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.
Despite his scenes of bland horror, Lucas offers the 25th century as a arch, campy place, a conception not satiric enough to be accepted as comedy and not quite insightful enough to be taken seriously.
The empty space surrounding the vulnerable man emphasizes the exertion involved rather than the goal of escape: like the hologram who came to life because he wanted to, THX finally achieves his humanity by an assertion of will.
Visually it is often extraordinary, with Lucas playing on perspectives and dislocations throughout, nowhere more brilliantly than in the 'prison' represented by a limbo of whiteness that seems to stretch as far as the eye can see.
For sheer visual risk-taking, THX is by far Lucas' most impressive work, and one well worth seeing on the big screen. At least once in your life you should see Robert Duvall with freckles as big as your head.
I have a good many reservations about the film's ideas, but they are greatly outweighed by my admiration for a technical virtuosity that by fair means and foul achieves exceptional emotional intensity at the same time.
For a film that warns about the dangers of consumerism, one can only wonder how many more times will Mr. Lucas force this lesser work of his upon an uncaring public before he lets the film slip back into obscurity.
THX 1138 shows that Lucas was once interested in letting actors act, and in letting the audience think for themselves. It reveals just how much his technological toys have crippled him as a storyteller.