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.
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.
Poised between Kafka and Tom Cruise, The Lives of Others is the sort of movie that constantly engages you. You never know what's going to happen next, and it's all done with a precision and intelligence that's rare in movies these days.
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.
Just from an entertainment standpoint, wondering what decisions the characters will make, and what the consequences might be, makes for edge-of-your-seat tension despite the movie's quietly thoughtful tone.
A movie of slowly accumulating tension and power, Florian Henckel von Donnersmarck's drama -- a foreign language Oscar nominee, with a good shot at winning -- is also a romance between two men, but not the way you think.
Somber and watchful, like the people whose story it tells, The Lives of Others brilliantly abrades our perception of the 1980s as a time when the only history worth remembering was being made by Wham! and Duran Duran.
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.
A riveting drama about playwright Georg Dreyman (Sebastian Koch), his actress girlfriend Christa-Maria (Martina Gedeck) and the Stasi agent who has wired their apartment and is spying on them in East Berlin.
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.
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.
One of the most amazing films I have ever seen on the subject of the state's control over the lives of individuals, both through modern instruments of surveillance and an ingenious ability to recruit and persuade even family members to spy on each other.
A blistering indictment of Germany's substitution of one Kafkaesque regime for another, as well as a human reminder of how some reviled instruments of repression turned out to be more complex than we ever dreamed about.
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.
The complex but lucid script and Hagen Bogndanski's sombre noir camerawork serve not only to establish a brooding atmosphere of fear, doubt and suspicion but to create a suspenseful thriller of political and moral relevance.