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.
Despite the fun of the parties, the intrigue of the legal wranglings and the humour of the dialogue, Fincher and Sorkin never let us forget that we're complicit in their story (or at least 500 million of us are).
It has the staccato wit of a drawing-room comedy, the fatal flaw of a tragic romance and the buzzy immediacy of a front-page headline, all powered by a kinetic engine typically found in an action flick.
Fincher has made quite a few terrific films, from Se7en to the underrated Zodiac. But this time he's outdone himself. The Social Network is riveting from start to finish, and a master class in directing.
The Social Network sometimes relegates the actual effects of Facebook to passing lines of dialogue and offhand references. But there's plenty to explore in its causes, and Zuckerberg's story ends up feeling bigger than his own life.
Brilliantly directed by David Fincher, this provocative film probes the impetus for invention, the changing face of social interaction and the limits of friendship -- the old-fashioned kind and the version linking 500 million Facebook users.
Smartly written by Aaron Sorkin, directed to within an inch of its life by David Fincher and anchored by a perfectly pitched performance by Jesse Eisenberg, The Social Network is a barn-burner of a tale that unfolds at a splendid clip.
The Social Network succeeds, per journalism's most basic directive, in showing not telling. And like great journalism, a great film can capture the reality of the present -- and even make art out of it.
Mr. Fincher and Mr. Sorkin offer up a creation story for the digital age and something of a morality tale, one driven by desire, marked by triumph, tainted by betrayal and inspired by the new gospel: the geek shall inherit the earth.
On a first viewing, it seems almost indecently smart, funny and sexy. The second time around... half the time I sat there marveling at the similarities of the story, themes and structure to Citizen Kane.