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.
Almodovar treats even the most eccentric of the film's females with compassion, empathy, affection and appreciation. He seems almost to envy them, like a kid who longs to be one of Robin Hood's Merry Men.
Although no director has ever been as fascinated with and supportive of women as Almodóvar, in Volver he outdoes himself. Though the plot is fictitious, the characters are designed as a memory and tribute to the women in Almodóvar's childhood.
The unpredictable way all these stories begin to weave together makes it impossible to know where Volver is going until the final act. But it's the exploration of the ties that bind mothers to daughters that offers the real substance.
Almodovar finds unusual camera angles to break up the straightforward storytelling. But for the first time I recall, not a single male character is crucial to his story, and no actor has a leading role. You won't miss them.
The film is realistic, yet Almodóvar's touch of the absurd and the madcap infiltrate everything that occurs while his candy-colored visual palette lends a brightness to what in other hands might have taken the form of a sordid tale.
[Almodóvar] raises some intriguing and moving ideas in Volver, but the plot strands are not woven tightly together, remaining loose and frayed. It's a shame, because the potential was there for a great film. Instead, we merely get a good one.