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.
Unlike Sargent, who trusted his story to provide the fireworks, Scott resorts to gimmicks: choppy editing, speeded-up footage that segues inexplicably into slo-mo, and pointless explosions of noise. Sometimes, less really is more.
Scott, a sensationalist who cut his teeth in advertising and still looks upon every minute of a feature film as a TV commercial, hits us from the opening shot with speeded-up film, rapid cutting, flash pans, and rap music.
'The Taking of Pelham 123' is not a bad film: it's ponderous and shallow, but always watchable. But what it crucially fails to do, especially in the light of its illustrious predecessor, is justify its own existence.
Featuring good work from the dependable Denzel, The Taking of Pelham 1 2 3 is hampered by hyper-kinetic visuals from Scott, an over-zealous turn from Travolta and a thoughtless script from Brian Helgeland.
The Taking of Pelham 1 2 3 is not a disaster by any means. For most of its running time, it's a slick, well-crafted piece of entertainment. But you can't help wondering just how good it might have been in the hands of a less self-advertising director.