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.
In its first 45 minutes, Atonement achieves a kind of perfection rare even for big Oscar-bait movies. Every facet of the filmmaking is the equal of any picture released this year. The rest of the movie isn't so bad.
Director Joe Wright and screenwriter Christopher Hampton not only blow the Merchant-Ivory dust off the British period movie, they transform Ian McEwan's interior novel into a sweeping epic that speaks to the 21st-century soul.
Given the difficulties in transferring Ian McEwan's trickily structured 2001 novel Atonement to the screen, director Joe Wright and screenwriter Christopher Hampton have done a commendable job. Commendable but not electrifying.
With the Ian McEwan novel adaptation Atonement, it's obvious that Joe Wright -- who made his big-screen debut with 2005's deft, affecting version of Pride & Prejudice -- knows how to shepherd a novel to the screen.
The film is gorgeous to look at, well paced (especially during the first half), and by turns touching and sad. The ending packs an emotional punch, which is what one would expect from any movie developed from a McEwan novel.
[This] movie is abundantly attractive, every scene serenely composed, and every character so fair in love and war that, when the lights come up, it's too easy to say, ''That was good and sad and romantic and classy, now what's for dinner?''