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.
What makes this a Scorsese film, and not merely a retread, is the director's use of actors, locations and energy, and its buried theme. I am fond of saying that a movie is not about what it's about; it's about how it's about it.
You'll have to go back to GoodFellas to find a Marty movie this fun, this enamored of language, of ethnic slurs, of "Gimme Shelter," of explosive violence. Scorsese's return to form is the year's most dynamic film. Really, how could it not be?
This merrily vicious and violent Martin Scorsese film about cops and gangsters in Boston will never haunt your sleep, as Taxi Driver and Raging Bull do, but it will keep you excited and amused for well over two hours.
After a pair of flawed Oscar-hunting epics, Martin Scorsese has returned to the gritty, violent mob drama that has always been his strong suit, and the result -- The Departed -- is his best film since 1990's Goodfellas.
As so often before, the body count is high in a Martin Scorsese movie. But where once the bodies pulsated with life in all its vainglorious furor, here they drop like wooden ducks in an artificial pond.
A relentlessly violent, breathtakingly assured piece of mean-streets filmmaking, the film shows the legendary director dropping the bids for industry respectability that have preoccupied him over the past decade and doing what he does best.
Martin Scorsese's The Departed, a crime drama of thrilling breadth and intensity, takes place within Boston's city limits, seems to have been made in a state of exultation, and holds you captive in a state of delight.
The Departed, which screenwriter William Monahan cleverly adapted from the Hong Kong thriller Infernal Affairs, crackles right along, stopping only long enough for Scorsese's signature bursts of explosive violence.
After the dolled-up theatrics of his last few features, from Casino (1995) up through The Aviator (2004), it's a kick to find director Martin Scorsese back in prime form, at least in the terrific first half of The Departed.
In Martin Scorsese's thrilling, throbbing reinterpretation of [Infernal Affairs], it is the war that rages within all of us -- between our better and our badder selves -- that transforms this tale of treachery into one of the year's best movies.
The veteran director has made two-thirds of a great film about Boston cops and mobsters, with dazzlingly rich performances from a dizzyingly stellar cast and an ambience that screams Scorsese's typical cultural authenticity.
Mr. Scorsese and his associates have assembled a remarkably charismatic cast to impart coherence and conviction to a narrative that could have easily dwindled into an affectless succession of gratuitous intrigues.