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.
"Widows" comes from writer Gillian Flynn ("Gone Girl") and director Steve McQueen ("12 Years a Slave") and a big part of the caper's fun is the tension between her pulpy, twisty sensibility and his slower-burning instincts.
[Widows] feel like a throwback -- an old-fashioned, intricately plotted crime thriller that's more about characters than explosions. Much like the heist scheme, though, the movie looks better on paper, ultimately, then it does in the execution.
McQueen achieves his aim of using a genre framework to advance serious themes. That ambition, rather than the ordinariness of the central criminal enterprise, is what makes Widows an uncommonly good thriller.
With a killer cast led by Viola Davis, Cynthia Erivo, Michelle Rodriquez and Elizabeth Debicki, director Steve McQueen turns four women and a heist into the powerhouse thriller of the year. You're in for a hell of a ride.
McQueen seems to be saying look again, look harder, because underneath the roiling tension of big money heists and the crunching of political gears is an examination about the ugly machinations of power, money and patriarchy.
The ensemble is a blast. Everyone gets their moment and you come away feeling like you really got to know most of them, but it is Davis and her unforgettably searing intensity (and killer wardrobe) who owns "Widows" from start to finish.
The director of "12 Years a Slave" has lost little of his talent for moral shock, and the new film retains a clear-eyed vision of what has changed, and just how much has not, in the contesting of American power.
McQueen's masterful film is the kind that works on multiple levels simultaneously-as pure pulp entertainment but also as a commentary on how often it feels like we have to take what we are owed or risk never getting it at all.
After watching what filmmaker Steve McQueen does with the heist drama in "Widows," give him free rein to take on whatever other tried-and-true (and somewhat rote) Hollywood genre he wants to transform into a piece of high art.
[Davis] seems unable to deliver substandard work and is here fabulously controlled as a grieving widow, a wannabe criminal, a heartbroken mother, an obsessive dog lover and a woman who will shoot you right through the chest if she has to. Great fun.
One might... call it a throwback to a richer era of American studio movies, except that the story also feels attuned to a very contemporary anger, aimed at powerful men and the corrupt systems that sanction their abuses.
Davis, who carries the picture in a way she has never quite done before, commands every scene with cold, ruthless efficiency; her gravity sells the story's preposterous premise to the characters as well as the audience.