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.
This is a surprisingly unexpected and nuanced study of a woman. I had guessed the arch of the story wrong several times as it clearly does not follow the usual conventional film script. Instead of the sharp delineation of good vs. evil, crime vs. punishment, this is about cruelty and charity in unlikely places. In the end, it is still an optimistic view of human condition: we all have capacity to learn, learn to forgive and move on.
Hmmm, there were poor reception in general. Me too found it starts off rather flat yet corny. But the farther it goes, the more indulging it becomes. Not bad seeing a different & no more superficial, cutepie Audrey Tautou either.
Based in part (the novel is much more) on the 1927 François Mauriac novel Thérèse Desqueyroux , this film stars Audrey Tautou (Amelie) as the title character who finds herself in a marriage of convenience (they both own property and each want more) to a rather dull man (Gilles Lellouche - Mesrine) whom Thérèse accepts/tolerates until her sister-in-law and best friend, Anna (Anais Demoustier - Elles) falls passionately in love with a Portuguese man making Thérèse realize what her life is lacking. Unsure of what to do, Thérèse takes drastic action in hopes of finding the love/freedom she sees others share. The novel has much more depth to it (this film leaves out many events found in its pages) but is similar to the more well-known Madame Bovary or Anna Karenina. While I am a sucker for costume drama, I found much of this film dull -- like her marriage -- and it only picks up late into the film. It leaves much out and so the film makes it difficult to find much sympathy for any of these characters other than Anna. The landscapes are pretty and Tautou can play dowdy and dour but this isn't one I would recommend even to fellow Merchant Ivory enthusiasts. It wanted to be more.
A very strong central performance that holds the attention can't hide the fact that this story was fine when it was filmed first and that it was not really in any need of an update. Meticulous set designs and the costumes also carry this film somewhat further and I guess it still has relevance today in a world where women are still forced into desperate acts because of cultural restrains. Seeing the way Bernard treats his sister when she falls for the "wrong" man, reminds one of some attitudes still in swing in ultra conservative muslim families in France, England or Holland.
This movie has a great but sadly unrealized potential. A complex story about family and choosing between what's right and what's wrong. Unfortunately, it came out a bit dragging and the actions of the main character are not always a logical culmination to her past. I did have high expectations of this movie, so this was quite disappointing.
Tremendous film about the mental disintegration of a member of the landed classes in 1920s France. The compulsive propriety is very well shown in the darkest of ways. Highly recommended and this would have been a longer review except RT deleted my original and now some of the details have passed from memory.