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.
The fact that [Moreno's] Maria is so believable, so compelling, rests entirely on what she brings to the part, not what the part brings to her. Her face is the kind that can carry a movie on the strength of sheer screen presence.
Provides a moving critique of the heroin trade as well as a powerful portrait of an unjust global economy in which the lives of the poor are exploited and often discarded for the recreational purposes of the rich.
It has a respect for the cultures it observes, and a nice sense of place. But it has no compelling character. It might have in real life. But on the screen she's as diluted as the drugs she helps to sell.
It breathes life into a small story that has larger ramifications. It also shows that America, as represented by Jackson Heights, is still the promised land for people about whom movies are rarely made.
Sustains a documentary authenticity that is as astonishing as it is offhand. Even when you're on the edge of your seat, it never sacrifices a calm, clear-sighted humanity for the sake of melodrama or cheap moralizing.
The unalloyed earnestness with which Marston tells his story, the frankness of that story and the insistently powerful performance of Catalina Sandino Moreno make Maria one of the more noteworthy debuts in recent filmmaking.
Thrillingly subjective, teeming with the fullness of everyday proletarian life that one finds in the work of the directors who most influenced Marston in the making of this movie: Hector Babenco and the Brazilian realists, Ken Loach and Mike Leigh.