The Tomatometer score — based on the opinions of hundreds of film and television critics — is a trusted measurement of critical recommendation for millions of fans. It represents the percentage of professional critic reviews that are positive for a given film or television show.
From the Critics
From RT Users Like You!
The Tomatometer is 60% or higher.
The Tomatometer is below 60%.
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.
American actor Douglas Fairbanks Sr., instilled with a love of dramatics by his Shakespearean-scholar father, was never fully satisfied with theatrical work. A born athlete and extrovert, Fairbanks felt the borders of the stage were much too confining, even when his theatrical work allowed him to tour the world. The wide-open spaces of the motion picture industry were more his style, and in 1915 Fairbanks jumped at the chance to act in the film version of the old stage perennial The Lamb. Fairbanks became the top moneymaker for the Triangle Film Company, starring in an average of 10 pictures a year for a weekly salary of $2000. He specialized in comedies--not the slapstick variety, but free-wheeling farces in which he usually played a wealthy young man thirsting for adventure. Fairbanks was a savvy businessman, and in 1919 he reasoned that he could have more control--and a larger slice of the profits -- if he produced as well as starred in his pictures. Working in concert with his actress-wife Mary Pickford (a star in her own right, billed as "America's Sweetheart"), his best friend Charlie Chaplin, and pioneer director D. W. Griffith, Fairbanks formed a new film company, United Artists. The notion of actors making their own movies led one film executive to wail, "The lunatics have taken over the asylum!", but Fairbanks' studio was a sound investment, and soon other actors were dabbling in the production end of the business. Still most successful in contemporary comedies in 1920, Fairbanks decided to try a momentary change of pace, starring in the swashbuckling The Mark of Zorro (1920). The public was enthralled, and for the balance of his silent career Fairbanks specialized in lavish costume epics with plenty of fast-moving stunt work and derring-do. While several of these films still hold their fascination today, notably The Thief of Baghdad (1924) and The Black Pirate (1926), some historians argue that Fairbanks' formerly breezy approach to moviemaking became ponderous, weighed down in too much spectacle for the Fairbanks personality to fully shine. When talkies came, Fairbanks wasn't intimidated, since he was stage-trained and had a robust speaking voice; unfortunately, his first talking picture, 1929's Taming of the Shrew (in which he co-starred with Mary Pickford), was an expensive failure. Fairbanks' talking pictures failed to click at the box office; even the best of them, such as Mr. Robinson Crusoe (1932), seemed outdated rehashes of his earlier silent successes. Fairbanks' last film, the British-made Private Life of Don Juan (1934), unflatteringly revealed his advanced years and his flagging energy. Marital difficulties, unwise investments and health problems curtailed his previously flamboyant lifestyle considerably, though he managed to stave off several takeover bids for United Artists and retained the respect of his contemporaries. Fairbanks died in his sleep, not long after he'd announced plans to come out of retirement. He was survived by his actor son Douglas Fairbanks Jr., who'd inherited much of his dad's professional panache and who after his father's death began a successful career in film swashbucklers on his own.