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.
Deserves to be celebrated as a work that comes closer than any other to achieving what the filmmaker does best: Reminding us that no matter what is happening on a larger scale, we are defined by our interpersonal relationships.
A sharp study in contrasts built on sturdy performances, Breaking and Entering manages to tackle immigration, youthful rebellion, family dynamics and, yes, love. The title doesn't merely refer to buildings, it also refers to hearts.
Breaking and Entering, not unlike a pair of other English dramas of recent vintage (Notes on a Scandal and The Queen), provides further proof that so-called serious filmmaking can be equally entertaining and provocative.
Anthony Minghella's Breaking and Entering shimmers with good intentions and competency: Its blue/gray palette is elegant and unobtrusive; its cast is uniformly fine with occasional startling moments of brilliance.
For all its contrivances (including Vera Farmiga's improbably erudite whore), Breaking and Entering has its finger on the pulse of contemporary London life and possesses its share of fleeting delights.
Weak as both a forbiden afair drama due to the non existant chemistry of the illicit couple, and as a sociological exploration of the relationships between the rich white man and the ghetto boy, or even as a political approach of the Bosnian drama, B&E on
Breaking and Entering climaxes in a welter of apologies. Everyone in London, it seems, has cause for remorse and for my part I regret that I lost count of the number of times the words 'I'm sorry' were uttered on screen.