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.
So many stories come packaged in hyped genres that we can forget how much character can hold sway. Watts, Bening and Washington -- along with a fine ensemble and a humane director -- make sure we remember.
With Mother and Child, Garca brings his finely calibrated sense of drama to the subject of adoption, which he handles with characteristic restraint and insight -- at least until the film's maudlin, too-pat finale.
Of all the performances, Samuel L. Jackson's is the most surprising. It sometimes appears that the busy Jackson will take almost any role to stay working. This film provides a reminder of his subtlety.
Mother and Child keeps the traffic moving smoothly, much more so than a movie like Crash, because Garcia writes characters rather than positions, and he knows that the silences between people usually speak louder than their words.
That Garcia manages to spin three rich and complex yarns without ever losing hold of the main thread -- the deep and mysterious connections between mothers and daughters -- is evidence of a keen eye and an exceptionally curious mind.
Rodrigo Garcia's reputation as a writer for and director of women will increase exponentially with Mother and Child, an insightfully observed and exceptionally acted ensemble piece precisely about what the title suggests.
A believably unbalanced Bening scores the movie's true coup: Karen's revitalizing relationship with a sweetly persistent coworker (Jimmy Smits) is a rare example of Hollywood doing right by midlife romance.
One of the many pleasures in this exemplary film is watching the women grow and evolve, revealing more about themselves in each successive scene. Fraught with pitfalls, the narrative comes together seamlessly.