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.
Stop-Loss is not a great movie, but it's forceful, effective, and alive, with the raw, mixed-up emotions produced by an endless war -- a time when the patriotism of military families is in danger of being exploited beyond endurance.
Stop-Loss can't quite decide whether to focus on making a powerful statement on a controversial and unfamiliar military policy or on a more predictable drama about the traumatic effect of war on young people's lives.
Clearly, Peirce's motives are pure. She's not using the 'stop-loss' issue as a wedge to make the government or the administration look bad. She's using it to dramatize an injustice and to advocate on behalf of the soldiers.
There's a keen and ugly sense of anguish to Stop-Loss, a caged sense of powerlessness beyond political outrage that makes this film far and away the most effective effort yet at capturing the frustration of the war in Iraq.
Anchored by deft performances from a sturdy ensemble, Stop-Loss provides proof of Peirce's sensitivity with actors as well as her interest in stories of American folk who don't often get the close-ups they should.
As in her superlative debut feature Boys Don't Cry, [director] Peirce explores politically incendiary subject matter with empathy, sensitivity, and a particularly sharp sense of place, in this case, a lovingly depicted Texas.
Peirce's obvious respect for the returned soldiers should prevent Stop-Loss from being dismissed as a Hollywood anti-war screed. It's more accurately described as an anti-war movie with a resolutely pro-troop message.
While Phillippe does a creditable job and Cornish is suitably torn by her divided loyalties to two men, Tatum and especially Gordon-Levitt are utterly wasted, used like extras when either of their stories seems interesting enough for a film of its own.
Brilliantly observed and vividly shot, built on a career-making performance by Ryan Phillippe, its an Iraq War movie for Americans whove been avoiding Iraq movies, even the good ones such as In the Valley of Elah.
Boys Don't Cry director Kimberly Pearce attempts to anchor the Iraq War debate in the lives of a specific subset of soldiers and nearly pulls it off. But her promising premise runs into a rut of incompatible accents and melodramatic excess.