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.
A comedy of manners (and mannerisms) with two of the most mannered movie stars of our time, Diane Keaton and Jack Nicholson, acting all over the place until you surrender with the ecstasy of pure pleasure.
Nicholson and Keaton do what they can to compensate for the script's weaknesses, which is actually quite a bit. Even without age-specific dialogue to help them out, they manage to suggest a strong connection between their characters.
A romance comedy of the type favoured by writer-director Nancy Meyers, who, from her script for Private Benjamin to her remakes of Father of the Bride, has never met a laugh she couldn't reduce to a formula.
The problems lie not in the movie's ideas or casting, but in the sitcom-like screenplay employed by writer/director Nancy Meyers, and in the inability of the filmmakers to cut the movie down to a reasonable length.
The movie's effectiveness boils down to Ms. Keaton. You cheer for her when she laughs. You sympathize with her when she weeps. And when she does both at the same time, you realize how completely human her character is.
A film for adults and about adults, a charming, touching story that explores a romantic relationship not between a Maxim girl and the latest hunk, but two people eligible for subscriptions to Modern Maturity magazine.
Nicholson, with his swagger and cunning, and Keaton, with her nerves and off-kilter timing, show us why the old-style romantic comedies worked and why they can work just as well in an age of sexual candor.
Nicholson and Keaton each deliver rich and big comedic performances as two smart and interesting people who are so obviously right for each other -- if only they could overcome their respective problems.
But really, seriously, what woman wouldn't want to be Keaton, all sexy, funny, tender, quick, and never more charismatic in her animated access to her own feelings? And what man, of any age, wouldn't want to be with her?