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.
Assayas has mapped out potentially interesting contrasts here - two worlds colliding, the spiritual and the material. It's a good idea, but not much seems to arise from the way these two realms come into conflict.
The ghosts are occasionally visible and audible here, but they're just as likely to be ethereal, and that fits in with Assayas's storytelling, which often forces us to fill in gaps of unspoken dialogue or unexplained plot for ourselves.
At any point in "Personal Shopper," you may be watching a ghost story, a psychological thriller, a stalker drama, or a twisted love story. Assayas insists they can coexist, and likewise Stewart refuses to define exactly who Maureen is.
"Personal Shopper" allows Stewart an even wider range of emotions than most of her recent movies. She shows fear, yes. But also stammering nervousness, nagging grief, resignation. It's a full portrait and an often fascinating one.
Personal Shopper is far from a bad film. It switches unpredictably from character drama to horror and back, exploring both mourning and what it's like to dress someone who's too busy to handle it herself.
Amid all the shifting mirrored surfaces and hazy ambiguities of Olivier Assayas's bewitching, brazenly unconventional ghost story, this much can be said with certainty: Kristen Stewart has become one hell of an actress.