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.
Percentage of users who rate a movie or TV show positively.
Disney may be looking for a merchandising bonanza with this long-gestating sequel to the groundbreaking 1982 film, but someone in the corporate offices forgot to add any human interest to its action-heavy script.
The only way to see "Tron: Legacy" is in IMAX 3-D, so the full visual freakiness can engulf you and be appreciated the way you used to light up at the thought of a laser show set to "Dark Side of the Moon."
While it seems less like a parody than the original, it is also silly in a not unpleasing way. I generally have little use for 3-D, but the effects in this film are subtle and well-executed; as these things go, the least obnoxious ever.
New players, a new story line, a new director and nearly three decades of improved technology including all the whiz-bang-wow the latest 3-D has to offer. Unfortunately, there's not nearly enough new life.
If you kind of, sort of liked the "Matrix" franchise but found it too fast-paced, too dense with plot and way too short on neon-lit motorbike races and homoerotic Ultimate Frisbee tournaments, then I've got a movie for you.
As long as it's engaged in light-hurling bouts of force, or motorcycle chases through a landscape so ominously enveloping it looks like Blade Runner after gentrification, TRON: Legacy is a catchy popcorn pleasure.
Perhaps this is an old-fashioned notion, but if you're going to see a movie that admittedly features lots of digital bells and whistles as its major draw, shouldn't you still be able to tell what's going on?
Appropriately, the sequel suffers from almost the same problems as the original: while it's visually dazzling, thematically intriguing and fronted by the single coolest man in the universe, it's also empty, derivative and rather directionless