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.
Those wanting answers, or in the very least closure, might understandably feel a little adrift right now, but it can't be denied that Peaks came back as a true artistic force that challenged just about every storytelling convention we know.
[David lynch] has burst out of the glass box of kitschy remembrance. . .giving us the brilliant, the slick, the sick; the weird, of course, but the deeply human that made Twin Peaks so special all those years ago.
Twin Peaks: Return feels like hard work, like taking a three hundred level abstract art class when you have a load of 21 credits. The show makes my mind hurt! Yet, I find that I can't take my eyes off the screen when it's on.
[Lynch is] in experimental filmmaker mode and he doesn't care if he's liked or not or who's coming with him. Everyone wanted the nostalgia thing, and it's not that. Now every character has many doppelgangers, and every character is in every dimension.
When a multimedia phenomenon comes as heavily coded as this, the onus is on the viewer to piece together all its oddball fragments and episodic epiphanies into a coherent whole, as if such deciphering might lead to... a grand theory of everything.
The Twin Peaks revival is perfect. I'm in deep with it. It's easily the best series of the year so far. And, although this might seem like heresy to long-time fans, I think it might actually be better than the original.
Four episodes in, it's already delivering a recognizably addictive mix of the macabre, the quotidian, the folksy, the soapy, the sick, the surreal, and the downright weird. It may be even better than 1990's revelatory first season.
This is an entertaining and intriguing return to form that will delight fans and maybe-just maybe-pull in a new audience happy to overlook the slow pace and random non sequiturs in return for a glimpse into Lynch's inimitable, magical, dystopian world.
A collection of rambling and samey set pieces amateurishly glued together by a frankly adolescent conviction that weirdness in any form -- hey, let's not bother with a plot -- can pass for clever and interesting, it should never have been made.