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.
Based on Hillary Jordan's novel, Mudbound -- co-adapted on the page by Rees and Virgil Williams -- is emotive but unsentimental: Traversing it feels as authentically gunky as the muddy swamps in which it is set.
The movie, like the book, takes a long, hard look at the system of racial inequality that defined this time and place, and reminds viewers of the price to be paid for surrendering to our base instincts.
Elevating Netflix's theatrical game, Mudbound is a powerful and absorbing film, one that does a splendid job of preserving its literary voice while painting a densely layered portrait of two families in World War II-era Mississippi.
Blige, the queen of hip-hop and soul, is virtually unrecognizable, but her underplaying in no way negates her force. It's a self-contained force that she possesses here, and she knows when to loosen the bonds.
Mudbound is the work of a filmmaker whose vision is uninhibited. Even when it falters through later narrative twists that become almost too much to bear, it's a captivating experience-one that we're lucky exists.
Dee Rees's story of one black and one white family struggling in the WW II-era South is a fiercely intimate epic that couldn't be more timely. Mary J. Blige should be on every Oscar list for best supporting actress.
Mudbound is beautiful, complex and flawless, regardless of who made it. That it happens to come from a queer black woman is both significant and irrelevant: Brilliance is brilliance, no matter its packaging.
Rees uses voice-overs to bring the many characters to life, but the text is thin; the movie's exposition is needlessly slow and stepwise, and the drama, though affecting, is literal and oversimplified.
A hymn to what we all share - the human struggle, the mutual desire to succeed and create a better world for our children - and it is a damning indictment of those who stand in the way of such progress.