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.
Wes Anderson transports his arch, pristine, melancholic sensibility to India, where three estranged brothers meet after their father's death and hop a train in a quixotic attempt to heal their spiritual wounds.
What this movie has going for itself in spite of its cloying pleas for indulgence is a playful and interesting narrative structure that precludes much development and comes to the fore only toward the end.
The Darjeeling Limited, the latest self-satisfied exercise in style over substance from writer-director Wes Anderson, will amuse his cult followers -- as well as Anderson himself and his pals, of course -- but probably nobody else.
Unstintingly fussy, vain and self-regarding. But it is also a treasure: an odd, flawed, but nonetheless beautifully handmade object as apt to win affection as to provoke annoyance. You might say that it has sentimental value.
Maybe Anderson needs to shoot someone else's screenplay, to get outside his own head for a while and into another's sensibility. It's telling that his funniest and liveliest recent work was a commercial for American Express.
There's [Anderson's] usual goofy celebration of silent dark-eyed melancholics and shaggy oddballs, of absurdist realities and blindingly unexpected insights. Taken as a whole, it's incontrovertible evidence of Anderson's own free-wheeling talent.
Wilson, Brody and Schwartzman have their charms, but the script gives them little to work with. Anderson and his co-writers have come up with an ordinary road movie that is dependent on lame running jokes.
Anderson is still a maddeningly cool filmmaker. He's remote from his characters, which makes him remote from his movies. There's also a way in which he uses race as a novelty, suggesting an assertively white-kid view of the world.
This is familiar territory for Anderson after Rushmore and The Royal Tenenbaums. But there's a startling new maturity in Darjeeling, a compassion for the larger world that busts the confines of the filmmaker's miniaturist instincts.