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.
Argott beautifully explicates how this crew pulled off the most daring daylight art theft in history, though his passionate identification with the pro-Barnes faction limits the movie's political nuance.
It's impossible not to be moved by the almost eerie film footage of the walls of the Barnes' original home with the art removed, revealing bare hooks and patches of unfaded paint: ghosts, doomed to wander.
While outraged aesthetes tell us that the Barnes Foundation is a perfect jewel box of a museum, the filmmakers they hired to argue their case don't spend enough time exploring or explaining what makes this cloister so special.
At times, The Art of the Steal is a bit too shocked by the vulgarity of commerce, but it's memorable when it meditates on the changing face of where we look at art, and how that changes the art itself.
Argott treats Barnes' story as an intellectual crime thriller, uncovering each new surprise - and a seemingly endless parade of villains - with a deadpan flourish. Read more: http://www.nydailynews.com/entertainment/movies/2010/02/26/2010-02-26_short_tak