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 struggle to conceive isn't a new subject, but this comedy drama highlights its fraughtness and absurdity via a perceptive, often hilarious script and two hugely likeable leads in Paul Giamatti and Kathryn Hahn.
Jenkins has made a film about marriage and family and personhood, catching Rachel and Richard at a time in their lives where something is missing, and a child just seems like that crucial piece of the puzzle.
Even as Jenkins brings out the angst, her inner comic strategist remains hard at work, building sly jokes into the edge of the frame; she has a talent for rendering comedy and tragedy virtually indistinguishable.
It's about love, and pain, and marriage, and friendship, and family. And it's also about enduring, about picking yourself up over and over and over, in the eternal hope that something beautiful is waiting around the corner.
"Private Life" shows considerable skill on the part of Jenkins, who creates the illusion that we're only incidentally watching a movie, that we're really just hanging out with some nice people and seeing how their lives work out.
This is a story you'll want to watch to its exquisitely compassionate ending: a wordless final-credits aria that, as with Michael Clayton and Call Me by Your Name, speaks volumes about the nature of minute-to-minute emotional survival.
There are elements on the fringe of Private Life (a few supporting performances, the 127-minute length, a couple of sitcomish turns), that keep it from connecting as much I wanted, but the work by Paul Giamatti and Kathryn Hahn always holds it together.