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.
The revelation here is Villeneuve, who expands on the symphonic pacing showcased last year in the drug war drama Sicario. Even though the concept of Arrival is far-out fiction, Villeneuve treats it with no less detail or urgency.
By the time it ends, Arrival is a story that could only be told in the science-fiction genre, and the result is a beautiful narrative that you find has been telling you things about itself without you ever realizing it.
Arrival is at its best when pregnant with the suspense of the possible, when the unidentified stationary objects bear no trace of their intentions. But the film becomes less intriguing as the story's direction moves from teasingly opaque to crystal-clear.
[Adams] delivers a heart-wrenchingly beautiful performance using her ability to communicate a half-dozen emotions just standing still... But director Denis Villeneuve sometimes gets lost in repetition and blind alleys.
Arrival has its heart in the right place. Who doesn't want smart sci-fi? Who wants to argue with a big budget drama about linguistics? And though the film is not more than sum of its parts, well, those parts are pretty great.