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.
With Manhattan, a sparkling romance about the overspecialized anxieties of overintellectualized New Yorkers, Woody Allen has bounced back from the sobriety of "Interiors" to an exhilarating new comic high.
The film should not come as a complete surprise to anyone who has been paying attention to Allen's doings lately. This is the movie that Annie Hall hinted at and to which last year's Interiors, flawed as it was, seems to have served as a necessary prelude.
As a slightly ironic comedy-romance (it's shot, beautifully, in black and white by cinematographer Gordon Willis and the background music is all Gershwin), the film is a success of classic proportions.
Allen serves up a nostalgia that was utterly of its time; he incarnates an idea of the city that, even now, remains as strong as its reality and refracts his disappointed ideals into high existential crises.
In "Manhattan," Allen has more to say about people, relationships, and human nature than he does in "Annie Hall" . . . but what he says, apart from a handful of hilarious lines, isn't as consistently funny.
Manhattan is Allen's most fully realized film, especially in the way perspectives are developed. It's the rare movie that can be watched from a number of different points-of-view, without feeling cheated.
Arguably this is Woody Allen's masterpiece, in which he revisits the themes of his bittersweet features and refines his distinctive serio-comic tone, not to mention Gordon's Willis brilliant b/w imagery and George Gershwin's evocative score.