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 Favourite" is an uproarious send-up of the aloofness of royals, and comes alive thanks to its sterling ensemble cast (Nicholas Hoult is also worthy of note, playing a young British statesman) and Lanthimos' pristine direction.
A Restoration comedy filtered through this director's eccentric, modern sensibilities is what "The Favourite" most resembles - witty, profane, sexually explicit, improper in the extreme, a comedy of manners without any manners at all.
Lanthimos' renegade deviltry turns a period piece into a bawdy, brilliant triumph. Expect Oscar to bow down to Emma Stone, Rachel Weisz and the mighty Olivia Colman as Queen Anne for bringing a #MeToo punch to 18th-century British politics.
Nobody in "The Favourite" could be described as a noble specimen of humanity, and yet, from the mean and grasping shenanigans that pass for a plot, there rises an unmistakable whiff of-believe it or not-fun.
I suspect that some scholars on the Royals will take issue ... But Colman's performance is so volcanically great, they may shrug and find themselves giving in to the daffy, fiery vulnerability of her portrayal.
Yorgos Lanthimos's The Favourite is a filthy, violent and outrageous period comedy that drips with bad language and worse behaviour, and will appal anyone who is expecting a more conventional royal drama.
it's Colman who steals the show. She's ostensibly playing a gout-afflicted monster with capricious instincts and insatiable appetites...and she attacks this side of the role with gusto, shouting, yelping, whimpering and raging with Lear-like abandon.
[Yorgos Lanthimos'] idiosyncratic style is an acquired taste that's starting to go stale, and as such this is one of those films that works like a charm in the moment but whose spell quickly wears off.