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.
Unnecessarily gloomy and emotionally convoluted, Spike Jonze and Dave Eggers' script for Where the Wild Things Are is a melancholy adaptation of the one-two punch that is the heavily illustrated, scantly written book by Maurice Sendak.
What Spike Jonze is doing is trying something completely new, messing with the idea of what exactly a movie is, what a narrator is, what a filmmaker is, really, and doing it with a beloved franchise and a $80 million budget.
It's almost as if they were afraid to redefine the book, and left things as free-floating and ambiguous as possible. ... it's all meandering, abstract non-story that isn't helped by the muddy color palette
This is not a coming-of-age film. It's an end-of-innocence film. And that makes every moment, be it funny or sad, so beautiful and so heartbreaking at the same time. You'll want to hug it and hold onto it, as if it were your childhood sailing away.
If you ever laughed uncontrollably while engaged in a childhood snowball fight, built intricate forts out of your grandmother's afghan blankets, or made up the rules to complex playground games, in the middle of the game, then this film is for you.
Uma espécie de "Anticristo" Jr., o filme abraça o universo psicológico de seu protagonista como estrutura narrativa, levando o espectador para uma viagem por vezes perturbadora - mas sempre tocante - à psique de Max.
The conversations and interactions [Jonze] orchestrates, whether real, imaginary, spoken with an inner voice, or cried aloud, are delivered with the unmistakable rhythm and in the grandiose rubber and glue terminology of children.