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.
But while that is a rage that's exhilarating to witness, it's a rage that's not available to everyone. Just as not everyone in Ebbing can claim the protection of being considering "good," we still don't live in a world where everyone gets to be angry.
McDonagh works way too hard to inject nearly every scene with his patented solution of acid wit and dark-roast comedy... It's jarringly effective until it starts to feel like shtick, at which point it works only as a numbing agent.
In fact, we think we know Mildred as a classic American movie type - a deeply wronged person on a relentless quest for justice. Because she is righteous, and because she is Frances McDormand, we are reflexively with her in this.
A barn burner, a bracing shot of whiskey downed while spoiling for a fight, a cathartic wail against the zeitgeist of rape culture and state brutality. It's a rallying cry, a right hook to the jaw, and wow, does it ever hurt so good.
"Three Billboards Outside of Ebbing, Missouri," a tragicomic juggling act packed with vivid characters doing bad things at considerable moral cost, plays like a scalpel-sharp game of Catch the Sociopath.
McDonagh knows how to get good characters into a story but not always how to get them out of it. This time he's considerably more focused, letting McDormand's ferocious mother-bear of a performance, her best since Fargo, drive the narrative.
It's the first of McDonagh's movies to match the maturity of his plays, and the first time he's pushed past writing about hitmen and screenwriters to make something that feels like it could be about your neighbors.
Perhaps it's a result of all the other roles we've seen this uniquely fearless actress play, on stage and screen, wrapped into one. But you look at her face and you think: This person has a moral compass. Her side is the right one. We will be safe there.
Not since "Fargo" (1996) has [McDormand] found a character of such fibre. She doesn't pitch it to us, still less try to make it palatable; she seems to state Mildred, presenting her as a given fact, like someone unrolling a map.