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.
Perhaps Scott's ever-restless shooting style doesn't quite differentiate between the peaks and troughs of the narrative, yet it's still an engrossing account of the intersection between process and ethics.
Good solid far-fetched multiplex action-adventure fare in the Bondian mode, with awe-inspiring technology and just enough moral philosophizing laced through it to give the mind a little something to chew on.
DiCaprio's solid, though I wonder if a real CIA agent could get away with looking so earnest every second. Crowe has the right idea, in addition to all the fun: Just throw it away, throw it away and pretty soon you build yourself a clever characterization
Its chief bid at seriousness, a confrontational colloquy with the top terrorist near the end of the film, comes across as the awkward regurgitation of a hastily swallowed subscription to The Economist.
Body of Lies is a riddle wrapped in an enigma served with a side of mystery meat. It's very watchable, with some entertaining action beats, kind of a Syriania as scripted by Tom Clancy, a The Kingdom with a little less C.S.I.
The movie isn't witty or memorable, but it keeps you on edge, and it's the first war-on-terror film to weave its anti-U.S. politics so deeply into the narrative that the characters don't need to speechify.
Art may be imitating life, but it sure makes for dull movies. Body of Lies is the latest example of what a crutch this has become -- show grainy satellite images, cut to a chase in a crowded bazaar, discuss 'intel'. Repeat.
Body of Lies has its share of exciting moments -- Scott remains a master at directing physical action -- and it certainly couldn't be more timely. But it's also a safe and predictable movie about a subject that is neither.
Body of Lies is most alive while relishing the surveillance and communications tools abused by Hoffman, tools that supply him military intelligence, but not the smarts or scruples to effectively use it.
Working from a screenplay by William Monahan, Scott takes rusty '80s clichés from the days when we were playing nuclear chicken with Russia and retrofits them to the post-9/11 world. He exposes how weary those old spy tropes really are.
Each character thinks that what he's doing is the right course for the greater good. But when you break down Body of Lies to its most fundamental elements, it's really about disagreeing with your boss.
Neither the location-based verisimilitude of Ridley Scott's shooting style nor the estimable Middle East expertise of source-material author David Ignatius can disguise Body of Lies as anything other than the contrived phony-baloney it is.