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 Human Surge was difficult to engage with; the handheld camera work is shaky and unfocused, the POV ventures into naturally (read poorly) lit spaces and Williams completely refuses to construct seamless linear progression...
Starting in Argentina, ranging to Mozambique and the Philippines, The Human Surge picks figures from the blur of the modern world and depicts them in shadowed motion, language an indistinct gesture, too.
Williams is a gifted director who only has better films in front of him; he appears to be a guy with a concise vision making exactly what he wants to make. Which might be why The Human Surge can't quite connect: Williams only made this for himself.
This conundrum that can be found all over the Internet, to be sure, but rarely with such enigmatic eroticism or breathtaking technique. Like the best nonfiction work of the past few years, it encourages us to look differently at every moving image we see.
Just when you think you've got the movie pegged, it pulls a daring switch of perspective. While the thrill of that little coup is short-lived, it suggests that Mr. Williams may come up with something more substantial with his next feature.
It's not so much deliberately confrontational in the way so many experimental films are (or pride themselves on being), but rather risk-taking for the sake of something almost impossible to articulate -- even if based in something obvious.
The film's default state is an ambient inertia that gestures vaguely in multiple directions without concerning itself with the hard work of constructing an argument, a convincing milieu, or even a compelling mood.