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.
Starting Out in the Evening is thrilling in a way that a movie larded with car chases and explosions can seldom be, because of the way it deals with that basic building block of civilization, the creative process.
What to do with this light, while it lasts? [Director] Wagner's problem is to find an answer to that question and also to offer some resolution to the conflicts of honesty and compromise the movie portrays.
Starting Out in the Evening has the feeling of a film in which the actors, left to direct themselves, played into their own self-indulgent instincts, and the only one who resisted was the old pro who knew better.
Much of the film's novelty derives from its characters, the sort one almost never finds in 'commercial' films -- both flawed and sympathetic -- and it keeps them vivid, ambiguous, and three-dimensional throughout.
Starting Out in the Evening is a 'small' movie. But in its keenly observed examination of strangers who become intimates -- and of family members who remain, in part, strangers -- it has big things to say.
Every time we leave his world -- full of mortality, and artistry and that seductive student -- to re-enter his daughter's, the film falters a little. And bit by bit, the tension fades, like a manuscript left in the sun.
Has the patina of authenticity, but Wagner's characters speak in banalities that describe their all-too-familiar plights from the outside without getting inside their skins, as if they are trapped in the expositional stages of an old Broadway play.