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.
In the new film, it's personal tragedy that provokes the journey, not social upheaval or even scientific curiosity -- which, predictably, makes for a story that's at once more familiar and less interesting.
Simon Wells, whose other films include the animated The Prince of Egypt and Balto, manages to gut all the gee-whiz from the practically foolproof time-travel genre -- despite being H.G.'s real-life great-grandson.
The worst news isn't that this Time Machine is lacking in humanity. It's that screenwriter John Logan has been given the job of writing the next Star Trek movie, Nemesis. That is bad news for the Enterprise gang.
The Time Machine isn't so much an adaptation of H.G. Wells' seminal novel as it is an appropriation. The film borrows liberally from the book, but doesn't treat it with much respect or affection or even understanding.
Bears resemblance to, and shares the weaknesses of, too many recent action-fantasy extravaganzas in which special effects overpower cogent story-telling and visual clarity during the big action sequences.
The truth is that Wells wasn't that penetrating a writer when it came to probing character or the human heart. His speculations and gimmicks were what propelled his books. The film, given the chance to deepen its source, instead falls back on its gadgets.
The movie obviously seeks to re-create the excitement of such '50s flicks as Jules Verne's '20,000 Leagues Under the Sea' and the George Pal version of H.G. Wells' 'The Time Machine.' But its storytelling prowess and special effects are both listless.