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.
Potter possesses a natural gracefulness in presentation that helps a little but, finally, not nearly enough. Orlando is vague when she means it to be mysterious, coy when it ought to be witty, familiar when it should be bold.
See Orlando for its fabulous costumes, fascinating look at changing eras, and impressive performance by Tilda Swinton. Viewing this film for other reasons will almost certainly lead to a negative impression.
Compared with Potter's bold, beautiful, original, and witty first feature, The Gold Diggers, this is safe, crowd-flattering stuff, the Driving Miss Daisy of art pictures -- a film with practically no ideas at all, but lots of fancy trimmings.
Swinton's androgynous affect has rarely been better exploited: It's a kick to see her transition among Orlando's numerous identities, whether wooing a Russian princess or submitting to the charms of the horseback-riding Shelmerdine.
It's a critical work -- in the sense that it comments wryly on such things as representations of English history, sexuality/androgyny and class -- but made in the spirit of a love poem to both Woolf and the England that made us.
Orlando would be unimaginable without Swinton in the title role. Her radiant, androgynous beauty makes every scene look like an Old Master portrait, and her charismatic character is touched with grace, gravity and a nimble humor.