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.
Along comes a sequel of sorts, City of Men, but the difference is clear right from the first frame: Meirelles is gone and so is the intensity. What's left is a mix of credible sociology and tired melodrama, along with a palpable sense of déjà vu.
Yet even with its reined-in aims, City of Men still gives you what few American urban crime movies do -- a sense of life as it's really lived in the slums, where there are few options and almost all of them are bad.
While Men is not as energetic or bracing as God, it is a disturbing exploration of violent drug culture in Rio's shantytowns. It's also a poignant look at the legacies of fathers who abdicate their responsibilities.
This is an engrossing film, partly because the director pulls the camera back from time to time to mitigate the occasional effect of claustrophobia and to remind the audiencehow stunning the landscape is.
City Of Men has its share of problems, but being too entertaining isn't one of them. The film isn't bad by any means, but after God's adrenaline-shots-to-the-heart rush, the laid-back storytelling comes off as a little sleepy.
The new picture, directed by Paulo Morelli, does not try to compete with the dizzying visual gyrations and propulsive, nearly maniacal energy of the previous one, which was directed by Fernando Meirelles.
City of Men is outstanding in its own right, a moving story of the bleak lives of those living in the favelas, or slums, slaves to the drug-gang violence there, so immune to the constant danger that it simply becomes part of their lives.
Paulo Morelli directs capably, with a heavy dash of MTV-generation flair: hyper-saturated colors, close-ups of skin glittering with sweat, and a constant patter of gunfire that undergirds the soundtrack like a steady heartbeat.