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.
Celebrating Rome in all its decay, this florid comedy by Paolo Sorrentino (Il Divo, This Must Be the Place) opens with a hyperbolically gaudy party honoring a celebrity journalist on his 65th birthday.
Throughout the film, Sorrentino delivers gorgeous images, crazy images, startling and sexy and serene images; it's a visual bath of sorts - the great beauty is everywhere, Jep (and we) just have to be open to it.
If the antics of the beau monde disgust or exhaust you, stay away from Sorrentino's film; look no further, on the other hand, if you wish to know whether, where, and in what guise the spirit of Fellini remains at work-and, better still, at play.
The Great Beauty is a subtly daring cinematic high-wire act - an entire film built around one character's unrealized, unspecified yearning. And it might just be the most unforgettable film of the year.
Sorrentino's juxtaposition of contemporary Roman indulgence and the Eternal City's place in history's imagination makes for a bittersweet epic in which a solitary character, Jep, stands in for the director, and us, and experiences an epiphany.
Never have cynicism and disillusion seemed more intoxicating than in "The Great Beauty," which is such an overwhelming visual and auditory experience that its elements of cautionary moral fable threaten to get lost amid the gorgeousness.
Rome in all its splendor and superficiality, artifice and significance, becomes an enormous banquet too rich to digest in one sitting in Paolo Sorrentino's densely packed, often astonishing The Great Beauty.