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.
Jack Torrance: I'm awfully glad you asked me that, Lloyd. Because I just happen to have to twentys and two tens right here in my wallet. And I was afraif there were gonna be there until net April. So, here's what: You slip me a bottle of bourbon, a cool glass and some ice. You can do that, can't you, Lloyd? You're not too busy, are you?
Ullman: I don't suppose they told you anything in Denver about the tragedy we had in the Winter of nineteen seventy.
Jack Torrance: I don't believe they did.
Ullman: My predecessor in this job left a man named Charles Grady as the Winter caretaker. And he came up here with his wife and two little girls, I think were eight and ten. And he had a good employment record, good references, and from what I've been told he seemed like a completely normal individual. But at some point during the winter, he must have suffered some kind of a complete mental breakdown. He ran a muck and killed his family with an axe. Stacked them neatly in one of the rooms in the West wing and then he, he put both barrels of a shot gun in his mouth.
Jack Torrance: Mr. Grady. You were the caretaker here. I recognize ya. I saw your picture in the newspapers. You, uh, chopped your wife and daughters up into little bits. And then you blew your brains out.
Grady: That's strange, sir. I don't have any recollection of that at all.
Patrick Bateman: Their early work was a little too new wave for my tastes, but when Sports came out in '83, I think they really came into their own, commercially and artistically. The whole album has a clear, crisp sound, and a new sheen of consummate professionalism that really gives the songs a big boost. He's been compared to Elvis Costello, but I think Huey has a far more bitter, cynical sense of humor.
Patrick Bateman: Paul Allen has mistaken me for this dickhead Marcus Halberstram. It seems logical because Marcus also works at P&P and in fact does the same exact thing I do and he also has a penchant for Valentino suits and Oliver Peoples glasses. Marcus and I even go to the same barber, although I have a slightly better haircut.
Patrick Bateman: Do you like Phil Collins? I've been a big Genesis fan ever since the release of their 1980 album, Duke. Before that, I really didn't understand any of their work. Too artsy, too intellectual. It was on Duke where Phil Collins' presence became more apparent. I think Invisible Touch was the group's undisputed masterpiece. It's an epic meditation on intangibility. At the same time, it deepens and enriches the meaning of the preceding three albums. Christy, take off your robe. Listen to the brilliant ensemble playing of Banks, Collins and Rutherford. You can practically hear every nuance of every instrument. Sabrina, remove your dress. In terms of lyrical craftsmanship, the sheer songwriting, this album hits a new peak of professionalism. Sabrina, why don't you, uh, dance a little. Take the lyrics to Land of Confusion. In this song, Phil Collins addresses the problems of abusive political authority. In Too Deep is the most moving pop song of the 1980s, about monogamy and commitment. The song is extremely uplifting. Their lyrics are as positive and affirmative as anything I've heard in rock. Christy, get down on your knees so Sabrina can see your asshole. Phil Collins' solo career seems to be more commercial and therefore more satisfying, in a narrower way. Especially songs like In the Air Tonight and Against All Odds. Sabrina, don't just stare at it, eat it. But I also think Phil Collins works best within the confines of the group, than as a solo artist, and I stress the word artist. This is Sussudio, a great, great song, a personal favorite.
Patrick Bateman: I have all the characteristics of a human being: blood, flesh, skin, hair; but not a single, clear, identifiable emotion, except for greed and disgust. Something horrible is happening inside of me and I don't know why. My nightly bloodlust has overflown into my days. I feel lethal, on the verge of frenzy. I think my mask of sanity is about to slip.
Patrick Bateman: There is an idea of a Patrick Bateman; some kind of abstraction. But there is no real me: only an entity, something illusory. And though I can hide my cold gaze, and you can shake my hand and feel flesh gripping yours and maybe you can even sense our lifestyles are probably comparable. I simply am not there.
Raoul Duke: Nothing. Never mind, it was all a big joke. Actually, I'm poolside at the Flamingo right now, talking though a portable phone some dwarf brought out from the casino. I have total credit here. Don't come anywhere near this place, you bastard. Foreigners aren't welcome.
Dr. Gonzo: If I put you in the pool right now you'll sink like a god damn stone. You took too much man, you took too much, too much. Don't try and fight it. You'll get brain bubbles, strokes, aneurisms. You'll just wither up and die.
Raoul Duke: Now this was a superior machine. Ten grand worth of gimmicks and high-priced special effects. The rear windows lit up with a touch like frogs in a dynamite pond. The dashboard was full of esoteric lights and dials and meters that I would never understand.
Raoul Duke: In some circles, the Mint 400 is a far far better thing than the Superbowl, the Kentucky Derby, and the lower Oakland roller derby finals all rolled into one. This race attracts a very special breed.
Raoul Duke: But our trip was different. It was to be a classic affirmation of everything right and true in the national character. A gross physical salute to the fantastic possibilities of life in this country. But only for those with true grit.
Raoul Duke: Panic. It crept up my spine like first rising vibes of an acid frenzy. All these horrible realities began to dawn on me. There I was. Alone in Las Vegas, completely twisted on drugs, no cash, no story for the magazine, and on top of everything else, a gigantic god damned hotel bill to deal with. How would Horatio Alger handle this situation? Stay calm. Stay calm.
Raoul Duke: With a bit of luck, his life was ruined forever. Always thinking that just behind some narrow door in all of his favorite bars, men in red woolen shirts are getting incredible kicks from things he'll never know.