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.
Working together for the third time, Stone and Gosling quickly establish an easy rapport with one another, their surpassingly attractive physical features the perfect foils for Chazelle's aesthetic approach of naturalism and extreme stylization.
It's a film for those who feel a little out of step with the 21st century, as Mia does with her love of classic cinema and Sebastian does with his angry jazz certainty. A lot of us can relate. If you can't, we don't really want to hear about it.
We don't generally think of musicals in these terms, but, following the impersonal splashiness of the opening number, "La La Land" slowly dawns as a film of great intimacy. It's as if it were whispering to us.
As good as La La Land is throughout, the last act elevates the movie considerably. And while everything here has roots elsewhere, the way Chazelle strings these notes together somehow looks and sounds fresh and new.
The movie ends with a what-might-have-been fantasia that is one of the most emotionally moving passages I've ever seen in a musical. It's like a bluesy jazz piano chord, full of hurt and healing, that slowly fades to silence.
For all its borrowing and bricolage, La La Land never feels like a backward-looking or unoriginal work. Even when not every one of its risks pays off the way that first song does, this movie is bold, vital, funny, and alive.
"La La Land" is as delightful and magical as you've heard -- a big, joyful celebration of old-school Hollywood musicals -- but it's also smarter, tougher, and sadder than its moonstruck trailer might suggest.
Chazelle has assembled a vibrant, infectiously hummable pastiche of musical and cinematic styles - an entrancing ode to the glories of cinema past as well as a heartfelt expression of faith in the medium's future.
It doesn't so much look back longingly at past masters like Vincente Minnelli, Nicholas Ray, Stanley Donen and Jacques Demy (to name a few) as tap into their mojo, insisting on their modernity and its own classicism in the same gesture.
There's more to a Hollywood musical than the musical. There's fantasy. There's magic. There's a genre which isn't afraid to recreate what romance actually feels like. And that's where "La La Land" soars.
La La does nothing less than jolt the movie musical to life for the 21st century. You leave exhilarated by Damien Chazelle's nonstop inventiveness, dazzled by Emma Stone and Ryan Gosling, and thrilled how they made movies magic again.