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.
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Hayek gives one of her better performances, though - she makes it clear that Beatriz may be righteous, but she's also more than a bit unhinged - and Lithgow is so good at playing CEO oiliness that you have to smile. He's the man you love to hate.
Together, screenwriter Mike White and his Enlightened director Miguel Arteta have an almost magical way with light-touch verbal sparring, an art that's become lost in today's broad, banter-filled comedies.
Screenwriter Mike White aims for social satire but doesn't have much to say about the erosion of kindness in the Trump era; he seems to think that planting a character like Beatriz in front of a stand-in for the president is enough.
The real power of "Beatriz at Dinner" is that it isn't about politics but the human heart. Beatriz and Strutt are not arguing legislation; they're arguing two visions of the American dream, two visions of the human soul.
It's a film filled with unexpected beauty: the "wishing lanterns" that giddy guests send up into the night sky; the vision of an exquisite, cloud-flecked dawn on the morning after; the frequent, steady close-ups of Hayek's eyes, as they slowly harden.
Arteta is clearly confident of preaching to the converted, and of whipping up indignation at those who mean us harm. Thanks to his leading players, however, the movie grows limber, ambiguous, and twice as interesting, and the sermon goes astray.
The movie ultimately belongs to Hayek. Given her most challenging leading role in a film since her Oscar-nominated performance 15 years ago in Frida, the actress creates a complex portrait of a person's emotional unravelling.
Hayek turns Beatriz into her own breed of wonder woman, Lithgow's Strutt is definitely a super villain of sorts and their head-to-head battle is clearly worth seeing even if, in real life, it has only begun.
This queasily funny and suspenseful movie is more than a smirking exercise in ideological deck stacking, and to praise it for its political relevance would be to understate its subtlety and specificity.
A film often smartly attuned to language, Beatriz at Dinner - a sober comedy about class clash and soft-to-hard racism directed by Miguel Arteta and written by Mike White - operates in several different idioms.