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.
Just as the movie is beginning to conform to genre expectations (like The Treasure of the Sierra Madre meets Fargo), the Coens have the guts, and indeed the smarts, to pull it in an entirely different direction.
A masterly tale of the good, the deranged and the doomed that inflects the raw violence of the west with a wry acknowledgement of the demise of codes of honour, this is frighteningly intelligent and imaginative.
Working from a Cormac McCarthy novel that has the heedless, headlong force of an action movie screenplay, Joel and Ethan Coen have improved upon the original by giving it a visual lyricism to match McCarthy's verbal barrage.
The Coen brothers' screenplay is faithful to McCarthy without being obsequious. In filming it, they play it straight, and the touches of signature humor that are there don't seem like flashes of style, but organic and right.
This measured yet excitingly tense, violent yet maturely sorrowful thriller marks the first time the filmmakers have faithfully adapted somebody else's work to their own specifications and considerable strengths.
The Coens know how a thing or two about pacing, and it's relentless here. The story is full of unexpected twists and switchbacks, and opportunities for the audience to gear down and take a breath are few and far between.
If I want wry lawmen and smart, calculating fugitives, I'll get them from Elmore Leonard; and, if I want Leonard, I'll take him neat, rather than slow-filtered, drop by drop, through a layer of Faulkner, then laced with the Book of Jeremiah.
Feels less like a breathing, thinking movie than an exercise. That may be partly because it's an adaptation of a book by a contemporary author who's usually spoken of in hushed, respectful, hat-in-hand tones.