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.
Jia purposely refrains from voicing any opinions here and its authenticity may be arguable, but if pure fiction is so often taken as historical testimony, why shouldn't half-fiction qualify for the same honours?
Jia Zhangke seems to be entering a new phase of his fascinating career with 24 City, a documentary/fiction hybrid that reworks the director's signature techniques and strategies to stunning and self-critical effect.
24 City belies its documentary origins with overtly poetic film language: the film is an elegiac visual symphony of carefully framed compositions, trompe l'oeil camera movements, posed portraits, internal rhymes and mysterious vignettes.
In [Jia Zhangke's] chronicle of the changing fortunes of a defunct but once glorious aeronautic factory and its workers through talking heads and wordless images exclusively, the documentary strain prevails to simple, yet emotionally reverberating effect.
Strongest moments are when the pristine HD lensing by Hong Kong's Yu Lik-wai (a Jia regular) and Wang Yu, and warm string music by Yoshihiro Hanno, take over in montages showing the gradual dismantling of the factory.
An intriguing hybrid of fiction and documentary, this film chronicles the dismantling of a notorious factory in Chengdu to make way for a new luxury community. It's skilfully assembled, but a bit dry for Western audiences.
Punctuated with eyebrow-raising poems about aeronautics factories, its treacle-paced obliqueness will frustrate some viewers. But the pay-off's a layered, haunting portrait of China in its shift to a capitalist economy.
A deeply serious and sombre film, trying to find a way of telling the stories of people affected by the gigantic political and economic changes sweeping that country whose concerns must in the end affect us all: 21st-century China.