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 film shines a light on how far the U.S. has come in its views of equality, but also how far it has still to go. A true story that is still very relevant, Loving is understated, compelling and deeply affecting.
Nichols is one of today's finest rural storytellers, and he never wavers in his approach, going small where others would go grandiose. "Loving" is an exercise in restraint befitting the quiet couple at its center.
Watch how Edgerton's Joel, a stoic man of few words, puts an arm around Mildred without seeming to think about it, naturally wanting her near; watch how Negga lets her performance speak through her expressive eyes, always looking for Richard.
Negga and Edgerton make these noble people three-dimensional, turning a docile, unambitious couple with neither the self-knowledge nor the words to launch a social revolution into unlikely protagonists in the civil-rights movement.
It's a goodness that at least rings true with the Lovings themselves, whose devotion to each other under such an onslaught is convincingly steely. This is due in large part to Negga's performance, which gives Mildred's reticence a righteous core.
The stabbing simplicity of Negga's acting is breathtaking. Jeff Nichols has given us a quietly devastating film that resonates for the here and now and marches to the cadences of history and the heart.
Mr. Nichols's most distinct aesthetic choice is the movie's quietness and the hush that envelops its first scene and that eventually defines the Lovings as much as their accents, gestures, manners and battles.
Loving just asks, over and over, "Isn't it wrong that two people who love each other this much are being persecuted for no reason?" Indeed it is, but I knew that before the movie started and had been hoping, quixotically, for something more.
Nichols stays true to his sensibility, avoiding the melodrama or the back-patting triumphalism you expect from such movies. Loving downplays the historical significance of its subject in favor of a quiet humanity.
The film's determination not to overcook any single scene means the tears it eventually draws feel honestly come by - and the wind-rustled beauty of Adam Stone's cinematography make us realise this world shouldn't be simply written off as a bad job.