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.
In an entertainment landscape that rarely grants women characters the range to be challenging, Fleabag's commitment to exploring the sisters' anxieties about (and slow progress toward) one another is a breath of fresh air.
As in Killing Eve, Waller-Bridge always makes sure even her worst characters have moments of vulnerability and humanity, that they have the possibilities that life's pencils and its erasers provide in equal measures.
Exquisitely crafted in every line and shot, it's unflinchingly mordant in its heightened depiction of everyday awfulness, but it retains at its core a vulnerable, longing sweetness you mightn't think capable of coexisting.
I's a spellbinding performance. But Waller-Bridge also writes generously for her gifted cast. Even Claire's skeevy, selfish husband, Martin (Brett Gelman, who has a Ph.D. in skeeve) has a moment of late clarity.
Scott is immensely likable, and it's not hard to see how Fleabag would fall for him (as ridiculous as that may sound), but where the series ultimately takes this connection seems sketchily thought out rather than fully realized.
Among Fleabag's great joys is its ability to be gut-bustingly funny while exploring its main character's very real and obvious suffering. That gift is on ample display from the season's first minute to its last.
The vivid portraits of human frailty, weakness and - in Martin's case - near-evil... drawn with just a handful of lines each from an unflinching, excoriating, lethally funny writer whose performers knock every one out of the park.