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.
Garth Davis uses close-ups sparingly and hits no false notes; cinematographer Greig Fraser creates a child's perspective by setting the camera at the hero's eye level and conveys the grandeur of India through sweeping panoramic and overhead shots.
While the film is neither novel nor revolutionary, it's the kind of cinematic warm blanket that feels very comforting and satisfying right now...That it's a true story...makes it all the more affecting.
Lion is really two beautifully shot films -- the tenacious story of young Saroo Brierley, lost far from home, and the less dramatic, slightly forced, story of him all grown up and looking for his past.
The finale is manipulative in every way, squeezing out the emotions of the audience. But Lion's well-plotted narrative and thoughtful characters suck you in so much that the journey there is totally worth it.
The movie could have examined the limitations of white liberalism, the damage that well-meaning people can do if they don't educate themselves along the way. Instead, it embodies that well-meaning approach, and all the harm it can do.
Mr. Patel's commanding presence is complemented by many others... Kidman has done fine work in her career, but nothing that quite matches the hypnotic story Sue tells of a vision she had when she was 12.
We've watched this young man struggle and fight for answers, only to have them drop into his lap at precisely the right moment. It's a drastic misstep that ruins whatever chance Lion had of doing justice to a fascinating true story.
By splitting up the story into different eras of the hero's life, Davis seems to be striving to avoid some of the conventions of melodrama. But coloring within the lines might have done a couple of favors to his actors and the flow of his film.
Davis's film is based on a true story; though wrenching, there is barely enough of it to fill the dramatic space, and the second half is a slow and muted affair after the Dickensian punch of the first.