billing in the comedy/drama The Model and the Marriage Broker (1952), in which she assuages her own loneliness by finding suitable mates for others. After a showcase part as James Stewart's nurse in Hitchcock's Rear Window (1954), Ritter made do with standard film supporting parts and starring roles on TV. In 1957, Ritter appeared as waterfront barfly Marthy in the Broadway musical New Girl in Town, a bowdlerization of Eugene O'Neill's Anna Christie. Ritter interrupted her still-thriving screen career in 1965 for another Broadway appearance in James Kirkwood's UTBU. Shortly after a 1968 guest appearance on TV's The Jerry Lewis Show, Ritter suffered a heart attack which would ultimately prove fatal; the actress' last screen appearance, like her first, was a cameo role in a George Seaton-directed comedy, What's So Bad About Feeling Good? (1968). Ritter's daughter, Monica Moran, also pursued an acting career from the 1940s through the 1970s.