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.
Bran Nue Dae is a kooky, deliriously happy mix of happenstance and broadly-drawn characters who are apt to break into song at any given moment. It's not quite enough for me to recommend, but I'm not unhappy to have seen it.
Bran Nue Dae isn't just hurting in the spelling department -- it's also lacking the feel-good story that musicals rely on to support their ethos in the absurdist environment of spontaneous song and dance.
The choreography is sloppy and lifeless; the outmoded blend of vintage rock, country and Broadway styles doesn't click; and the characters are such caricatures that it's no wonder the entire cast is overacting.
Trite, silly, and grating are all apt words to describe the cinematic buffoonery of Rachel Perkin's Bran Nue Dae, a flimsy excuse for a nostalgic musical that shoots for playful satire but ultimately proves staggeringly impotent.
You have to wonder about the film's almost complete portrayal of Aborigines as dim-witted dunderers, dancing fools, thieves and drunks. Whites fare no better. Does the film explode stereotypes, or reinforce them?
The singsongy score is a mostly forgettable potpourri of folk, reggae, country and gospel poorly lip-synced by cast members whose uneven vocal chops underscore the ingenuousness of characters like the virginal Willie.
Director Rachel Perkins aims for broad comedy in the familiar Australian style -- in the manner of Muriel's Wedding and Strictly Ballroom -- but she often overshoots, and slapstick overwhelms the movie's satire of the infinite varieties of piety.