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.
Because [director] Longley uses a technique that forgoes interviews and voiceover commentary in favour of observation and revealing juxtapositions, his movie puts you both in the chaos and just above it.
James Longley's devastating documentary Iraq in Fragments has neither narration nor obvious political ax to grind, but it manages to tell us something about Iraq that we aren't getting or can't get from standard news coverage.
By turns tender and shocking, Iraq in Fragments strikes a rare balance between impromptu fluidity and feature-film narrative control, in the process resisting both partisanship and predigested points of view.
The struggles [documentary filmmaker James Longley] recorded in his dazzling Iraq in Fragments aren't battlefield conflicts, but the personal, religious and political efforts of Iraqi citizens to reassemble their shattered lives.
In addition to the interesting camera work, the documentary's undeniable appeal comes in how close Longley gets to the characters, who are all male. They speak openly of the past, the U.S. forces, the uncertain future.
James Longley's Iraq in Fragments is a visually stunning documentary that looks at that country through the eyes of its own people -- a novel enough approach at a time when everyone else has had their say.
It's head and shoulders above the rest in its clarity, intimacy and poetry, and it illustrates the dreadful predicament America has created in Iraq, which drove so many angry people to the polls on Tuesday.
The film is unusual among Iraq documentaries for its impressionistic, frequently gorgeous cinematography and for its structure: It's split into thirds, one about a Sunni (the boy), one about a Shiite mob, and one about the quiet Kurds up north.
Working with vérité patience and no scripted narration, Longley looks and listens, with nonjudgmental sensitivity, as Sunni, Shiite, and Kurdish Iraqis explain their colliding, intractable, invaded worlds, and their rising frustrations.
In the end, the movie is more than the sum of its fragments. The montages are intense, the images ravishing. The movie is tactile. When you finally feel this place, you understand just how little you understand.