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.
Watching "Killer Joe" to the bitter end is like playing the Pick 6 lottery and getting three of the numbers right. You don't win anything, but you still think you're smarter than all those other idiots.
That everything should go wrong is no surprise, but the wrong turns are taken so viciously -- Gershon, in particular, is appallingly treated, in closeup -- that they lead the film, adapted from the play by Tracy Letts, to the brink of abusive farce.
The film harks back to the low-budget chamber pieces of Friedkin's early career, and he creates a perfect storm of montage and character interplay within a confined space, which culminates in a disturbing loss of humanity.
Friedkin's still got it - the "it" being his ability to infuse every frame of the film with powerful ambiguity and doubt, and also his ability to attract terrific actors and propel them in unexpected directions.
Killer Joe spins a lot of dumb hick behavior into a wellspring of comedy and plot twists, recalling Raising Arizona's colorful vernacular while turning a simple contract job into a complicated web of family betrayals.
Throws down a dare by expecting its audience to be the cool connoisseurs of the story's "comic" outrageousness, then rubbing viewers' faces in close-up scenes of brutality that reasonable people ought not to be able to watch.