The Tomatometer rating – based on the published opinions of hundreds of film and
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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.
A decent, though heavily flawed and uneven reboot of the "Godzilla" story, with an interesting spin on the central character that is definitely a breath of fresh air. With that said, character development has seen better days, with a pretty bland background offered for each of the individuals outside of Bryan Cranston's. Aaron Taylor-Johnson's average performance can only carry this movie so long, even if the visual effects are really outstanding and the film almost coasts on this alone. It is not nearly as bad as the Matthew Broderick reboot from '98, but it is also pretty easy forget once the credits begin to roll.
A slow, thoughtful, and brutally realistic look on a family torn apart by a father's infidelities, and after his death how violence erupts between the two families he started in his life. Michael Shannon, a method actor who is on the verge of typecasting himself as the "psycho" guy in movies, plays the part of a quiet man well. It is not a film for everyone because as said, it is paced almost to a crawl, but the character development and rising action are both well constructed by director Mike Nichols. If you like urban dramas that offer a different slice of life that are not seen in many movies, this is worth a view.
A winning sequel concerning the life of Steve Rogers, aka Captain America (Chris Evans), and how he tries to continue to conform to society in Washington D.C. However, when government actions force him into action again once Nick Fury's (Samuel L. Jackson) life is threatened by mysterious forces, he must abandon his hopes of ever living a normal life. Evans is once again a fantastic pick to play the role of Captain America, Scarlett Johansson is also great as Natasha Romanoff, and Robert Redford is a lot of fun as the villain. It is a typical summer popcorn movie that does not try to be anything special, but the plot is just so much better organized than the first film, with some nice twists thrown in for good measure. It does not come close to any kind of greatness, but it is a solid movie that deserves a view.
An insanely well put together mystery thriller about a man (Ben Affleck) who discovers his wife (Rosamund Pike) is missing one morning, and how he begins to exude strange behavior where many start to believe he has something to do with her disappearance. Adapted from the book written by Gillian Flynn, this is simply one of the best movies of the year with a storyline that veers all over the place but somehow director David Fincher ("Seven", "The Social Network") maintains control throughout and creates a total knockout of a movie. The acting is phenomenal, notably Pike in an arresting, star-making performance that should win her an Oscar, but Affleck also proves to be solid in showing many different sides of a fascinating character. The twists and turns involved in the story are phenomenally constructed and detailed, and the movie surprisingly has a great sense of humor as well despite being a very dark and dreary story.
A riveting thriller that comes apart near its conclusion about a Federal Marshall (Liam Neeson) who boards a flight only to discover that there might not just be a terrorist on board, but that he is being framed for this twisted character's impending actions. For the first two-thirds, this is an engrossing thriller, thanks to another strong performance from Neeson, some great supporting turns, and some excellent character development that goes above the norm in these types of movies. For all the good things this movie has, it is a shame it all comes crashing down violently in its conclusion, with a preposterous twist and a finale that basically defies all physics. Still, it is a fairly enjoyable thriller for what it's worth, it is just too bad it does not end on a definitive note.