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.
What George M. Cohan did with the Stars and Stripes in 1919, Allen is doing with neurosis in 1979: waving it, telling us that as long as we're proud of it, we're all pretty damned OK. That's the real romance of Manhattan.
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.
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.
If Manhattan was only a romantic comedy, it would be a very good one, but the fact that the movie has so much more ambition than the 'average' entry into the genre makes it an extraordinary example of the fusion of entertainment and art.