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.
Matthew Heineman is a documentary filmmaker and his A Private War is a sturdy chronicle of Colvin's fearless life of speaking truth to power, only to be admired because of the unthinkable risks she herself took in order to do so.
It's a part that almost instinctively you feel Pike wouldn't be right for...and yet she rises to every one of its many considerable challenges, cleverly avoiding the potential for overplaying at every impressive turn. And what potential there is.
It has a raw and uneasy power, one that resists the clunky screenplay's many attempts to reduce Colvin to a series of easy-to-understand psychoanalytic bullet points. Pike's brusque, ravaged performance helps.
At a time when pressured media budgets are conspiring, with the general preference for escapism over reality, to threaten war reporting's very existence, A Private War unflinchingly reminds us of its value.
I can only say, with confidence, that the film features a magnificently fierce, alert and impassioned performance from Rosamund Pike, whose usual English rose delicacy is nowhere to be seen. It is top work, properly.
The director Matthew Heineman has a background in documentary, and Pike serves as a one-woman answer to the question of why he didn't make a factual piece: her tenacity, swagger and depth are astonishing.
A Private War is at its best when it focuses on tension and danger in the field... These scenes land us in the moment unlike much of the more conventional human drama [director Matthew] Heineman builds elsewhere.