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.
Von Trier has said he wanted to make a genre horror picture, but he couldn't even come up with a decent metaphor: The climax is out of a Grade C hack-'em-up with people chasing each other through the woods with axes and knives.
Though it's hard to deny the fierce purity of Gainsbourg's performance, Antichrist plays like an incoherent mix of Gothic horror claptrap and Bergmanesque power struggle. I was more bored and puzzled than shattered and provoked.
I'm inclined to agree with a colleague who told me he could swing with Antichrist when it was simply unstable but couldn't go with it when it turned insane. It's a useful distinction. And yet the first hour...is pretty stunning.
This is a classic case of a filmmaker believing he has found a greater truth and attempting with only middling success to regurgitate it in a film. And, like all vomit, you can kind-of see what it's composed of but the smell drives you away.
A word to the squeamish: there is no shame in leaving as the tools-and I use the word advisedly-come out. In a way, you will be getting the best of Antichrist, which until now has been a film of awkwardness, confusion, and great beauty.
A troubling but refreshing sense of an artist uncloaked. A violent conflict of ideas and images. Any satisfaction from loose ends tied and questions answered? Forget it. It's just not that sort of film.
Visually gorgeous to a fault and teeming with grandiose if often fascinating ideas that overwhelm the modest story that serves as their vehicle, this may be the least artistically successful film von Trier has ever made.
Lars von Trier cuts a big fat art-film fart with "Antichrist." As if deliberately courting critical abuse, the Danish bad boy densely packs this theological-psychological horror opus with grotesque, self-consciously provocative images.