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.
Miller's riveting, heartfelt portrayal etches a delicate picture underneath the colorful, wild portrait of Fawcett - of the losses suffered at home in service of greater ambitions and fantastical dreams.
A throwback to the good old days when adventure movies had riveting performances, gorgeous camerawork and the ability to tell stories that made sense, The Lost City of Z holds attention and keeps you fascinated.
As Fawcett presses on, walking and sailing through dense shadow, streaming light and canopies of variegated green, the natural world comes fantastically alive with strange animal cries, stirring trees, roiling fog and frighteningly violent eddies.
What begins as an old-fashioned adventure tale subtly, almost imperceptibly morphs into something far richer, more mysterious and cosmic. By the time you realize the transformation has occurred, the movie has you in its clutches, and it doesn't let go.
The cast is terrific, with a revelatory turn from Charlie Hunnam as Fawcett; the handsome English actor brings so much poise to the role that one can't help but think that he's been getting the wrong scripts for most of his career.
The Lost City of Z may, like early films by Gray, leave some thirsting for more swashbuckling adventure. But if you let the ebb and flow of the Fawcetts' lives drift over you, the movie is a wellspring.
It's Gray's careful choices as a director that truly star here, from the classically infused score by frequent collaborator Christopher Spelman to the inspiring shots of remote Colombia captured by his frequent director of photography, Darius Khondji.
The grandeur of this movie is off the charts. For a certain kind of old-school film fan, someone who believes in shapely, classical proportions and an epic yarn told over time, it will be the revelation of the year.
A rare piece of contemporary classical cinema; its virtues of methodical storytelling, traditional style and obsessive theme are ones that would have been recognized and embraced anytime from the 1930s through the 1970s.
It makes no major dramatic missteps, yet it could have used an added dimension - something to make the two-hour-and-20-minute running time feel like a transformative journey rather than an epic anecdotal crusade.