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.
IF Frank Langella hadn't received an Oscar nomination for "Frost/Nixon," it's pretty doubtful that an opaque oddity like Richard Ledes' The Caller would have managed even a one-week vanity booking at the Quad.
The Caller is a loopy, talky, 92-minute two-hander with Elliott Gould and Frank Langella (on a downward spiral following his juicy triumph in Frost/Nixon), written and directed by a force to forget called Richard Ledes.
Sadly, The Caller, the second feature from director Richard Ledes, doesn't allow its leading men the luxury of their legacies, instead forcing a wan quasi-thriller in the space where a laidback character study should be.
Multinational corporate terrorism as narrative second fiddle to mock sleuthing around via poetry and existential sweet nothings dropped into a voice concealment cell phone device. The Caller: Dial-up assisted suicide by gumshoe.