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.
Like Chomet's "The Triplets of Belleville," it's a lovingly crafted animated film that invites the audience to luxuriate in the hand-painted visuals, to chuckle at the small jokes stuffed into the corners of the film.
...in its antique colored light and the stubborn persistence of its uncomputerized 2-D, [it] evokes a quality of feeling that Toy Story 3 did not ... It's not just that we outgrow our toys ...sometimes the world outgrows us...
It's beautifully drawn -- really drawn, with hardly any computer effects -- and has an elegiac tone and bits of quirky humor. But it wouldn't win a footrace with a snail, and the narrative amounts to nothing.
The Illusionist is absolutely mandatory viewing for aspiring animators and filmmakers. (In terms of pacing, scoring, editing, and narrative, it's a film school unto itself.) For the rest of us, however, it's simply magic.
The film ends on a note of graceful, heartbreaking beauty that Tati would have admired for its lack of sentimentality. A lot of what precedes that ending, though, is precious and slight and a little too fanciful.
Chomet adapted an unproduced screenplay by Jacques Tati, whom Tatischeff resembles and, in a meta moment, sees when he ducks into a theater showing Tati's Mon Oncle. It is just one simple amusement in a lovingly crafted film of plenty.