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.
Because we don't see the evolution of their relationship, but only fragments of different stages of it, it is hard to see what kept drawing Verdon back to Fosse, or how much better their work was together than separately.
Scenes play out as if viewers are seeing them from inside the director's head, experiencing the swings between his hyperego and his crashing insecurity... These moments are ingenious, and they bring a vibrant theatricality to the series.
This is not a love note to Broadway, or anything of the sort. It's a ravishing, compelling depiction of creativity, work, betrayal and personal failure and glory. It's about how performance ravishes the people who make it glorious.
Rockwell is fully invested in a role that challenges him well beyond the semi-caricature he played in Vice. Self-assured and brusque when calling the shots, he's otherwise an emotional adolescent, or sometimes an infant.
So far what strikes me about "Fosse/Verdon" is its unapologetic focus on two showbiz troupers, weaned on burlesque and exploitation as old-before-their-time teenagers, feeding off one another in rehearsal.
Within a few hours, the show becomes exactly the kind of familiar, difficult-man tale we've seen so often before, albeit one elevated by spectacular performances from the two leads, and by certain bold stylistic choices.
There's nothing Michelle Williams can do, no lines written for her to say, that can dim the luster of her performance in this series, which owes everything to her and to Sam Rockwell, and to the exhilarating, if all too brief, musical numbers.
Witty, smart, handsomely shot and stuffed with juicy cameos, Fosse/Verdon is ambrosia to show folk, from the lucky bastards who saw Chicago or Pippin in their first incarnations, to the kids weaned on Glee, Wicked and Pitch Perfect.
This is a show about the making of entertainment, and the producers do a brilliant job highlighting the individual struggles the process entails, as well as how the people who devote their lives to it are affected.
The love story of Bob Fosse and Gwen Verdon should open up as something bigger than just another well-cast prestige TV antihero saga. So far, it hasn't... Fosse/Verdon left me with a mixture of elation and disappointment.