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 walked into Baby Driver wanting, maybe even expecting, to see a film that -- like everything else Wright has made -- would be the stuff of a future cult. What I got was a film that was trying way too hard to be cool.
In a nutshell, there is not enough of a sense of vulnerability or struggle to Baby, meaning we don't really care that much what ultimately happens to him either way. This is a cardinal sin in the writing of any protagonist.
Wright seems to be taking notes from Quentin Tarantino for his use of pop music to provide an aural bed of energy for the story to glide on. The problem is that Edgar Wright isn't anywhere near as gifted as Tarantino...
For all its attempts at juxtaposing Baby's sweet dreams with the hard-core aspirations of the movie's band of miscreants, Baby Driver has no more staying power than an air kiss. The longer it goes on, the more fleeting its fleetness becomes.
Baby Driver is so poorly written on levels of plot, characterization and (especially) dialogue that Wright's typically first-rate craftsmanship fails to save it-and, in context, even becomes its own source of annoyance.