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 rich and delectable "food western" from Juzo Itami that steadily supplies laughter and sumptuous imagery. Itami approaches his narrative with a sense for experimentation that might give Jean-Luc Godard whiplash, but the film's seemingly tangential trajectories never feel gratuitous. There are just so many great scenarios present here (Best. Food. Sex. Ever!), and it's hard to think of another movie that uses iris dissolves to such great comedic effect as Tampopo. It is a dish best described as such: it's very Asian cuisine, with enough western spicing to really give it its own unique flavor.
Tampopo is a light-hearted feel-good comedy with a heavy focus on making a winning bowl of ramen and setting up a great shop. There were quite a few bits I found to be random which were probably cultural references but if you are amused by randomness then you'll find they flow in with the rest of the general wackiness. While I don't rate it quite on the level of Cantonese comedies such as the God of Cookery, Tampopo is still a fun view.
This passable comedy, punctuated with vignettes of food-centered skits, is about the titular heroine learning to make the best noodles from an unlikely posse of food critics, a truck driver, a gangster, a vagabond and a chauffeur.
While offering deliciously quirky humor and eclectic side stories as side dish, Tampopo apparently still stucks with old age Japanese sexism. Although subtly presented, Tampopo ends up as a one-dimensional woman who can't survive by herself. Her son also ends up as a stereotypical Japanese victim of bully.