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.
Writer-director Richard Kelly throws a lot at the wall. The problem, if that's what we should call it, is that everything sticks. That's bad news for those who like some narrative clarity, and great news for those who enjoy bonkers wall art.
Unusual and extremely ambitious with an alternate reality that is entirely absorbing; Southland Tales is Richard Kelly's magnum opus that only a small few are able to recognize. Thankfully, those small few are pimps. And pimps don't commit suicide.
Even if the world Kelly's concocted always seems screamingly incoherent, you have to hand it to him. He's made a movie of our messy times that's too ambitious to settle for merely capturing the mess. It actually is the mess.
Kelly might be biting of more than he can chew, and he certainly doesn't know how to conceptualize the full smorgasbord of imaginings floating deep inside his brain, but he does make a gorgeously invigorating mess that is for sure.
Compared to the seemingly unsalvageable disaster Kelly screened at Cannes, this overcooked folly is a miraculous, Frankensteinian resurrection. Maybe this is grading on a curve, but I'd always rather have an excess of ambition than the opposite.