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.
Through its very specific story, the movie illustrates how absolute power can corrupt those who wield it, resulting in a man who, once ensconced as a nation's leader, uses all his available resources to ensure his own survival.
Forest Whitaker gives a titanic performance as the general ... and as he seduces the naive young man into his murderous regime, director Kevin Macdonald unpacks the ignorance and arrogance that still characterize the West's attitude toward Africa.
Great as Whitaker is in this juicy slab of Oscar bait, Macdonald's movie doesn't have much to offer beyond a pair of stunning performances, propulsive editing, fantastic scenery and the heartbeat rhythms of African music.
There must come a reckoning, and in The Last King Of Scotland, the loss of innocence consumes the whole final hour, during which time Whitaker appears less often, his screen time stolen by an increasingly weepy McAvoy.
A thunderous performance by Forest Whitaker as Ugandan dictator Idi Amin informs and ignites The Last King of Scotland so far beyond its limitations as both a biopic and a political thriller that he becomes the movie itself.
The Last King of Scotland isn't for everyone, but for those who can stomach its brutality, it offers a compelling look into how such a popular leader became known as one of Africa's most vicious dictators of the 1970s.
Whitaker has done some surpassingly gentle and rueful work in the past, but for this role he has transformed himself -- he's either sprawled in a stupor or alarmingly mobile, throwing his big body around the room as if it weighed nothing.