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.
Mann excels at staging the chaotic bank jobs and bloody shootouts that were just a day at the office for Dillinger, but even at 140 minutes the movie is so dense with incident that there isn't much room for cultural comment or character development.
Although Public Enemies does not ascend to the heights of Bonnie and Clyde or The Untouchables, it is nevertheless an effective depiction of the final months of the life of one of the United States' most infamous criminals.
Director Michael Mann has taken the story of John Dillinger, and has made from it a drama full of dread and atmosphere, a 140-minute film that in no way seems long, that's a succession of compelling scenes, with no dead wood.
With its measured, team-produced screenplay by Mann, Ronan Bennett, and Ann Biderman, Public Enemies makes heavy business of the notion that Hoover ushered in an era of ethically elastic law-enforcement procedures still recognizable today.
It might sound damning to say that the film resembles a bullet-riddled carcass just barely clinging to life, but it's exactly this ephemeral sensation, which Mann sustains for the entire two hours plus, that distinguishes Public Enemies.
Mann and co-screenwriters Ronan Bennett and Ann Biderman faithfully adapt the Dillinger portion of Bryan Burrough's absorbing 2004 book by the same name, using the same locations where famous breakouts and shootouts occurred.
Michael Mann's extraordinary Public Enemies is an unusual sort of gangster picture, a near-impressionistic recreation of the last year in the life of one of American history's most notorious bank robbers.
Overall impact is muted. Oddly, too, the film is somewhat shortchanged by its great star, Johnny Depp, who disappointingly has chosen to play Dillinger as self-consciously cool rather than earthy and gregarious.