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.
From the Critics
From RT Users Like You!
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.
No matter how shaggy and self-indulgent it is, or how anticlimactic its big so-what of an ending ends up being, I was never bored. More than that, I kind of dug its sheer swing-for-the-fences insanity.
Writer-director David Robert Mitchell is too gifted an artist to write off for one slip up, but this L.A. noir starring Andrew Garfield as an amateur sleuth addled by sex, drugs and conspiracy theories goes nowhere, very, very slowly.
By attempting to craft a slick mélange of neo-noir, dark slacker comedy and puzzle-driven treasure hunt, Mitchell has produced a film that is so preoccupied with turning itself on that it forgets to focus on the desires or basic needs of its audience.
There is something refreshing about Mitchell's playful approach to Los Angeles' sordid history of cults and murders, as well as the high and low pop culture and marketing that America's second largest city manufactures.
Mitchell - using gorgeously extravagant camera moves and an orgasmically lush score - pays homage to Old Hollywood and is equally indebted to the work of Richard Linklater, David Lynch and the Coen brothers.
It's the kind of raggedy-ass thriller that only happens when a young filmmaker, emboldened by success, throws away discipline, hoping to summon the full, meandering spell of a paranoid nightmare. Don't hold it against him.