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.
an enjoyable minor-key Irish romance enlivened by excellent performances - including a wonderfully observed turn by Aidan Quinn as an insufferably boorish American typer of best-sellers - but marred by the occasional intrusion of a bad horror movie
The high caliber acting is wasted on the bland and dull story. Despite an 88-minute running time, the movie is excruciatingly slow and grows tiresome as nothing much happens. It maintains a melancholy mood with the characters contemplating deep thoughts r
It's basically a hang-dog middle-aged love story but McPherson directs it like he's doing Pinter - the bland comings and goings of life are freighted with much meaning, but what's missing is a felt sense of existential dread.
You can't help being haunted by the thought that if McPherson had picked one genre and stuck to it he could have had a serious hit on his hands, as it is, the terrific performances are eclipsed by the unsettled tone.
The Eclipse shoots willy-nilly for too many registers of fear, and it never emanates a confident sense of what we are learning about these men and women by watching them panic, shudder, and second-guess themselves.
McPherson's good actors remind you how stage plays generate interest solely through talk and, as The Eclipse gets further away from cinema, a bigger mystery develops: Why is McPherson's filmmaking so uncinematic?
McPherson isn't really interested in making a horror film; he's merely using the genre's tropes as part of an adult romance about accepting tragedy and moving on. As a result, the energy slacks off in the final third.