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.
It's no easy task staying awake through Sleepwalking, a downbeat debut from Bill Maher (no, not that one). Only a typically intense performance from co-star Nick Stahl offers the jolt needed to keep us alert.
Terrific performances and a bleak, riveting look at life on the economic fringes eventually gives way to an overly familiar tale of abuse, denial and catharsis that feels like warmed over Sam Shepard minus the poetry.
Despite its deficiencies, and the inadequate screen time allotted to Theron (who's quite good), Sleepwalking has a core of feeling. It's about a do-gooder who, lacking all skills for it, does good anyway. His emotional odyssey has real poignancy.
Charlize Theron only gets better as an actress, and she certainly wouldn't sign on to a low-budget indie such as Sleepwalking without believing in the material. The material, alas, does Theron no favors.
If you had programmed a computer to come up with a movie that is nothing but a string of the deadliest indie-film situations and moods, you'd have Sleepwalking, a soporific dud, which should have been tossed out of Sundance.
When you see how hopeless the lives of the American people have become in endless independent films that drive the movie audience away in mobs, you understand why the big, dumb action comics and Will Ferrell alleged comedies make all the money.
Sleepwalking stands as a heartening reminder that the future of American cinema may rest with those independent filmmakers working far from the bottom-line executives heading the shattered remnants of the old Hollywood studios.