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.
Chalamet now leaves no doubt that he's an actor of refined and profound gifts: His performance in "Beautiful Boy" helps elevate a boho-bourgeois melodrama to something that aspires to be more achingly real and human.
To its credit, Beautiful Boy doesn't reassure its audience with the false comfort of easy answers. But it still feels, ultimately, like an earnest and relatively minor wrinkle on a stark, emotional, all-too-familiar story.
Parents will feel heard by this movie in a way that few other films have tried. Everyone else should go for the kid, who's a rocket taking off. You want to be able to say you were there when it happened.
We begin to understand David's feelings of constant frustration at these dreary cycles of addiction, and while that might be exactly what the film (admirably) intends, there's no denying it makes for a vexing viewing experience.
The root problem is repetitiveness, the seemingly endless cycle of progress and relapse that causes heartbreak in real life and induces déjà vu in audiences - even dejà déjà vu, since there's repetition within the already familiar pattern.
While the sometimes confusing non-linear narrative keeps the whole package from coming together, the first-rate acting more than makes up for it in the film based on the true experiences of David and Nic Sheff.
Chalamet's charismatic, maddening Nic is spectacular, and the film's stubbornly unresolved view of loving an addict - its perception of the experience as a grueling, endless walk beside someone - is brutal but feels honest.
The detachment at work in "Beautiful Boy" suggests an attempt to speak clearly and truthfully, to resist the clichés of the addiction drama while acknowledging that those clichés can hardly be rewritten.
The film holds you at arm's length, never quite letting you all the way in, never fully showing the ugliest or rawest moments... Van Groeningen takes an extremely granular approach to non-linear storytelling that works until it doesn't.