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.
Pedro Almodóvar whipstitches a movie from patches of those mother-daughter melodramas Mildred Pierce, Bellissima and Two Women and makes it seamless and original, funny as it is fierce, breathtaking as it is life-affirming.
The Cannes Film Festival jury threw up its hands and gave this year's Best Actress Award to all six of the film's stars. They're so fine that refusing to choose between them was the only sensible choice.
The late François Truffaut was frequently described as a filmmaker who loved women, but not even Monsieur Truffuat could come close to Señor Almodóvar in his intelligent, perceptive and creative appreciation of women in Volver.
For a black comedy whose tangled sequence of events is completely improbable, Pedro Almodóvar's Volver feels absolutely authentic. So, think of everything as metaphor and enjoy one of the year's most delectably twisted treats.
Like most homecomings (or at least most good ones), Pedro Almodóvar's Volver is warm, emotional and forever on the brink of tears -- peppered with bouts of pique, old resentments that flare up and moments of intense and lyrical longing.
I have always felt that Almodóvar was at his best as an artist when he was at his most playful. Volver is about deadly serious matters of the heart, but it often has a screwball spirit. The darker things are, the funnier.
What a run this millennium for Pedro Almodóvar: one strange and fabulous feature after the next, each in a different style, each so deftly controlled that you hardly register its subversiveness until after you've been hooked by its story.