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.
Jane and Neil find themselves brushing against each other in a large field right up next to a herd of brown bison amid rustling grasses, as if grass were ever still when a camera, Malick's camera, is directed its way.
Terrence Malick's films have not been very accessible in the past. If this one is any indication, they are becoming less so. The narrative is thin, slow moving and ambiguous in places. It is moody, sombre and melancholy.
In its conventionally alienating extremes, this is probably Malick's most pure expression of his uniquely impressionistic, almost extra-sensory cinematic gifts, transporting one to a meditative wavelength of emotional experience.
With its florid narration, non-linear structure, and endless shots of a woman in flowing skirts twirling in fields, on beaches, and in supermarket aisles, it's dangerously close to being a parody of a Malick movie.
"To the Wonder" is an imperfect film that perhaps reaches too high and too far, but I admire the effort, and am grateful for those moments when Malick does connect, and the film suddenly becomes glorious.
To the Wonder feels like a caricature coveting Malick's previously towering pieces of visual art. However there's more refined, contemplative poetry in this relative misstep than in a hundred Hollywood studio films.