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.
Within the confines of this minimalist (with a microscopic m) picture, there are sequences so vital, timely and of-the-moment, so powerful and well-observed and precise, the effect can be emotionally overwhelming.
This brilliant, desperately sad Steinbeckian fable from American director Kelly Reichardt. It's Reichardt's third full-length feature ('Old Joy' was in cinemas last year), but only her first masterpiece.
Such is the resonant magic of Kelly Reichardt's remarkable little film, one of those exercises in minimalism where every word matters, every shot counts, until the kernel expands and a whole world emerges in 80 brief minutes.
Whether she's warily cleaning up in a service-station restroom, or staring at the trains that offer a different travel option, or establishing her rapport with Lucy, Williams bravely explores the soul of a creature who's both gentle and determined.
Older audiences are hailing this slim story of a hand-to-mouth transient limping her way to Alaska as an insight into Gen X's unmoored ennui. It's like they've watched The Kite Runner and now think they understand Afghanistan.
To her credit, Ms. Reichardt never allows her camera to become a voyeuristic witness to a young woman in distress. Instead, it remains focused on a largely indifferent American landscape of strangers in perpetual motion to nowhere.
Director Reichardt appears to owe a debt to the Dardenne brothers' similarly themed, Palme d'or-winning Rosetta, getting her intense effects from the point-of-view camera as much as from Williams's strong performance.