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 first episode is very different to the second one, which is very different to the third and fourth. Everything you think you've settled on about the character's story it drags you in a different direction.
If Normal People reminded older viewers of their own first love, We Are Who We Are might remind them of their own sexual awakening. But then, was it anything as languid and magic-realist as this? Unlikely.
Something feels perpetually missing from We Are Who We Are, and while longing and searching are big themes for the series, it makes for a frustrating overall viewing experience, the depth of these characters often obscured by hasty storytelling.
It's not a traditional television show. It's poetry. It's a photograph of a moment in time. Every episode is an invitation to just sit within those verses and pictures and appreciate them, without judgment.
Nothing about these characters seems fixed and resolved, which is why We Are Who We Are feels like such a startlingly truthful depiction of adolescence, in all its confusing, and often thrilling, fluidity.
An aura of pleasant aimlessness suffuses the production, its evocation of eternal summer mirroring the teens' approach to their here-but-not-really-ness. But of course the scripts are meticulously crafted.