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.
A stylish thriller that delivers David Fincher's signature style and maintains a well-earned grim tone throughout...until the final few minutes. The ending of The Game only serves as an inheritance of plot holes and a load of head-scratching logic. Michael Douglas's performance as Nicholas Van Orton is the saving grace --a realistic embodiment of a misanthropic corporate high-roller.
Taking this re-telling of the tale of Jordan Belfort at face value falsely dubs it an over-glorification of abhorrent undertakings. The Wolf of Wall Street -- an addictive and boisterous black comedy -- is three hours of unrestrained Scorsese goodness. Its narrative, sharing much in common with Goodfellas, does however gloss over key aspects of the true story, instead magnifying humorous anecdotes that seem otherwise pointless. These moments are not wasted, though; the high-voltage cast and a (literally) balls-out rapport between its leads assure that there's never a dull second within the picture.
Surprisingly fresh with its Japanese motif and samurai-flick characterizations, The Wolverine stays faithful to the source miniseries and features the best action of any X-Men film, but isn't immune to cringe-worthy scripting gaffes and suffers from a trite climax.
Refn and Gosling's second collaboration exhibits poignant art-house sensibilities, but is more pretentiously defiant than successfully abstract. Still, it's an affecting tale with well-timed shock and tense moments of gory revenge. The brilliant, bursting photography of Only God Forgives also makes it an easy candidate for the best looking film of the year.
Man of Steel is an ambitious revision of the Superman mythos, but as per usual for money-shot junkie Zack Snyder, style overwhelms substance in this bombastic, uneven genre piece that promises more than it delivers. It's a story of two halves; that all important second act is missing -- it crawls and then runs, and the sporadic dips into greatness in the first hour are undone by David Goyer's dense script.
The film's visual effects are, on the other hand, original and inspired, leaving just enough to the imagination unlike the typical mind-numbing standards -- again a testament to Snyder's body of work. Equally impressive is the action, which makes for, undoubtedly, the most entertaining Superman flick to date. At face value, this is a successful entry to the DC film catalog, but those looking for something beyond conventional excessiveness is in blockbuster filmmaking, a standard often met by producer Christopher Nolan, it falls quite short.