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.
In the end it may not have the emotional uplift the Academy or a popular mainstream audience craves, but make no mistake, this is an enthralling drama about a peculiarly American restlessness, and the striving for insight and grace.
A film that starts off seeming like the best of 2012 becomes a chore to sit through, and I suspect that few, even among this film's enthusiasts, will come to the end of the movie wishing there were more.
The first time watching is like breezing past a piece of beautiful art, being stunned, uncertain and intrigued by it. The second time can only encourage more interpretation, reflection and understanding.
The movie may not even be fully comprehensible on first viewing, the bigger patterns in the narrative and the rhythms of the filmmaking revealing themselves more fully and clearly only with a return visit.
It's a film bristling with vivid moments and unbeatable acting, but its interest is not in tidy narrative satisfactions but rather the excesses and extremes of human behavior, the interplay of troubled souls desperate to find their footing.
It's a film of breathtaking cinematic romanticism and near-complete denial of conventional catharsis. You might wish it gave you more in terms of comfort food pleasure, but that's not Anderson's problem.