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.
Some critics have derided the central performances as scenery-chewing excess, but these Tolstoys are characters who demand histrionics, and Mirren and Plummer are magnificent in delivering on those demands.
The Last Station is a moving, fictionalized account of a piece of real Russian history, a tour de force for an actor who's in his prime in his 70s and 80s, and a real return to form for a director most at home in period pieces.
The movie's a chocolate box of nougaty performances, from Christopher Plummer's delightful depiction of Tolstoy as a ribald old naïf to Paul Giamatti twirling his waxed mustache and playing to the gallery as Vladimir Chertkov...
Tansforms Tolstoy's waning days into material worthy of one of his tragedies while simultaneously making a biting statement about how the politics of a "movement" often warp the underlying philosophy which caused it to develop.
The kind of movie that gives literature a bad name. Not because it undermines the dignity of a great writer and his work, but because it is so self-consciously eager to flaunt its own gravity and good taste.
Based on the equally entertaining, erudite novel by Jay Parini and adapted and directed by Michael Hoffman, the movie is at once a hot marital showdown and a cool political debate, a domestic War and Peace.
This workmanlike adaptation of Jay Parini's novel about Tolstoy's last days, adapted and directed by Michael Hoffman, settles into a lushly scenic television drama, though with dialogue strangely located somewhere in the 1950s.