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.
After Disobedience, I was left with the same uneasy feeling his last film evoked - this isn't Lelio's story to tell. If he understands the nuances of other cultures through exhaustive research, he isn't able to translate it on screen persuasively.
The emotional anguish authentically expressed in Disobedience is captivating, but the film fades out unsatisfactorily, playing on sententious heroics by way of an implausible ending that can't make up its mind.
Disobedience is a bit too fond of itself, and isn't nearly as smart as it thinks it is. It's hard work, basically. Weisz is strong here, as is Nivola. But Rachel McAdams is sorely miscast as Esti, and her British accent is all over the place.
Weisz and McAdams are reliable as ever, and their interplay is almost electric enough to bring colour to the screen. Together they plumb unwritten depths to discover a mutual strength that prevents Disobedience from being completely depressing.
With Rachel Weisz and Rachel McAdams starring as its furtive, inflamed lovers, Disobedience has pedigree to spare. But the result feels wonky and lopsided, as if several crucial scenes were left behind on the cutting-room floor.