I’ll give ’em one thing: Rotten Tomatoes has been spectacular at branding. They’ve somehow convinced the general public that the Tomatometer score should be the end-all, be-all answer of whether or not a film is worth watching (and we may have Roger Ebert to blame for that). Of course, an awful lot of nuance is lost in the frequently misunderstood creation of that score — so much that we’ve argued in the past that Rotten Tomatoes is a huge contributor to the downfall of film criticism. (And don’t forget about the fact that some Rotten Tomatoes scores have been artificially manipulated.)

In this case, yes, “A Room With a View” does technically have the highest-rated score of any Daniel Day-Lewis film. But since the film came out in 1985, long before the invention of the internet, that particular score is aggregated from only 35 reviews — most of which were published in the 2000s as retrospectives looking back at the movie. That makes comparing its Tomatometer number to more modern films like “Phantom Thread” or “Lincoln” — which have a comparatively huge 358 reviews and 290 reviews, respectively — significantly more complicated. With a much higher number of critics weighing in on more modern entries in any filmography, there are naturally more opportunities for deviation from what Rotten Tomatoes considers to be “fresh.”

After just having rewatched Paul Thomas Anderson’s “There Will Be Blood” for the first time since I saw it in theaters, I was blown away all over again by the staggering, towering performance Day-Lewis gives in it. I think a legitimate case could be made that it’s among the best performances of all time — and the rest of the film around it is pretty damn great, too. That movie currently has a 91% fresh rating on Rotten Tomatoes, aggregated from 246 reviews. So is “A Room With a View,” with its 100% rating from 35 critics, a “better” film than “There Will Be Blood”? No amount of number-crunching will ever be able to definitively determine something that subjective — and I hope you’ll join me in embracing the grey area where all the nuance lives.