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.
Nestled within its sins-of-the-elders narrative is a faintly charming cross-generational bonding picture, pairing a worldly cynic with a young girl taking her last gasp of secular air before giving her life to the Lord.
One of its wonders is that, in spite of its grim underlying themes, Ida has the lightness, grace, humour and visual inventiveness of the New Wave movies of the Sixties to which it pays such obvious homage.
Ida reaches spiritual depth through affecting performances rendered in sublime black-and-white compositions. Cinematographer Lukasz Zal places faces in the lower corner of his frame to arresting effect.
"Ida" accomplishes so much, so surely in its 80 minutes, it's as if the director Pawel Pawlikowski had dared himself: How can I tell this fascinating story efficiently yet without rushing and abridging the narrative?
[The] screenplay is a model of economy, as precise as the lensing by Ryszard Lenczewski and Lukasz Zal, who often position their subjects at the bottom of the frame, emphasizing personal insignificance within the totalitarian machine.
Everyone is on a voyage of self-discovery in Ida - the two central characters certainly, but also Poland-born, Britain-based director Pawel Pawlikowski, making his first film in the homeland he left at 14.