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.
In the end, the truest thing that can be said for Chicago 10 is that, though Morgen did just about everything he could to make his movie unwatchable, the story was interesting enough to fight him to a draw.
For those who don't mind their history pre-seasoned with a little phantasmagoria and a lot of sarcasm, Chicago 10 is a hugely entertaining piece of pop fluff, as dynamic and modern as the Beastie Boys cut on the soundtrack.
If presentation of the tumultuous events before, during and after the 1968 Democratic National Convention in Chicago will suffice for a feature-length film, then it's hard to imagine a more ferocious or inventive depiction than Chicago 10.
Chicago 10 not only brings to life one of the sorriest chapters in American cultural and political history, but breathes new life into a film genre that usually has all the imagination and verve of a visit to Madame Tussauds.
In its best moments, and they are considerable, Chicago 10 makes you see 1968, that near-apocalyptic year, with fresh eyes, as an extraordinary turning point in history now at least partly set free from boomer nostalgia and regret.
Brett Morgen's agit-prop documentary augments its excellent assemblage of archival footage with capture-motion animation to rep the courtroom antics, all in the service of an ideologically loaded approach.