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.
A movie that stands with the best prison thrillers from any country; a film that vividly illustrates the connection between prison and the violent, radical form of Islam that keeps much of Europe on edge.
The film never succumbs to the pitfalls of the prison-movie genre, and there's something poetic about how Audiard, in the midst of all this violence, manages to make a punch to the stomach seem like the most violent act of all.
Writer-director Jacques Audiard manages to replicate The Godfather's most elusive element, not the dark comedy or the operatic bloodletting, but the incremental corruption of a decent man into a willful, coldhearted killer.
A Prophet is as gripping as any recent film about crime and criminals, although its ill-focused attempts to incorporate elements of the supernatural (prophetic visions and ghostly apparitions) are bizarre and ineffective.
Rahim and Arestrup are both so outstanding that if this were an English-language film, they'd probably be nominated for Oscars, too. Read more: http://www.nydailynews.com/entertainment/movies/2010/02/26/2010-02-26_short_takes_a_prophet_art_of_the_steal_y
Successfully balancing art-film portraiture with a gangster picture's plot, the film may be one of the more conventional movies in this year's Cannes competition, it's also been one of the more satisfying.
French master Jacques Audiard has challenged the thus-far mostly middling Cannes competition with a powerful prison drama that's an old-fashioned Bildungsroman in in-your-face, intensely realistic disguise.