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.
Taking a production pretty much intact from stage to screen robs it of its surprises. The cast seems to know what's coming, and so do we. There's not a single moment where you sense 'discovery' taking place.
A funny thing happened to The History Boys on the way to the screen. The players are the same, the dialogue is pretty much identical, but the vibrancy of the play -- its exhilarating immediacy -- has been muted.
The History Boys is a movie that asks questions like 'What is education really for anyway?' and asks them in an altogether witty, brainy way. It turns history into what it really is, the story of our lives.
There are no spontaneous moments on screen: The characters aren't reacting to each other; they're waiting for the cut to deliver a line they've had memorized since [the play] played the London National.
[An] exuberantly free-spirited but faithful movie version of Alan Bennett's masterful hit play about education, class, sex, love, death, memory and that often equally fantastical thing we call history.
Griffiths' brilliantly rumpled academic with recklessly roving hands is matched by the disarming Samuel Barnett as a sad-sack gay student, and the bull's-eye precise Frances de la Tour, a battle-weary standard bearer for feminist history.