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.
Peele succeeds where sometimes even more experienced filmmakers fail: He's made an agile entertainment whose social and cultural observations are woven so tightly into the fabric that you're laughing even as you're thinking, and vice-versa.
What makes Get Out more than just a slam-bang scarefest is that, in its own darkly satiric way, it is also a movie about racial paranoia that captures the zeitgeist in ways that many more "prestigious" movies don't.
Get Out has its surface scares, but it's what's lingering beneath that's most frightening: the sense that no matter where you turn, no matter how many people claim they're on your side ... they're out to get you.
Only grows more darkly relevant as the main story gets going, masterfully unfurling all of the real-life anxieties of Existing While Black while simultaneously mining that situation for all its twisted absurdity.
A memorable horror flick if ever there was one, Get Out starts with a great title and a promising idea -- a black man's fear as he walks at night down a street in an affluent white suburb. Then it delivers on that promise with explosive brilliance.
There's so much here that Peele gets right, and he delights in turning familiar thriller tropes on their head: In this racially charged context, he knows exactly how to exploit the sight of an approaching police car for maximum stomach drop.
[Peele] has created a work that addresses the myriad levels of racism, pays homage to some great horror films, carves out its own creative path, has a distinctive visual style - and is flat-out funny as well.
It may be somewhat rough and unrefined and even ill-considered in some of its particulars. Yet it may stand as a kind of pop culture document of this historical moment, a moment that's not nearly as funny as this movie.
In the same way that The Stepford Wives exploited liberated feminists' fear of male chauvinists' fear of liberated feminists, Get Out finds its tension in black people's fear of white people's fear of black people.
A jolt-a-minute horrorshow laced with racial tension and stinging satirical wit. How is one movie all that? See Get Out, from debuting director Jordan Peele (one half of the comic team of Key and Peele), and get woke.
A horror film with the power to put a rascally grin on the face of that great genre subverter John Carpenter ( They Live ), Get Out has more fun playing with half-buried racial tensions than with scaring us to death.
Peele doesn't just subvert a genre often dinged for making people of color expendable cleaver-fodder. He also flips pearl-clutching, white-flight anxiety about predatory black men on its ear, turning a gated community into the real danger zone.
Blending race-savvy satire with horror to especially potent effect, this bombshell social critique from first-time director Jordan Peele proves positively fearless - which is not at all the same thing as scareless.
One of the most satisfying thrillers in several years, Get Out proves that its first-time director, Key and Peele costar Jordan Peele, has plenty of career options if he should grow tired of doing comedy in front of the camera.