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.
What Maisie Knew gives the audience a ground-eye view of its mesmerizing title character, a plucky, charismatic New Yorker who navigates downtown bars and building lobbies with the street savvy of a pro.
The result is a film that deeply engages us on multiple levels. Not only do we wonder what Maisie knows and how she knows it, we want to get this seedling to a place where she won't have to be transplanted every day.
Without losing the 19th century author's sensibility, screenwriters Carroll Cartwright and Nancy Doyne have brought into the modern age James' unforgiving examination of the effect of a messy divorce on a child.
Some moviegoers may opt for an easier cinematic pleasure than this carefully crafted, discomforting look at familial misery in hyper drive, but it is the most provocative movie about parenting I've seen since The Kids Are All Right.
Yes, these people are cliches. But they know it. And so do the actors, who push past the stereotypes to slowly show us that perhaps these young and rather unimportant people are far more grown-up and involved than anyone else around them.
"What Maisie Knew" lays waste to the comforting dogma that children are naturally resilient, and that our casual, unthinking cruelty to them can be answered by guilty and belated displays of affection.
Directors Scott McGehee and David Siegel, abetted by an astute scriptfrom Nancy Doyne and Carroll Cartwright, find something sadly timeless in a child torn apart in a custody battle that no one wins, least of all the child.
Both of these actors have been great before and will be great again. But in this bleak indie bummer that confuses hopelessness with depth, they're really nothing more than selfish, one-dimensional monsters.