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.
Blending languorous visual sensuality with a driving sense of paranoid urgency, this metaphorical mix of skin-crawling body horror and Lynchian mystery boasts a compelling dream logic that offsets its huge potential for being pretentious studenty twaddle.
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.