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.
As absurdist angst-ridden comedy, "After Hours" isn't flawless. As Martin Scorsese's way of using art to cathartically shake off bugaboos, exorcise demons and bounce back stronger after major dream-project setbacks, it's its own sort of masterpiece.
After Hours is dazzling movie making; you could get a giddy kick just from cinematographer Michael Ballhaus' shot as a set of house keys floats down toward the camera, tossed from a top-floor apartment.
Like many of Scorsese's earlier pictures, After Hours has a fascination with the bizarre. But the new film is lighter in spirit than any Scorsese film, with the possible exception of Alice Doesn't Live Here Anymore.
Scorsese's orchestration of thematic development, narrative structure, and visual style is stunning in its detail and fullness; this 1985 feature reestablished him as one of the very few contemporary masters of filmmaking.
A SoHo version of Ulysses? A male rendition of Alice in Wonderland? In Scorsese's noir comedy, a bored, repressed Everyman becomes an alien in his own town, subjected to one surreal nightmare after another, mostly by women.