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.
The Lives Of Others' obedient, obsessed spy in an exceedingly odd sense may have much more of a handle on the lives of others than, say, the filmmaker, who himself was around six years old at that time period of the former GDR.
Judging by the film's success in Germany and its enthusiastic reception at this year's Telluride and Toronto film festivals, it's a good bet that many moviegoers will feel similarly moved. Personally, it gave me the creeps.
Writer-director Florian Henckel von Donnersmarck gives his debut feature, The Lives Of Others, no particular style, and the absence of visual risk-taking renders an exciting premise ponderous and stolid.
Florian Henckel von Donnersmarck's film is a melodrama in a minor key, quietly affecting, quietly chilling, quietly quiet. It captures the drab architecture of totalitarianism, the soul-dead buildings of a soul-dead state.
Whether or not this is the best foreign language film of 2006 is debatable, but there should be no argument that it is deserving to be numbered among the elite non-English language productions receiving international distribution.
It is Ulrich Muhe's portrayal of Wiesler that makes the film such an impressively humane political thriller. The muted shifts in Wiesler's character suggest that when you truly engage the lives of others, you open yourself to profound change.
A genuinely thrilling tale, leavened with sly humor, that works ingenious variations on the theme of cat and mouse, speaks to current concerns about personal privacy and illuminates the timeless conflict between totalitarianism and art.