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.
Gordon-Levitt finds something heartbreaking behind Chris' blankness; you can almost watch, on his face, memory quietly draining away. Quietly flavored with sad resignation, it's a performance that's remarkable for what isn't there.
Although filmmaker Scott Frank is unable to sustain the initial intensity, he does a credible job of not signaling where the story is heading and ramps up excitement with a number of unexpected twists and turns.
[Writer-director Scott] Frank isn't afraid to kill off one sympathetic character, or have another simply disappear. And unlike other writers-turned-directors, he's not afraid of his own camera, either.
Instead of a funny heist flick or a comedy with thrills, [writer Scott Frank] sketches out a gentle sine wave of a movie. It oscillates from not very funny to not very thrilling without ever being in a hurry to get where it's going.
A solid debut. [Writer-director Scott] Frank never overpowers this at-times familiar material. Aiming for a film that's character-driven, he gets sharp performances that hold promise for the nascent director.
Most impressive of all is Mr. Gordon-Levitt, who is convincing as one of cinema's most difficult archetypes: the reactive protagonist whose complex emotions are visible to the viewer but invisible to his fellow characters.
An effective homage to the kind of small-scale thrillers we never forget. We can't avoid knowing where The Lookout is headed, but we are so deep inside its characters' heads that we wouldn't want to go anywhere else.
[Director Scott] Frank wrote the film adaptations of Elmore Leonard's Out of Sight and Get Shorty, and at times he seems to be trying for a similar tough-tender tone. But the material here is more fragile than Leonard's, more touchy-feely.
Small but satisfying, and you're pleased to find yourself in the company of a writer who knows what he's doing, doesn't showboat yet doesn't turn to stone, and plays straight into the tangy strengths of his script.
Gordon-Levitt's worth the admission all by his lonesome. He's that good - the proverbial young man with an old soul who brings unexpected depth, complexity, and sincerity to what could have been just another damaged-guy role. He's the one to look out for.
Fueled by yet another terrific performance from Joseph Gordon-Levitt, it's a curiously satisfying genre picture, with all the tight plotting and meticulous character building you'd expect from the writer of Out of Sight.