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.
Though Binoche does very solid work, she can't sell the idea of her and Law as a couple; the chemistry isn't there. Not much else rings true in Minghella's screenplay, which is full of coincidences and speeches about race and class.
Breaking and Entering offers a kinder, gentler version of London's strife than we're accustomed to seeing. Not all parts of the script are equally well-developed, and sometimes it seems as if we're looking at drama under glass.
As with all of Minghella's films, there's intelligence and texture and depth and feeling, though here the emotions can seem frostbitten. Perhaps the first thing that wasn't working and needed to be fully broken to heal was the script.
Maybe Jude Law should take some time off from acting. Maybe Juliette Binoche should get a new dialect coach. Maybe Anthony Minghella should try writing a movie ending that doesn't make everybody groan.
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.
Everything flows from the film's fundamental lethargy -- a hero without a spine, a romance without joy and a crime with neither moral rebuke nor consequences. No surprise that the story, like the protagonist, floats along in a noodly sort of way.
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.
Seeing the film is like attending a refined cocktail party where social problems are clucked over and personal tensions are politely disregarded. When it's over, you wish you'd gone to a bar where people know how to have an argument and throw a punch.
Go see Anthony Minghella's jagged new drama, Breaking and Entering, and you'll feel as if you're getting two movies for the price of a single ticket. The bad news? Only one of these stories is actually worth your money.
Breaking and Entering is so bloodless that even Minghella's best ideas come off as wan and pale. We're aware of the angst and confusion these characters suffer, and yet the movie shows us nothing so messy as real pain.
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.