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.
Alongside this jarring tonal mishmash, Lee seems to have forgotten to throw any filmmaking smarts at the movie, which results in scenes that peter out, poorly edited musical choices, ugly split-screen, and a truly bizarre shot selection...
Here, as in 25th Hour, Lee often deviates from the plot. However, the difference is that here the appendices underline what the movie transmits... to remind us that behind the film there is a Message, with a capital letter. [Full review in Spanish]
I view it in a longer conversation with the artist...there's a version of this that is incredibly tight and thematically consistent...but this movie is baggy, and it disappointed me...it just hung around, messing with different styles.
The savagery that Lee is capable of shaved down for a demographic that aren't accustomed to the evolving, bold electricity of Do the Right Thing or Bamboozled and instead in many ways resembles something closer to a Saturday Night Live sketch.
By trying to stir audiences into righteous indignation about race, Spike Lee fails to include elements that might make his film entertaining - such as plot, character development, romance, action and suspense.
Spike Lee has turned in a pro-cop film has to be counted one of the stranger cultural developments of 2018, but Lee seems to have accidentally aligned with cops in the course of issuing an anti-Trump broadside.
The Lee touches are there, yes, but missing from BlackKklansman is the temerity to touch the live wire, the feeling of dangerous imperative. He has found a remarkable subject, but only skimmed its surface.
Lee's film about Stallworth & Flip taking on Duke and the KKK is akin to the Keystone Kops taking on the Three Stooges...unfortunately, Lee's polemic-ism eschews comedy and portrays their bungling efforts as heroic, which is hard to buy.
BlacKkKlansman is a poor detective tale and simple-minded Millennial noir because Stallworth's exposť of a sect of American racists and terrorist (all unhealthy-looking white miscreants) never feels like discovery, just a continuation of his hip cynicism.
I can just imagine a white couple--in their tiny bubble of perfect living--deciding to see that "comedy about a black guy joining the KKK". Little did they know their bubble would soon be popped by Lee, whose finger is pointed directly at them.