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.
High Life will send you back out into the world with a totally new idea of what black holes symbolize. It is an elliptical film, yes, because it will answer only the questions that you did not think to ask.
It's heavy, angry stuff. A film that lashes out at humankind as a species of grunting thugs entirely at the mercy of the procreative impulse. It ends with an uncharacteristic touch of optimism, but it's little and late. You'll need a stiff drink.
I'm still not entirely sure what it all adds up to, but it is provocative, difficult and bleak and leaves you with a very precise feeling of despair and aloneness - just like the best of the space independents do.
Denis sidesteps the genre's blood-curdling tensions (Alien) and atmospheric grandeur (2001: A Space Odyssey), instead focusing on beautifully hypnotic sequences that owe a clear debt to Andrei Tarkovsky's dreamlike Solaris.
Denis' direction prioritizes atmosphere over explicit explanations, transforming drab, spaceship hardware into a living yet crumbling environment, one that mirrors the physical and spiritual decay taking place among its dwindling number of inhabitants.
Too often the ideas here, visual and otherwise, feel haphazard - outer and inner space, Pattinson's head, sexual taboo, apocalypse now or maybe then - more like material for a vision board than a fully realized vision.
The isolated setting allows her to focus on the essence of human behaviour, on the themes of love, guilt and desire that have propelled her long and stunning career, and that her newest lead actor make so captivating.
The scope of its ambition is cleverly reined in by the low-key presentation, its more salacious potential muted down to an insistent threatening hum, like the background radiation of Stuart Staples' score.
The director's ardent fans will likely find much to admire here - especially the fact that the 72-year-old Denis remains a fearless filmmaker who, in her own way, has gone this time where no man (or woman) has gone before.