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.
From the Critics
From RT Users Like You!
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.
An alternate title for this atrocious clutter of morality clichés could be A Plebeian and a Gentleman. But that's giving too much credit to just one of the cinematic muses Annapolis desperately wants to follow.
From the obviously fake shipyard to the repeated violations of what most of us recognize as the 'Code' of the Academy, to the absurd casting of people who couldn't physically hack the Academy's physical requirements, Annapolis fails.
Pretty much every line in the movie comes from another movie -- 'How bad do you want it?' 'You're not good enough,' etc. And like virtually all Hollywood films about the military, Annapolis is cheerfully phony.
The stuff is digestible, I suppose, but few would argue that it goes down a treat. In fact, at the risk of insubordination, you could do worse than greet this navy chow with a crisp salute and a snappy, 'Sir, no, sir.'
Annapolis is so gung-ho about the United States Naval Academy's ability to turn boys into fighting men and rebels into scrappy team players that it could easily be confused with a military recruiting film.
There's a good movie to be made about a townie who tests his mettle against the local elites. Plenty of films exploiting this time-honored premise tend to push the right audience buttons. But the Annapolis script is less a script than a checklist.
The only impressive thing about it is the monotony and thoroughness with which it replicates cliches from older, better movies and hammers them into pop alloy to an up-with-me beat beat beat of its musical score.
Apparently the filmmakers are counting on viewers not remembering An Officer and a Gentleman, which seems fairly unlikely. Then again, the plot is so predictable that no prior knowledge is necessary to figure out where it's going.
Much as I enjoyed screenwriter Dave Collard's freshman effort, Out of Time, there's not much to say about his sophomore (and sophomoric) screenplay, which seems to have gleaned its insights from the fortune-cookie factory.