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.
Propelled by the beautiful camerawork and scenery that moves back and forth between pastoral idyll and urban chaos as it takes the viewer on a journey that ends with a final image as quiet and beautiful as any in recent cinema.
The Edge of Heaven explores topics as varied as the tensions that accompany multiculturalism and globalization to the simpler human drama of how individuals cope with losses for which they bear a portion of the responsibility.
In a single two-hour film, Akin strikes the notes of emotional distress, geographical dissonance, generational discord, and nearly divine convergence that Kieslowski orchestrated over nearly six hours.
The film has a bit of the overdetermined, cosmic-coincidence quality you find, for example, in a work like Babel. These are troubled people caught in the grip of fate, yet Akin, I think, has the skill and the insight to make do with a little less p
Like a more personal, less pretentious version of Alejandro Gonzalez Inarritu's Babel, this spiraling dissection of circumstance, choice and fate is more about thoroughness of vision than tricky storytelling.
The point at which a good director crosses the career bridge to become a substantial international talent is vividly clear in The Edge of Heaven, an utterly assured, profoundly moving fifth feature by Fatih Akin.