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.
I guess the people making A Good Day to Die Hard don't understand that mortality is one of John McClane's most endearing qualities. Turning him into a cyborg with a sense of self-deprecating humor makes this a low point in the series' history.
A movie like A Good Day to Die Hard ought to either hire someone who can write catchy dialogue and at least superficially plausible characters or just let the real artists, the stuntmen, run the whole picture. No Humans Allowed.
A Good Day to Die Hard wants to be a movie about family values - a father and son, bonding over bullets and bombs - but it's really just about the value of a box-office franchise, and its value is on the wane.
Until now, the sequels have gotten away with the cynical franchising of John McClane, but A Good Day To Die Hard, the worst entry in the series by far, exposes the hollowness and stupidity of McClane 2.0.
McClane has been stripped of any real traces of an actual three-dimensional character. We feel as if we're watching Bruce Willis in a Bruce Willis movie in which Bruce Willis can survive anything while taking out the villains, video-game style.
While the first Die Hard was a Swiss watch of precise plotting and layered character development - the next three installments could, at least, tell time - A Good Day to Die Hard makes lots of noise but little sense.
True, a lot of stuff gets blown up and stunts that must have cost the Earth appear with startling regularity, but the sense of exhilaration and fun that marked the best of the series has gone unaccountably AWOL.
Generally speaking, the action elements aren't the problem here. They're certainly loud enough. It's the obligatory intra-family squabbling and preposterous plotting that threaten to derail this nonsensical sequel.
Frenetically directed by John Moore from a sketchy script by Skip Woods, A Good Day to Die Hard has the dubious distinction of making John McClane unlikeable. He's had some bad days in the past, but this one finally got him down.