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.
It is in many ways Eastwood's tightest movie for some time, and certainly his darkest since Unforgiven; indeed, the ending offers as corrosive an assessment of the limits of American justice as anything in his career.
Too depressing to fill audiences with delight, but it does seem to validate questionable attitudes, especially an indifference to the suffering of innocent people and a willingness to shoot first and ask questions later.
Solid, rarely showy performances, meticulously recreated detective work and moments of pure unadulterated grief accent this whodunit, a movie that will have those who haven't read the book fooled for much of its length.
The experience of being so absorbed in a movie and the lives of the people in it, of trusting a director and a writer and actors to take me places completely unexpected, is so rare that I savored every unexpected turn and twist.
Deals with themes Eastwood has often explored before, but never so delicately or with as much sad wisdom: The way in which our past haunts our present, the lasting repercussions of violence and the cruel inexorability of fate.
Where Lehane's novel seethes with emotionally charged subtext, Eastwood's workmanlike direction feels static -- fatally tasteful, embalmed in gravitas -- while his sporadic efforts at dramatic heightening come off as vulgar cliché.