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.
There are those who will applaud what Haynes and his actors have accomplished, and I can understand its appeal on an intellectual level. But I am not a supporter of film without form or art without structure.
The missteps don't detract from the thrilling brilliance of the filmmaking (aided by the remarkable cinematographer Ed Lachman), or dim the sense that Haynes was right in deciding that the fractions of the man would add up to more than the man himself.
What emerges is a speculative, critical essay about the 60s, weighted down in spots by political correctness and a conflicted desire to mock Dylan's denseness while catering to his hardcore fans, but otherwise lively, fluid, and watchable.
The singular haunting beauty of I'm Not There, Todd Haynes' thrilling deep-vision meditation on the music and many lives of Bob Dylan, is that obsession isn't just its fuel -- it's the movie's spirit and subject, its driving force.
Writer-director Todd Haynes has come up with the most interesting psycho-cultural-biographical mix in memory here, managing to make the film reek of the artsy '60s at the same time it unfailingly honors its subject.
I appreciate Haynes' craft and ambition. I love the Ledger/Gainsbourg scenes, which are sweet and sad and delicately shaded. And Blanchett's inspired not-quite-impersonation of Dylan is reason enough to tussle with the rest of it.
I'm Not There is at once experimental and mainstream: Haynes juggles the facts, plays fast and loose, but serves up images, and songs that are as much a part of the collective pop consciousness as anything the 20th century produced.
I cannot believe this is the Todd Haynes who topped my ten-best list in 2002 with the magnificent, unforgettable Far From Heaven. Headed for the No. 1 spot on my ten-worst list, I'm Not There is a tumultuous disappointment.