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.
From the Critics
From RT Users Like You!
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.
Johansson and Driver are remarkably, heartbreakingly good in every scene; showing their characters' journeys to an unflinching camera, letting the gap between them get wider yet unable, for their son's sake, to completely walk away.
It's not quite as bleak as a Bergman film, although the late Swedish auteur is clearly an influence on Baumbach, as well as on Robbie Ryan's austere cinematography. But it leaves similar scorch marks upon the mind and heart.
Noah Baumbach is the writer-director, and to watch such an incisive, deep-feeling script be given life by actors... at the top of their game is to rediscover movies as a powerful medium of personal expression.
It's a film of devastating cumulative power, even-handed and empathetic in its approach to two characters whose relationship has broken down, but who still want the best for their child and each other.
The performances at the heart and center of it, though, fill it up to the brim. The results are full and lived-in. Johansson and Driver knew what they had to do with this elemental material and its wild mood swings.
The divorce part fades in and out of focus while the marriage part unravels in flashbacks. Sometimes they drag on so long you can't tell the difference. Still, it's intelligent enough to like it a lot in retrospect.
Baumbach's main characters are written and acted straight as befits their personal integrity, but the rest of Marriage Story is done in a satirist's broad strokes - a penetrating, often inspired satirist.
"Marriage Story" is an emotionally lacerating experience, a nearly flawless elegy for a beautifully flawed couple, a broken-family classic to set beside "Kramer vs. Kramer" and "Fanny and Alexander..."
"Marriage Story" is such a perfect blend of writing, unflashy direction, spot on performances and score (by Randy Newman) that you hardly even notice all the individual ingredients making up the whole. Its triumph is that it just feels like life.
How does a small tale of a broken marriage emerge as a major triumph and one of the very best movies of the year? When it's the best film yet from Baumbach with career highs from Driver and Johansson. It'll take a piece out of you.
Marriage Story can be as funny, in its sharp observations about behavior... But it's also a drama of startling insight and complexity, so confidently made (and so expertly shot on 35mm) that it evokes the art-house renaissance of the 1970s...
A marriage can't be defined by a single emotion. It's an all-consuming force that can lead to euphoric rushes and eat away at your insides, sometimes within moments of each other. Marriage Story perfectly encapsulates these feelings.
The writing is suitably dense and literate, though Baumbach really cherishes the characters as individuals - it never feels as if Nicole and Charlie are avatars for his own poetic musings on the differences between love and fidelity.
It's the work of a major film artist, one who shows that he can capture life in all its emotional detail and complexity - and, in the process, make a piercing statement about how our society now works.