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.
From the Critics
From RT Users Like You!
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.
It has beautiful cinematography, a star performance that is shocking in its authenticity, a careful eye for nuance and detail and an irresistible blend of action and romance that should spell automatic success.
The film discreetly tiptoes around rumors of Earhart's reputed bisexuality ("Maybe at one time," she says) and her relationship with aviation pioneer Gene Vidal (Ewan McGregor impersonating a department-store dummy).
Director Mira Nair dresses that up with visual grace, with shots of clouds and sky that are beautiful and elusive enough to escape the tinge of cliche. But the basic bones of the story are the problem here.
Swank's resemblance to Earhart is uncanny, but the result is verisimilitude without engagement %u2014 a risk-taker's story told entirely without narrative risk, and a movie that consequently never takes flight.
Though this traditional story about a defiantly nontraditional woman doesn't always soar, it fits Hilary Swank, its producer/star, like a jumpsuit. She and Nair thrill to the life of this American who broke records, hearts, and boundaries.
[Swank is] so constrained by mannerisms that she never gets beyond the character's surface -- although to be fair, trying to import feeling into the movie's stilted dialogue is like trying to fly a plane blindfolded.
Told in final-flight flashback (naturally) with cumulus cloud scene wipes (of course!), Earhart's life is reduced to a series of solemnized wide-screen tableaux populated by locale-specific extras acting as starstruck filler.
Swank and Nair play it safe to the point of benumbing this woman's life, leaving Earhart as remote and muted as she is in the black-and-white photos and news footage of the aviator included at the film's end.