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.
The film is directed by Steven Spielberg, and breaks new ground in content and style. It merges some of the most realistically disturbing battle footage ever included in a feature film with a touching human story.
If Steven Spielberg's emotional intelligence matched his visual genius, his harrowing, passionately felt and honorably flawed new film might qualify for one of the greatest American movies ever made about World War II.
Spielberg puts us through the hair-trigger terrors of combat in a way no other filmmaker has ever dared, and yet there's a gentleness to his enterprise. He's interested in the humaneness that comes through the horror.
Calling it the greatest war movie ever made does a disservice to other, equally worthwhile, lower-profile films. But it's still an excellent movie, as effective in battle scenes as it is in that of soldiers ruminating on an Edith Piaf song.
What Steven Spielberg has accomplished in Saving Private Ryan is to make violence terrible again. Nothing in the movie's melodramatic narrative can diminish the shocking immediacy of its combat scenes.
Spielberg goes a long, long way toward overcoming his tendencies toward the shallow, but the visceral punch of his not-quite-masterful film is softened by an almost neurotic slickness that keeps getting in the way of the [issues it raises].
Spielberg obviously decided that blood and guts meant just that, and so he arranged his violence into a semblance of pure disorder. The illusion holds, complete with severed limbs and wellsprings of blood, and it feels honorable.
It has a few pretty good action moments, a lot of spilled guts, a few moments of drama that don't seem phony or hollow, some fairly strained period ambience, and a bit of sentimental morphing that reminds me of Forrest Gump.
Using the overpowering techniques of modern film, Steven Spielberg has cut through the glory-tinged gauze that shrouds World War II to reveal its brutal reality, creating a phenomenology of violence unsurpassed in the history of cinema.
Despite nearly six decades of filmmakers trying to come to grips with [World War II, Saving Private Ryan] feels like the first truly honest attempt to deal with the horrors of combat -- and the terrible responsibility shared by all survivors.