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.
Woody Allen fans will buy it 100%. Never before has the diminutive comedian been so urbane, so open - so funny. And with lovely Diane Keaton as consort, it becomes well-nigh irresistible (especially if you find Keaton as well-nigh irresistible as I do).
Allen tosses out the usual romantic comedy conventions for his own brand of humor, but under the gags and self-effacing jokes is the portrait of two people who fall in love and then... fall out of love.
While its consonance comes largely from Gordon Willis's photography and Allen's spacious sense of New York, pathos comes at best from Keaton's evaporative performance and a slightly sentimental conception.
Allen joins the Catskills tummler's anything-for-a-laugh antics with a Eurocentric art-house self-awareness and a psychoanalytic obsession in baring his sexual desires and frustrations, romantic disasters, and neurotic inhibitions.
Although Woody Allen had still to acquire great technical strength as a film-maker, this was the movie where he found his own singular voice, a voice that echoes across events with a mixture of exuberance and introspection.
Many things mark Annie Hall's place in cinema history, but none of them are the reason you should see this movie. That would be the humour, poignancy and acute observation contained in each and every frame.