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.
The roundelay structure and Hitchcockian nods could have easily given way to a sardonic puppet theater, but Sachs and screenwriter Oren Moverman care too much about their characters to turn them into pawns
The ensemble cast chemistry is superb in its nearly suffocating tangle of repressed passions, but the family-values wrap-up of all these messy erotic tensions feels ultimately far too pat and unresolved.
Thought-provoking themes swirl around in this drama, brought to life by a skilled cast and a director who plays with Hitchcockian themes and imagery. In the end, it feels a bit undercooked, but the actors keep us glued to the screen.
The layers of deception are as meticulously constructed as the impeccable 1940s production and costume design. Unfortunately, the film doesn't maintain that distinctive noir cruelty, as hard as red lacquered finger nails.
It looks beautiful, and the convoluted plotting is initially the right side of Hitchcock pastiche, but the central conundrum is teased out over so many twists and false climaxes that ultimately it's a shrug, not a shock, which greets the denouement.