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.
From the Critics
From RT Users Like You!
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.
This is one of the strangest yet most satisfying movie experiences of the year, one of those films in which you can't really appreciate what you've seen until it's over. You just have to trust that the trip is worth the trouble. And it is.
The broad, black humor of the Coens' early features has ripened over the years into a sadder, more philosophical brand of comedy (A Serious Man) that puts them in a class with Billy Wilder and Ernst Lubitsch (yeah, you heard me).
This soulful, unabashedly lyrical film is best enjoyed by sinking into it like a sweet, sad dream. When you wake up, a mythical place and time will have disappeared forever. But you'll know that attention - briefly, beautifully - has been paid.
Inside Llewyn Davis is one of the Coens' smallest movies - this one doesn't have the broad appeal of True Grit or No Country For Old Men - but like Llewyn's music, it comes from the heart and is deeply felt. It is also one of their best.
This isn't a rags-to-riches story. There's no great moment of catharsis. In fact, the filmmakers openly flout mainstream expectations when they show a certain highway sign then proceed to ignore the location shown on it.
Llike almost all of their films, the Coens' new movie has a great and playful sense of incident, cramming in characters and anecdotes that obviously amuse the brothers without serving any specific narrative purpose - yet make the narrative all the richer.
In addition to everything else, "Inside Llewyn Davis" is very much a roman à clef about those early folk years, with many of its characters inspired by real people the Coens reconstitute after viewing them through their very particular lens.
The brothers challenge their audience to find the vanishingly fine line between nervous laughter at Llewyn's relatable human foibles and schadenfreude over the notion that his defeats represent a morally just comeuppance ...
Twenty-some years after Barton Fink, the Coens have returned with another comedy about the maddening, exasperating business of trying to make art for money. The joke is still on the artist, but the brothers aren't laughing so hard this time around.
The film is a heavy downer and its consistent gray-hue enhances the bleakness. But the Coen brothers never fail to weave in bits of saucy irony, giving way for essential comical moments that bring everything full-circle.
The brothers have created a character who's hard to love and a bit of a chore to invest in for an hour and 45 minutes. Like the old songs in his repertoire, he's familiar, not new, but he quickly gets old and tiresome.
Inside Llewyn Davis is the warmest picture [the Coens have] ever made, and though it will never attract the cultlike adoration of The Big Lebowski and Fargo, or earn the serious-lit-adaptation accolades of No Country for Old Men, it's possibly their best.
The Coens have given us a melancholic, sometimes cruel, often hilarious counterfactual version of music history. It's a what-if imagining of a cultural also-ran that maybe tells us more about the truth than the facts themselves ever could.
To call Inside Llewyn Davis a minor work doesn't render it any less a pleasure to watch; it's to admit that the film's melancholy depiction of the '60s folk scene in Greenwich Village (and beyond) may only improve in the interim.