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.
Perry has assembled a formidable ensemble, including Loretta Devine, Kimberly Elise, Thandie Newton, Anika Noni Rose, Tessa Thompson, Kerry Washington, Whoopi Goldberg, Janet Jackson, Phylicia Rashad and, in the most searing cameo, Macy Gray.
For Colored Girls is so shamelessly terrible it would make a great midnight hoot-fest, if you had the stomach to laugh at Shange or some of the best (and most underused) actresses of their generation...
Shange's words retain their power despite the melodramatic incidents Perry has woven to fill in the spaces between poems, his flat, TV-style direction and the highly variable performances of an all-star cast.
While these two hours of hopelessness seem to argue that being an inner city black woman is the unluckiest roll of the dice, these ladies - even at their weakest - carry themselves with the confidence of winners, and we cling to their strength.
Shows a mastery of tone, a capacity to elicit strong performances and also to bring out different colors within those performances so that, when it all comes together, it's not the same note sounding over and over. This is smart, lovely work.
Fans of the original may be dismayed by his often-awkward adaptation, which turns too many of Shange's survivors into victims. But it's equally likely that his blunt, emotional approach -- using her words to create his own melodrama -- will connect ...
I used to think there was nothing worse in modern moviemaking than Perry's unfunny, incompetent stooping for profit. It turns out that when he boldly and blatantly panders for prestige, he reaches even newer lows.
Perry benefits from the fire, heft, velocity, and lyricism of the language, but he also updates the material and makes it work onscreen, eliciting powerhouse performances from an ensemble of actresses.
Though striving for artistic legitimacy in bringing Shange's incomparable play to the screen, Perry indulges his worst instincts for melodrama in For Colored Girls, shoehorning her text into his own tawdry narrative.