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.
As long as First Man is airborne, it's a marvel. I can't recall another movie that conveyed with such punch the perils and exhilarations of spaceflight. It's when the film is earthbound that it falls down.
Ryan Gosling's impassive visage must have the gravitational pull of a black hole, because Chazelle can't seem to keep his camera from being pulled loose from its moorings and drawn in thisclose for more than one or two scenes at a time.
For better and for worse, First Man feels like a close cousin to Christopher Nolan's Dunkirk, another film that masterfully reproduced the sights and sounds of a world-shaking event. The people involved, though, don't come quite as vividly to life.
While it celebrates the struggle and technological marvel that was Apollo 11 without resorting to empty histrionics, it's also a well-wrought character study of a man whose tight-lipped demeanor belied the emotional turmoil roiling beneath the surface.
Whatever its missteps, "First Man" represents a principled attempt to reconsider what heroism looks and sounds like, to think beyond the reductive rah-rah parameters that have led so many to confuse jingoism with art.
As Chazelle oscillates between documenting NASA's many missteps and peering behind the curtain of the Armstrongs' domestic lives, he conjures the type of cinematic high any filmgoer has been chasing since they first stepped inside a theatre.
This is a respectful movie, even a genuflecting one; there's never a moment when Chazelle fails to let you know he's doing important, valuable work. But that's the problem: The movie feels too fussed-over for such a low-key hero.
When Armstrong climbs into Gemini 8 and it blasts off into the heavens, we've never felt this claustrophobia or listened to the creaking of the metal or felt the thrust of the rockets quite this way before in a movie.