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.
The unconvincing genre conventions in Gone Baby Gone are at odds with its authentic, lived-in atmosphere, but no one can say that Affleck hasn't looked into the depths, and the movie ends on a resonantly ambiguous note.
As an actor, Affleck has more turkeys on his rÃ (C)sumÃ (C) than a Thanksgiving buffet, so what makes him think he can direct? Yet Gone Baby Gone is strong enough to suggest that moviegoers -- and critics -- should give him the benefit of the doubt.
Lehane's superb plotting serves the director well, and Affleck's unblinking view of the world he seems to know, with an emphasis on ugliness, self-perpetuating despair and the wrong sorts of people having children, serves Lehane's story.
The movie has some nice plot turns, it settles around a painful moral dilemma, and features some fine acting. But it's the sticky sweat of the street and the fine attention to detail that pulls you in and keeps you glued to the screen.
In emulating the best -- Eastwood's Mystic River, Scorsese's The Departed -- Affleck shows excellent instincts, not least of which is letting his brother, Casey, hold the center as a young guy not as smaht as he thinks he is.
Moral ambiguity is the real star of Ben Affleck's helming debut, Gone Baby Gone, an involving Boston-set tale of mixed motives, selflessness and perfidy in the wake of a 4-year-old girl's disappearance.