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.
From the Critics
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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.
In 1975, the controversial Italian director Pier Paolo Pasolini crafted what became his swan song - the stomach-turning sadomasochistic drama Salo, or the 120 Days of Sodom. The film contemporizes the Marquis de Sade's 1784 novel by placing it in the context of post-WWII fascist Italy, amid an imaginary "puppet government" erected by Benito Mussolini during his exile on Lake Garda. The film, which features endless sequences of (simulated) sexual sadism, brutality and gore perpetrated on young boys, received official condemnations in innumerable countries (and was banned in most), but has since been reinterpreted, in some camps, as a merciless allegorical attack on capitalist ills. Several months after the film's extremely limited release, Pasolini himself was beaten and mutilated beyond recognition, then run over in his own Alfa Romeo. His death, and the subsequent investigation, ruled Italian headlines for months. Pasolini Prossimo Nostro represents one of the director's last filmed interviews. Shot during production for Salo, the film finds Italian journalist Gideon Bachmann following an exuberant, gleeful Pasolini around the set. We watch as the director single-handedly shifts the interview from an examination of his own life, work, and outlook, into a vitriolic evisceration of contemporary society. During the interview, Bachmann periodically cuts to still photographs taken on the set of Salo; the striking contrast between the images and the ongoing conversation establishes a biographical sketch of Pasolini as a skillful and intuitive critic of modernity. ~ Nathan Southern, Rovi