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.
[Margot] Robbie's screen presence makes her seem, at first blush, more suited to play Kerrigan. But just a few minutes into I, Tonya, I found myself captivated by the anger and blunt physicality that define Robbie's performance.
Robbie is taller, bigger than the tiny, fierce Harding, but she gets the athlete's forward drive, and the anger that seemed to fuel the dynamo, and when life hands Tonya lemons, Robbie sets her jaw and bears down.
Gillespie's insistence on comedy in place of what's largely missing from the film - perspective, pathos - falsely energizes the story. It's sped up but feels hollow. A spinning compass whose needle is about to snap.
The film is periodically enlivened by some of the supporting players, including Paul Walter Hauser as Shawn Eckhardt, the supposed mastermind of the Kerrigan assault whom the movie depicts as a world-class schlub.
Elevated by Margot Robbie and Allison Janney's shimmering performances, this entertaining account of those strange events earns the sort of high marks for creative interpretation that its protagonist complained eluded her.
I, Tonya is the Tonya Harding film you never knew you wanted: an outrageously entertaining reappraisal of the Olympic figure skater who, in 1994, was involved in a scheme to injure her main rival, Nancy Kerrigan.
A never-better Robbie and Janney hold up a mirror to the tabloid America most of us ignore or dismiss - and make us see ourselves reflected in it, too. I, Tonya is funny as hell, but the pain is just as real. You'll laugh till it hurts.
Its Tonya acquires a untidy grandeur because of her contradictions, not in spite of them, crushing out cigarettes with her skate blade and skipping over inconvenient details the film delves into anyway.