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.
Here's a film whose ambitions drastically overreach it's resources. The owner of a political book store gets caught up in a conspiracy involving 9/11. The film wants to be both a technological thriller and a modern noir homage, but it hasn't got the budget to achieve either of these. Executing a self-conscious noir pastiche requires talented actors who can handle the delicate balance. There are none of those here. The film deliberately references "The Maltese Falcon" frequently, which really made me wish I was watching that film instead.
A strange low budget noir film, where the object everyone's dying over is a hard drive proving 9/11 was an inside job. That aspect doesn't come into it much. It has interestingly inappropriate music, bad acting, cliched dialogue - so bad it's good.
A somewhat poor execution of a nod to the film-noir concept. Able Danger is carried by half-hearted actors that are not completely believable. It is a movie that attempts to be real but without any realistic execution, it all becomes a farce that parades on stage for a group of adolescents.
This Movie is smart. Amazing really what's been done here. Paul Krik has taken on a taboo topic that has never been dealt with in the context of a narrative film. I love films like the Bourne series, but why can't more filmmakers take on topics that actually have a basis in reality? Is it because their hollywood financial backers won't let them touch taboo subjects like 9/11 conspiracy? That's what I love about this film. It is so fiercely independent. It could never be done in the hollywood system. And yet classic film is referenced and reemployed to create a perfect neo-noir pitch. Perhaps it's just because I love Elina Lowensohn so much but her performance harkens back to golden age of cinema. And Adam Nee is a great talent, I'm sure we'll be seeing more of him once this film reaches the cult status it deserves.