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.
It became clear, as the movie wore on, that Ozon isn't interested in explanations, psychological insights, lessons, judgments, diagnoses, or any of the other stuff that normally preoccupies storytellers.
Vacth is persuasively adolescent at the outset, distressingly jaded at the finale, and in between, is entirely capable of making young-and-beautiful sex seem - as perhaps only the French can - ravishing, sensual and utterly unsatisfying all at once.
Ozon doesn't really spell anything out for us. He uses Vacth, a beauty who somewhat resembles the young Nastassja Kinski or Dominique Sanda, for her eerie, implacable hauteur. There is a mask behind her mask.
It's the kind of film that's not afraid to acknowledge that people are fundamentally mysterious, and much of its power comes from the matter-of-fact way that it reconciles various perceptions of Vacth.
Though undeniably intelligent, "Young and Beautiful" would lack a compelling center were it not for Vacth's fascinatingly ambiguous turn, which shifts between aggressively seductive displays, reckless excitement and solemn regret.
It's to Ozon's credit that he never serves up easy answers, and even after ample scenes of sex and showdowns with those closest to Isabelle, and even a scene with a psychologist, we're none the wiser as to what's driving her.
Vacth has a seductive, covert intelligence. She may not let viewers in on Isabelle's motives, but she does suggest that something is going on. Audiences should be pleased to go with her, not knowing the destination but happy to take the trip.