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 atypical order of the scenes is more confusing to a foreign viewer than the original intended audience?Hungarians in the early 1970s who experienced all of the social changes outlined in the film?but again, through this confusion can come new meaning to a different type of filmgoer. It was surely a confusing and jarring time to live in?all of the radical changes in how government works in such a relatively short period of time are a lot to take on. Jancsi (András Bálint and András Szamosfalvi) and his life-long best friend and romantic interest, Kata (Judit Halász and Edit Kelemen) have experienced the social change of Hungary in the most confusing way possible, as they start out as small children not knowing any different way of living. All of this craziness in his world causes Jansci (among others) to find comfort in a sort of escapism, which is shown the most literally while huddling together as children and imagining a game of tag. This is one of the most subjective shots in the film, as we are seeing inside the characters? heads while they think about the game of tag?and it is through this literal representation of escapism that the rest of the film?s techniques for showing Jansci?s escapist mentality come all the more to the forefront of the plot. Jansci has gotten so used to trying to think about being in a different place (from all the bad things going on around him) that his mind is constantly racing from one memory to another, and so that is how the film is edited. Once Jansci meets up with Kata as an adult, there are noticeably less racing flashbacks. Since Jansci is shown to be the most comfortable that he has been in the entire film (through being with Kata), he does not have to keep his mind elsewhere, because for the first time in the film, he is content with where he is in that moment. He is content with his reality. Oddly, though, it is during this same part of his life (while he is in France with Kata) that one of the most real scenes occur: Klári (Rita Békés)recalls in an uninterrupted several-minute shot of her face what would otherwise be the most disturbing scene of the film (if it were staged like other flashbacks). Because they do not show her memories on screen, it is more ?realistic? in that it would be the same thing we would see if she was really in the room with us, telling this story. Even in Jansci and Kata?s moments of happiness, there is still the memory of the unhappiness before lingering always, even while Jansci is shown to not be thinking about it as much. The disturbing nature of the scene with Klári illustrates why it is otherwise important for Jansci to keep his mind elsewhere, and why even in happy times, his mind travels to different places in reflex?and still cannot keep the bad times out of his mind even then.