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 movie's gender dynamics remain fully intact from its 1937 origins. Ally is controlled and manipulated by powerful men from start to finish, and some of the more emotionally abusive scenes can be disturbing to watch.
If you're entering the theatre simply desiring a couple solid musical numbers, then your $15 will not have been spent in vain. Unfortunately, outside of its music, the movie falls flat as only a two-dimensional vignette of common misogyny can.
This is a walking, talking, singing, and a note for note cliché. I enjoyed it, yes, but the beats, the aching melodrama, cornball lines, passages and action are past their prime. They missed a great opportunity to show some originality.
The excitement of the film's first hour is sacrificed for a more cliched permanent stay in its second. Gaga takes over and Bradley takes a backseat; gone is the dynamic that made the first half so electrifying and enticing
But are we still supposed to celebrate a film that posits the male ego as too fragile to accept a woman who equals or surpasses him? Or that a woman's "authenticity" will only truly flower in response to a man's sacrifice?
If 2011's The Artist was an homage, this is more of a burlesque, a hot mess of a movie that takes its dramatic cues from the camp excesses of the drag queens among whom our hammered hero finds the lucky Lady.