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.
Neither version of Melinda, despite Mitchell‚(TM)s game try at making them distinctive beyond their different hairdos, is funny or tragic enough to fully engage us; there‚(TM)s no opportunity for an audience to be moved.
Allen lately has grown tired of complex characters and inventive actors to play them. He appears to be making movies because that's what he's always done, but the love and the ideas and the zip are essentially gone.
I couldn't buy that two supposedly sophisticated theater people could be so simpleminded about what defines comedy and tragedy. I also couldn't believe in most of the characters, including either version of Melinda.
It becomes increasingly clear that Allen's idea of otherness is frozen in another era. The dividing line between the in-crowd and the out-crowd is as clear as ever, he just can't see it from where he stands.
Melinda and Melinda is perhaps best thought of as an offering to the memories of Ernst Lubitsch and George S. Kaufman, half-forgotten culture heroes whose examples of crisp sophistication deserve to be kept alive for future generations.
The sensitive dual female role for femme lead Radha Mitchell stirs memories of complex Allen heroines from Annie Hall on down, even if the action is dispersed via a larger ensemble cast which he currently favors.