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.
As the film flashes back and forth between Jasmine's gilded past and her self-pitying present, Blanchett creates an indelible portrait of a woman who oozes self-delusion, snobbery and a massive sense of entitlement.
Woody Allen, whether you love him or hate him, has always had a way with women. He somehow gets the very best out of his leading ladies. As Jasmine (nee Jeanette), Cate Blanchett is a glorious trainwreck, and it's hard to look away.
Happiness is shown to be elusive in this astute study of aspiration and delusion that leaves you hanging on a melancholy note. If this should prove to be [Woody] Allen's last film, he will have gone out on a high.
While Blue Jasmine is first and foremost a character study and a showcase for Blanchett's impeccable acting skills, it's also a meditation on the idea of what we deserve versus what we think we deserve, and the intersection of standards and entitlement.
There's a reason why Woody Allen's screenplays have been nominated for 15 Academy Awards (R). Comic genius, dramatic wit, sharp observation, great characters. With Blue Jasmine, he has taken effete snobbery to glorious heights.
Jasmine is a cautionary virago for anyone who's ever witnessed a friend unknowingly muttering just within earshot, just within the frame of reality. Jasmine's headlong fall is fearsome, lugubrious, and ultimately, exasperating.
Jasmine is a good movie, one of Allen's best in years, but the draw here is Blanchett, whose performance takes an off-putting character and makes her surprisingly, um ... not quite on-putting, but riveting.