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.
The Wind That Shakes the Barley isn't interested in being a straightforward or romanticized history lesson. Rather, [director] Loach offers an examination of the very nature of rebellion, as filtered through the particulars of the Irish troubles.
Great film. Ken Loach is such an important filmmaker, he's made so many great films over the years, and it's great to see another director, like Eastwood and so many others in his 70's, who continues to be at the top of his game.
... the history presented in "The Wind That Shakes the Barley" hardly feels like a closed book or a museum display. It is as alive and as troubling as anything on the evening news, though far more thoughtful and beautiful.
Loach has the gift of finding the intensely moving private emotions in broad, societal dilemmas. He does that with his fine new film, The Wind That Shakes the Barley, and he does a few new things as well.
This is a classic example of [director Ken] Loach's work with his longtime screenwriting partner Paul Laverty, meaning that it blends colorful scenery with meticulously rendered sociology, straightforward family drama and tendentious political debate.
Folks who are heavily invested in stereotypes of thuggish terrorists may balk at Loach's portrait of articulate IRA ideologues. But there is no denying his ferocious grip on our emotions. Barley is one tough and beautiful film.
The ferocity of [director Ken] Loach's moral wrath carries the movie, makes it ignite on screen -- at least, until he tries to dramatize the fatal split of Ireland through Damien and Teddy, the brothers in arms.