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.
The photography is of the sort you'd find in any half decent nature documentary, with cloying emphasis placed firmly (and sometimes clumsily) on the idea that our neglectful, selfish and not to mention rampantly capitalist ways are destroying the planet.
In its expansive spirit of investigation and embrace of life as a creative act, Into the Wild comes as close as any picture ever made to capturing the America that Jack Kerouac discovered half a century ago.
This is one of those movies I can imagine deciding is a masterpiece in a month's time. And by any measure, "Into the Wild" is a big leap forward for Penn as a director and deserves to be one of the most talked about films of the season.
Sequences are gorgeously filmed by cinematographer Eric Gautier, and they're heady with the joy of discovery -- they make you want to hit the road into the magnificent landscape we forget is out there.
A road movie with a lofty message that too frequently gets lost in its own thematic barrens. Whereas Krakauer's disturbing book sticks with you, Penn's movie, wrapped in the balloon of its fanciful rhetoric, just floats off.
As actor and director, Penn long has been drawn to the existential and elemental. Life and death. Remorse and revenge. All these themes converge -- symphonically -- in Into the Wild, his most fully realized work as a director.
though it's easy to dismiss McCandless' hippified musings and near-suicidal choices as the misguided actions of a kid who read Walden a little too closely in college, Penn's film aims for something more, a deeper telling of a tale of yearning and escape.
I happen to think Sean Penn is one of our more admirable knotheads -- a fearless actor, a bold controversialist and, as he proved with The Pledge, a very strong director, capable of far subtler moral complexity than Into the Wild affords.
This saga was the subject of Into the Wild, a short but fascinating book by Jon Krakauer that, 11 years later, has resulted in a gorgeously photographed and less intermittently fascinating 2 1/2-hour film by Sean Penn.
If nature -- if life -- is as wild and precious as the movie makes it out to be, Hirsch needs to give us something, someone, to watch on-screen. We need to feel a presence before we can take the measure of an absence.
Penn has a real feeling for the stray moments in life that suddenly rush up and overwhelm us with emotion. He also has an eye for beauty in the wilds, of which this film has many. And he's very good with actors.
Penn's film burns with native intelligence, never tipping into hagiography, and always doing what very few purveyors of McCandless' story have been able or willing to do. It engages with him on his own terms.
Penn depicts this flawed figure with all the richness and complexity you'd find in the unforgiving Alaskan terrain, presenting McCandless in both his selflessness and selfishness without once judging him or turning him into a martyr.
Into the Wild is all over the place and ultimately, I think, wrongheaded in its attack. But [Director Sean] Penn gives it the good old college try -- or perhaps I should say, the good old society-dropout try.