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.
From the Critics
From RT Users Like You!
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 in life, the presence of Welles never fails to overtake things and McKay's command of the subject is so Welles-ian that when he's in a scene everyone else fades a little. And neither [Linklater] nor the film ever quite recover from that.
There's nothing interesting about Efron's character which means that a film built around him can't hold our attention for long, with the possible exception of a certain audience demographic who still thinks he's dreamy.
The filmmakers would have done better to make a film called "Orson Welles at the Mercury," and construct it around Christian McKay's impeccable interpretation of the man he played on the New York stage in "Rosebud: The Lives of Orson Welles."
Working with the fact-based eponymous novel by Robert Kaplow, first-time screenwriters Holly Gent Palmo and Vince Palmo are content to follow the contours of a standard behind-the-scenes story about the staging of a play.
Whenever Christian McKay is on screen, it's transportive. So it's a shame that Linklater didn't see the egotistical irony in the title and just make a film all about Orson Welles. It's what he would have wanted.
I'm getting very weary of filmmakers making up conversations, inventing motives and creating events so that their "based on a real story" movie can get to "the real truth." Because, actually, there's only one real truth.
It's so dull. While some actors have praised the movie for its accurate portrayal of backstage life, if you haven't trodden the boards it's much harder to get caught up in the A-to-B dramas facing the troupe, or Richard and Sonja's affair.
The film fails as a character portrait, a drama or a snapshot of an era, while simultaneously offering tantalising hints of each. Apart from watching the rising star McKay strut his stuff, there's little to recommend in Me and Orson Welles.
The highlight is McKay, who conjures the bluster and charisma of Welles, as well as bearing an uncanny physical resemblance to the boy-genius. But the screenplay reveals little about his mercurial character.