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.
One wonders whether the documentary format would have better served the material than this ill-focused drama. Since real-life family and observers chime in over the end credits, perhaps the filmmakers were thinking the same thing.
Director George Hickenlooper incessantly switches between black-and-white, grained-out, color-saturated, handheld and fuzzy shots. He's not so much making a movie as an audition tape for the cameraman's guild.
The best Factory Girl can muster is Oliver Stone on a budget, complete with shrill overacting, sloppy pacing, constantly changing film stock, distracting celebrity cameos, messy psychodrama, and bleary stylistic overload.
Despite strong performances by Sienna Miller as the quintessential '60s It Girl and Guy Pearce as FrankenArtist Andy, the film ultimately doesn't have much to say about the people it purports to depict or the tumultuous times in which they lived.
Hickenlooper likes to observe chaos and artistic extremes with a friendly eye, and there are hints all through Factory Girl of the shattering film it could have been. But the story falls too easily into 'live fast, die young' laments and postures.
The historical Edie Sedgwick was a fascinating figure and at no time was she more interesting than when she was a member of Warhol's Factory. It's too bad Factory Girl fails to make this woman compelling in these circumstances.
Sienna Miller, with her glossed and dimpled party-girl smile, looks so much like the actual Edie Sedgwick that you may think, at moments, that you're seeing the real thing. That spooky look-alike allure does a lot for the movie.
The Warhol cosmos is too weird and complicated to lend itself to a conventional Hollywood biopic, and this one is conventional down to Warhol's first glimpse of his future 'superstar' bouncing up and down vivaciously in tacky slow motion.
Though Sedgwick embodied everything that glittered and grated about the era's counterculture, director George Hickenlooper evinces no deep interest in the time and place, resulting in a film that feels removed from its source.
Sienna Miller captures much of Edie's physical manner and some of her voice (though she's nowhere near deep enough), but there's nothing she can do with material that requires her to mope and pout for the bulk of her screen time.