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.
By the very nature of its settings and story, there are occasional reminiscences of Lang and Hitchcock, but there is nothing borrowed or imitated. Stylistically, The Third Man is Reed's most impressive film.
What really makes the film sing, though, isn't the jaunty and iconic zither score by Anton Karas. It's the film's groundbreaking visual aesthetic, which combines noir tropes with expressionism to create a visual wonderland of living shadows.
Despite his limited appearance, Welles has remained the face of The Third Man for years, and rightfully so. His eleventh hour performance is one of the best of his career, and without it, the movie wouldn't be quite as memorable.
As you watch the film, you feel as though the screen is tilted higher, glowering over you as you wince in its devastating presence, which is probably how Martins felt scurrying through the Vienna darkness.
The bombed buildings, piles of rubble and their evocative shadows form a haunting backdrop to the outdoor scenes, particularly at night. ... Greene's talent for dialogue and suspense shine. [It] has more twists and turns than a rollercoaster.