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.
From the Caruso serenade for the new arrivals at Ellis Island to the discordant reality on the other side of the golden door, "The Immigrant" has a ringing message: Succeeding in America is a dream act.
From Ellis Island to Central Park to middle-class Brooklyn to the crowded streets of the Lower East Side, Gray delivers a gritty, muted portrait of Roaring '20s New York, photographed in monochrome tones by master cinematographer Darius Khondji.
Gray and his cinematographer Darius Khondji and production designer Happy Massee have done a magnificent job of re-creating this Lower East Side melting pot -- the best I've seen since the De Niro flashbacks in The Godfather II.
The film is earnestly and unabashedly melodramatic to an extent that may baffle audiences accustomed to clever, knowing historical fictions. But it also has a depth and purity of feeling that makes other movies feel timid and small by comparison.
Gray is the most underappreciated of this country's major filmmakers; his movies distill a century's worth of American feature film-a little late silent cinema here, a little New Hollywood there-into a distinctly personal style.
Gray has few contemporaries but plenty of precedents; like Paul Thomas Anderson, he reaches so hard for a level of greatness that a different era of moviemaking that it's impossible not to get swept up in the task with him.