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.
With a more restrained, subtler actor, Hollywoodland could have been what it aspires to be: a study of twin trajectories (Reeves and Simo) caught in the spotlights of Tinseltown, where dreams crash headlong into hard reality -- and dubious ethics.
[Hollywoodland] holds interest as a whodunit that's refreshingly compassionate toward the fates of its characters. Warts and all, they're likable dreamers in a town where dreams don't always come true.
It's just another sordid tale from a city famous for them. But Hollywoodland explains so much about today's Hollywood, from the cozy ways the cops have always played ball with the studios and stars, to the career-killing pain of type-casting.
This isn't the sort of film you stand up and cheer for -- it's too subtle and dark for that. But it is a film that lingers in the mind, asking questions without answers, telling a story that has no clear ending.
Hollywoodland tries way, way too hard to evoke a corrupt, L.A. Confidential-like portrait of an Eisenhower Hollywood with a dark, hidden underbelly, to the point that the mystery of Reeves' death becomes all but irrelevant.
Like Affleck's performance, Hollywoodland has its affecting moments. But generally, it feels like an HBO original movie, where respectable but uninspired execution mars a fascinating subject and a great cast.
Coulter's mostly languid pacing doesn't create the right kind of film-noir urgency, and Hollywoodland winds up feeling like an imitation of a great movie rather than the real thing, a cut-rate Chinatown.
What's gratifying about Hollywoodland, a mood-inflected autopsy of Reeves' own hopes and dreams, is that while its characters may be prone to pathos, they elude easy pity by being mostly (if merely) human.
The elegant biodrama Hollywoodland presents all options in its meditation on the price of the American way of fame, a toll exacted even back when 'land' still completed the letters of the sign famously visible from high in the Hollywood Hills.
Bernbaum uses the doubt that has swirled around the circumstances of Reeves' death as a framing device that serves to enumerate the other possibilities... but that annoyingly distracts from the most flavorsome and involving matters at hand.