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.
It's so absolutely preposterous that it stops the film cold and draws a collective 'Aw c'mon!' from viewers wondering if maybe they should take back some of that ill will that greeted M. Night Shyamalan's surprise turn of events in The Village.
The movie's only rewards are a few unintentional laughs, as when the sheriff (Dylan Baker) calls Emily a 'cute kid' after a long stretch in which she's been acting and looking battier than Sunset Boulevard's Norma Desmond.
The second half gets downright silly as the country home turns into a slaughterhouse. What could have been a Sixth Sense-style intelligent thriller heads straight for the drive-in, though it's still handled with considerable skill.
There was a point in the movie when suddenly everything clicked, and the Law of Economy of Characters began to apply. That is the law that says no actor is in a movie unless his character is necessary.
Another of those real-estate horror movies that sticks it to urbanites who overspend on picturesque Victorian houses in towns where the locals resent them. For city folk in rambling country homes, something wicked this way comes.
Movies about the psychological abuse of a child can be powerful when the subject matter is handled in a serious, sensitive manner. But when it is employed as a plot device to enable a surprise revelation, it becomes offensive.
First-time screenwriter Ari Schlossberg builds an atmosphere of free-floating apprehension through most of its length before pulling an 11th-hour switcheroo that undermines the stars' commendable efforts.