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.
Perhaps unsurprisingly, Vision is didactic and a bit stilted-although to be fair, so are most mainstream biopics rehashing historical events more familiar than this one, which presents its subject as a rousing protofeminist.
Although its claims about Hildegard's modernity and relevancy should be taken with a grain of salt, one readily imagines Vision attracting a cross-section of the curious, not limited to feminist cinephiles and true believers.
Vision takes a serious and mostly positive view of spirituality without uniformly endorsing the established Church, which is shown as a male-dominated political and business enterprise as much as a keeper of souls.
A medieval pre-feminist nun who poked a few holes in the stained glass ceiling. Though there's little elbow room for nonbeliever audience comfort zones. And while Moses led the Israelites out of Egypt, Hildegard led the nuns out of a horny monastery.
Vision is more immediate and immersive when dealing in the jealous attachments among sisters; when circumstance and politics tear Richardis from Hildegard, Sukowa's performance rears to towering heights of abjection.
Writer/director/art director Margarethe von Trotta has made a film about a nun from the twelfth century that resonates today...a Renaissance woman in medieval times whose belief in her visions is tempered by her shrewdness in the political arena.