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.
The performances -- and the movie's sideways glance at the culture of illegal immigrants, including a funny song about Superman ('He has no social security and no green card') -- give the movie its nicely controlled vitality.
You may be pleasantly surprised by how affected you are by the small kindnesses the boy finds... And you may be absolutely shocked at how moved you are when finally, gratefully, Carlitos' journey comes to a joyful end.
Much of the plotting is schematic, and some of the moments meant to tug our heartstrings clearly flow from the melodramatic telenovela form. Yet the scheme transcends itself in surprising ways. Love conquers lots, while the kid conquers the rest.
Your enjoyment of this picaresque tearjerker may depend on how much you can tolerate its shameless contrivances and didactic social realism, whereby the story exists only to illustrate the plight of illegal aliens.
This largely Spanish-language film brings on the waterworks because its core story is undeniably affecting. The whole movie, however, would be more convincing if the elements around that vital core were more multidimensional and less contrived.
A harmless feel-good movie that tries to tell audiences what it's like to be a victimized immigrant, and mostly winds up telling them what it's like to have their heartstrings yanked, gratuitiously and often.
Thanks to the uncommonly shrewd judgment of screenwriter Ligiah Villalobos and director Patricia Riggen, both newcomers, Under the Same Moon never feels like rank exploitation, even as it steadily aims for the emotional jugular.
Before you can say, 'Wow, that sounds boring,' director Patricia Riggen has smuggled us, with no-bull authority, into the rituals, jokes, and survival games of a culture of half-existence: people who live in two places and nowhere at all.