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.
Payne remains a deeply humanist filmmaker: He loves people no matter their flaws, and he once again conveys that sympathy through a beautiful, haunting film that initially feels slight but grows large in your memory.
In a career-refining performance, Bruce Dern gives us a character in Woody Grant who's hardened by booze, hard to like and -- if his bad-dad tendencies don't cut too close to your bone -- pretty durn amusing.
It has moments of uncanny grace, made all the more beautiful by their dryness: a family, briefly, pulling together; a son suddenly understanding his father's dream; a tiny moment, at the end, of unexpected triumph.
Is Nebraska a comedy or a drama? Like life, it's both. Payne takes his time. Deal with it. This is a movie to bring home and live with, to kick around in your head after it hits you in the heart. It's damn near perfect, starting with the acting.
Although Payne has never been a flashy director - he's one of the few modern filmmakers who regularly, publicly puts script and performance first - there are so many lovely, visual moments in this film, shot in wide-screen black-and-white.
Nebraska captures the same sort of dislocation [as Paris, Je T'aime, but] on a grander scale, overlaying it with relocation-a series of mild or intense shocks arising from Woody's return to his long-abandoned home town in Nebraska...
Woody Grant could have stepped straight out of Grant Wood's painting American Gothic. His story, too: crusty old coot from a dying farm town, looking for Meaning at the end of a life that may not have had one.
Mr. Nelson's observant, detailed script flawlessly captures the mood of what American ennui has done to both old and young men on their way to becoming losers, lending a look and feel that seems like the Great Depression.
A sad, undeniably thoughtful depiction of midwestern eccentrics regretting the past and growing bored of the present -- ideas that Payne regards with gentle humor and pathos but also something of a shrug.
Alternately a poetic tale of personal affirmation and a plainspoken metaphor for tenacity in the face of meager hope, "Nebraska" is not just a beautiful or great film but an essential one for our time.