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.
Director Steven Shainberg's follow-up to his groundbreaking film "Secretary" (2002) is an anti-biopic that dares to read between the lines of its subject's artistic vision rather than replay the common knowledge events of photographer Diane Arbus' life.
If the filmmakers are telling us that Diane's artistic creativity was unleashed by the love of a good freak, then it's a shame. To turn a story so full of good intentions at the beginning into another movie about a woman who is liberated from the chains
Depois do surpreendente Secretária, que brilhava por sua enganosa despretensão, Shainberg tropeça ao encantar-se mais com a própria ambição artística do que com as brilhantes realizações de sua suposta biografada.
While Steven Shainberg and his collaborators should be congratulated for eschewing the traditional biopic route, Fur is a noble experiment that goes awry. Sad to say but this is not a film for anyone wishing to learn about Diane Arbus.
The idea of growth as metaphor truly runs wild in Fur, until the thicketry of meaning and subtext becomes more dense than meaningful, and your attention is stopped, finally, at the surface of Nicole Kidman's placid full moon of a face.
"Fur: An Imaginary Portrait of Diane Arbus" points out in its title that the picture is mostly fictionalized, but in the opening prologue it states that Diane Arbus was one of America's most important artists. Why make that statement if you can't prove it
Stilted, stylized and art-directed within an inch of its life, Shainberg's movie (which was written by his Secretary collaborator, Erin Cressida Wilson) manages to be both oppressively literal and fatefully fuzzy at the same time.
Don't be fooled for a second by that subtitle. Fur bills itself as An Imaginary Portrait of Diane Arbus, but this thing's got all the imagination of a career bureaucrat slumped in his cubicle awaiting a pension.