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.
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.
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Luc Besson's half-baked live-action/animated fantasy looks like it was invented on the hoof: it's erratically plotted, poorly animated, overly derivative and too insufferably cute to interest anyone above undemanding toddler age.
Luc Besson has made a fair share of artfully bad movies. Arthur and the Invisibles -- half-live-action, half-CG kid's adventure -- is (by a hair) more bad-bad, like The Fifth Element, than good-bad, like The Big Blue.
There's a reason American animated filmmakers don't use the great Robert De Niro, Jason Bateman and Madonna to voice their cartoons. These big names add nothing to this frustrating goulash of fairy tales and fantasy-film ingredients.
Directed by Luc Besson, this inventive family movie sets up the most delightful premise, then squanders it on the kind of yawn-inducing CG adventure you might expect from one of those long, plot-heavy cut scenes that slow down video games.
Too eccentric for kids, too silly for everyone else, it floats in a Neverland of breathtaking visuals in service of a story that pilfers everything (and I mean everything) from the Arthur legends to last summer's The Ant Bully.
The movie bing-bing-bings all over the place, repurposing fantasy novels, video games, Arthurian legends. Besson's grocery bill for all I know. Even the musical score has multiple-personality disorder.
Luc Besson, the most-Hollywoodish of Gallic directors, has adapted his own series of popular (in France) kid-lit tomes to produce a glossy, expensive ($84 million) and long-winded mix of live action and computer animation.
This children's epic is slowed considerably by a convoluted, multi-tiered plotline in which we bounce between the human world and the Minimoy one. None of the characters are compelling, despite the star-studded vocal cast behind them.
There's no time to sort out the players or the story as things rush ahead at an overwrought pace. Huge amounts of backstory are just plopped down in front of us, so fast and furiously that it makes little sense.
Arthur and the Invisibles makes an excellent case against casting animated movies with celebrity voices. There are people who make their living as voiceover artists, and they would have been infinitely better than the lackluster Robert De Niro.
Luc Besson has never been one of my favorite filmmakers, but he seems to have found his metier in children's fantasy, and this semianimated adventure is enjoyable and imaginative despite its formulaic qualities.
The bucolic wonder buried in Luc Besson's Arthur and the Invisibles has been snuffed out by this alienating and dislikable animated film. As overproduced and acrid as The Messenger: The Story of Joan of Arc and The Fifth Element.