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.
A contemporary gothic fairy tale, slight and scary, Greta is unmistakably a Neil Jordan film, if not quite on the level of The Crying Game and The End of the Affair, or as idiosyncratic as The Butcher Boy and Breakfast on Pluto.
The appeal of Neil Jordan's latest film lies largely within its self-awareness. Greta takes absolutely preposterous twists and turns, but the film leans into them so gleefully that one can't help but just buckle up and enjoy the raucous ride.
Like the Chopin and Liszt performed during the course of Greta, the film is well-played, invigorating, full of sentimental associations and a bit overfamiliar. When the end game arrives, it's a satisfactory homage to a more genteel age of thrills.
Because Jordan's style brings emotional and psychological depth to every scene, there's a creepy joy in just watching it all unfold - especially because Huppert is so gleefully eerie, and pushes the whole cinematic wheelchair to the edge of the stairs.
As for the prominent leitmotif, Franz Liszt's Liebestraum (Love Dream), it just serves to stir up yearnings for something deeper and artistically satisfying, instead of, alas, leaving us with an illusive dream.