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.
From the Critics
From RT Users Like You!
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.
The best thing about Baz Luhrmann's much-anticipated/much-dreaded The Great Gatsby is that, for all its computer-generated whoosh and overbroad acting, it is unmistakably F. Scott Fitzgerald's The Great Gatsby. That is no small deal.
Maguire's otherworldly coolness suits the observer drawn into a story he might prefer only to watch. DiCaprio is persuasive as the little boy lost impersonating a tough guy, and Mulligan finds ways to express Daisy's magnetism and weakness.
The perfectionist Luhrmann ... captures the exterior excesses of Gatsby's life but overlooks the interior torment that fuels them. Without the latter, Gatsby is less a film and more of a salute to production design.
The result is less a conventional movie adaptation than a splashy, trashy opera, a wayward, lavishly theatrical celebration of the emotional and material extravagance that Fitzgerald surveyed with fascinated ambivalence.
There's always something to watch. But the actors' efforts to get something going the old-fashioned way - by interacting with each other, in the service of the characters - get shoved to the sidelines, in favor of one more blast of glitter.
I love the publicity quotes by Baz Luhrmann stating that his intention was to make an epic romantic vision that is enormous. Also: overwrought, asinine, exaggerated and boring. But in the end, about as romantic as a pet rock.
The anachronistic pop-music cues, digitally augmented tracking shots and disco-globe-glittery production design don't re-create the headiness of early-20th-century New York so much as invent a billowy fantasy otherworld in the gauzy vein of Twilight.
What Luhrmann grasps even less than previous adapters of the tale is that Fitzgerald was, via his surrogate Carraway, offering an eyewitness account of the decline of the American empire, not an invitation to the ball.
The cast is first-rate, the ambiance and story provide a measure of intoxication and, most importantly, the core thematic concerns pertaining to the American dream, self-reinvention and love lost, regained and lost again are tenaciously addressed.