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.
The Tomatometer is 75% or higher, with 40 reviews (movies) or 20 reviews (TV). At least 5 reviews from Top Critics.
Percentage of users who rate a movie or TV show positively.
No film makes it to the screen as it's originally envisioned by its
writers, but Ghostbusters took a particularly circuitous journey:
Originally, Dan Aykroyd planned to assemble it as a project for himself and
John Belushi, with all sorts of big-budget shenanigans, and supporting roles
for Eddie Murphy and John Candy. It was only after a ground-up rewrite by
Aykroyd and Harold Ramis that Ghostbusters became the box office
behemoth it was destined to be, racking up an an astounding $238 million tally
throughout 1984 and 1985. Though it's very much an ensemble comedy, many of
the film's best lines are stolen by Murray, perhaps helping create the legend
that he didn't really read the script, and improvised most of what his
character said onscreen. This story is probably apocryphal, but no matter who
put the words in his mouth, Murray's deadpan delivery was perfect for the
role, and cemented his status as the thinking man's preeminent smart-aleck of
the '80s; it also helped sway begrudging critics like the Chicago Reader's
Dave Kehr, who summed up Ghostbusters as "not at all a bad time, thanks
mainly to...Murray's incredibly dry line readings."
Thanks to her much-derided appearance in The Godfather III,
Sofia Coppola was still the butt of many film fans' jokes when she helmed Lost
in Translation -- but all that changed once the glowing reviews started
pouring in, capped off with her Academy Award for Best Original Screenplay.
But Coppola wasn't the only one who earned praise for this quiet little
picture; Murray received some of the best reviews of his career (not to
mention a Golden Globe and a BAFTA Award) for his softly melancholic portrayal
of a movie star whose crushing ennui has set him adrift in a sea of
unfulfilling relationships and paycheck projects. He's oh-so-gently jolted
from his reverie by a fellow unhappy traveler played by Scarlett Johansson --
and who can blame him? -- but that's pretty much all that happens here,
something pointed out by the handful of critics who gave Lost in
Translation unfavorable ratings. For the 95 percent of critics who loved
it, though, Translation was something special; Variety's David Rooney
spoke for many when he said its "balance of humor and poignancy makes it both
a pleasurable and melancholy experience."
For a modest little comedy that failed to break $100 million at the
box office during its theatrical run, Groundhog Day has done pretty
well for itself in the 15 years since its release: It's been added to the
United States Film Registry, ranked in the top 40 of the AFI and Bravo "100
Funniest Movies" lists, the top 10 of AFI's fantasy list, and lauded by Roger
Ebert in his "Great Movies" series. The film catches Murray in transition,
navigating between the arch, manic style of his earlier films and the more
minimalistic, restrained humor of later projects -- and he's aided capably by
a smartly funny script from Danny Rubin and Harold Ramis, the latter of whom
provides some of his best, lightest direction here. Much like the day Murray's
misanthropic newscaster is forced to relive in the movie, Groundhog Day
benefits from repeated viewings, and this is largely due to Murray's deft
performance; in the words of TIME's Richard Corliss, he "makes the movie a
comic time warp that anyone should be happy to get stuck in."