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.
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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.
Amazing Grace, a prettified take on the life and times of the 18th-century reformer William Wilberforce, carries a strong whiff of piety. It isn't a bad smell; there are notes of roses and treacle in the mix, but also elements of sweat and pain.
Amazing Grace isn't quite an accurate title for this entertaining history lesson, but no one will ever write a song titled 'Amazing 20-Year Period of Parliamentary Maneuvering to End Britain's Role in the Slave Trade.'
Amazing Grace is the stuff of great lessons and inspiration and hope, and if it's all delivered with a bit too much moral push, well, moral push apparently was what William Wilberforce was all about. There's another word for such dweebs: Heroes.
Director Michael Apted has turned out a movie that might be best described as faithful, both in its attention to accuracy and in its acknowledgement of the role faith played in righting one of the great social wrongs.
The film is inspiring. When Wilberforce finally achieves victory, Lord Fox makes a speech, in which the opening words, sadly, still ring true today: 'When people think of great men, rarely do they think of peaceful men.'
Director Michael Apted and his team understand the challenges of this kind of story and have met them with intelligence and energy. [He] has managed to be true to the outsized emotions of the story without giving way to sentimentality.
Amazing Grace arrives Hollywood-slick, a polished British period piece. It manipulates, but then again, so does the song that gives it its title. Movies, like hymns and history, should give us a good cry.
Steven Knight's ponderous script is front-loaded with expository deep background and stuffed into an awkward structure that lumbers back and forth between Wilberforce the early idealist and Wilberforce the broken man.
That rare bird: a tear-jerker about the House of Commons and the antislavery movement in England. Michael Apted's idolatrous portrait of abolitionist William Wilberforce is wall-to-wall with intriguing characters and deeply felt performances.
The rhythms [director Michael Apted and editor Rick Shaine] establish are jumpy and unsteady, afraid of allowing a scene to breathe and flow naturally. If the script were more alive, these matters of visual technique would matter less. But not much less.