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.
Towering standalone moments all, they are certainly impressive when first encountered, though they wobble perilously the longer one looks at them...It isn't a great film - but it has a great film rattling around inside it.
Anderson got a great performance out of Sandler, something I never dreamed possible, and he gets one out of Phoenix here. But for all the passion mustered by Phoenix, the final third of "The Master" grinds to a halt.
the title of Master is best reserved for Anderson himself, who builds, as if from water and sand, a story that is messy in the very best sense, crumbling before the viewer's eyes before it can be easily grasped or penetrated.
Hoffman's performance is beyond words, as always, but it is Phoenix's take on the animalistic nature of man that speaks volumes to the core elements of what makes the film such a devastating one to shake.
[The Master] is interested in consciousness more than conscience, which is why Anderson's camera roams so thrillingly. The man we're following experiences the world as a carelessly dropped string that had been wrapped about him and then whipped loose.
[Director Paul Thomas] Anderson has taken whatever he needed from the early history of Scientology. . .to create an intimate epic of irrational need, an inner history of cultish transactions reconfigured as a sorrowful and distinctively American poem.