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.
Portman hasn't been this good since her early performances in The Professional and Heat, and is deservedly attracting intense Oscar buzz. Kunis brings to Lily a savvy sexiness, and Cassel is entertainingly smarmy.
The film picks at our deepest anxieties -- injury, disfigurement, loss of a coveted job, loss of identity, loss of sanity. In most fright films, danger lurks in the shadows. Here it's grinning from a mirror.
Portman toils slavishly to realize Aronofsky's mad vision. It isn't her fault that, despite Black Swan's visual splendor and bursts of grand guignol excess, this emotionally inert movie never does grow wings.
Synthesizing Aronofsky's previous work and foregrounding a breakthrough star performance from Natalie Portman as its tormented protagonist, this is a marvelous construction that's in line for multiple Oscar nominations...
Black Swan is something like a 100-minute swoon. The camera lurches, leaps, and pirouettes; in some scenes, it feels as if it's being tossed around the stage along with Portman. Kitsch this bombastic becomes something primal.
Wild and woolly, the movie is a breathtaking head trip that hails from a long tradition of backstage melodramas: 42nd Street, A Star Is Born, All About Eve, and, yes, that kitschy '90s relic, Showgirls.
With Natalie Portman, in the demanding leading role, equaling her director in unquestioned commitment, the central issue for the viewer is how far one is willing to follow the film down the road to oblivion for art's sake.