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 remarkable Amy Seimetz is as central to the film as women in Krzysztof Kieslowski's late films, like Irène Jacob in "Three Colors: Red" and "The Double Life of Véronique" or Juliette Binoche in "Three Colors: Blue."
Carruth's visual approach, saved from abstraction by his own rapid, forward-leaping editing, is extremely assured. Seimetz is a fine and expressively haunted actress. I look forward to the enigmas in Carruth's next picture.
However you watch it, it's a movie that will mean more for you if you don't worry about what's happening minute-by-minute and, instead, just let your mind wander as its muted images and snippets of dreamy poetry flow.
Clearly, the film is intended as a tactile experience of poetic ideas, of modern disconnection and biophysical insecurity and existential doubt, and the clarity of these anxieties is bruising and stunning.
You have to work a bit harder to put the pieces together and you're responsible for the answers, but the effort is paid back with an exhalation, a single expression on Kris' face and the recognition of it in your own.
Thematically rich, layered and hypnotic, Upstream Color is a maddeningly abstract and romantic examination of love, who we are as lovers, what our love does to one another, and how that's connected to the nature of all things.