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.
Despite having the best intentions - and technical skill that is at times breathtaking - the story of The OA, the thing it is trying to be about, is little more than pretty much nonsense - self-indulgent, self-serious psychodrama.
What a shame, that something with such strong, shimmery elements and such a distinctive sensibility should net out, like so many less worthy, less ambitious, less eccentric and less inventive shows, at "in between.
Netflix describes The OA as "a Russian nesting doll of a story." I'd call it a beautifully painted eggshell, and I can't recommend spending the seven-plus hours it takes to crack it and get to the hollow center.
After eight hours of head scratching and hope-watching, I came to realize that by far the most interesting thing about The OA is how Netflix is releasing it. Which is never a good sign for any piece of narrative storytelling.
After an enticing and somewhat infuriating build-up, The OA becomes something quite ludicrous as it stumbles toward a climax that is, if I'm generous, merely unearned and if I'm not being generous, a series of offensive overreaches.
However, if you're able to set aside your inevitable moments of second-hand embarrassment and embrace the insanity of this series, there's a good chance you'll enjoy it. It's a hard ask, but one that can be rewarding.