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.
This is the one with Ryan Gosling, and like Terrence Malick's two previous dramas it's a gauzy, improvised affair that looks like a photo essay out of Architectural Digest and regards its gorgeous, murmuring actors as if they were statuary.
"Song to Song" reminds a viewer of what latter-day Malick does best ... place pretty Caucasian chalk outlines within a filmic world of such paralyzing beauty that we're prompted to appreciate the reality into which we stagger once the film is over.
Song to Song is quintessential Terrence Malick movie; it's a collection of ecstatic images designed to invoke the divine, to affirm the presence of God. Watching it, as usual, requires the patience of Job.
"Song to Song" continually flits - like the butterfly seen in one fleeting shot - from theme to theme, from love (always love) to fidelity, betrayal, identity, art, freedom, captivity, forgiveness and mercy.
The famous, finely chiseled faces that drift before the camera both fulfill and complicate one of the director's aims, which is to critique the fleeting temptations and soul-crushing consequences of fame, beauty, power and decadence.
There is only the barest frame of plot in Song to Song, the particulars of which are often incoherent or vague; even character names seem to be superfluous, prosaic details that can only interfere with the director's lofty vision.