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.
Nolan takes an admirable stab at developing a character-driven drama, only to give in to generic action-movie conventions with a blinding, deafening, explosion-laden finale that could have capped off any number of interchangeable Jerry Bruckheimer flicks.
A confidently original, engrossing interpretation, with a seriously thought-through (but never self-serious) aesthetic point of view that announces, from the get-go, someone who knows what he's doing is running the show.
Bale, in his first venture into superhero status, hits just the right balance between Bruce's uncertainty and the intensity of his alter ego. Besides, Caine and Freeman elevate any project in which they appear.
Christopher Nolan has gone back to basics, jettisoning both the silliness of the TV incarnation and the gothic and fetishist elements of the '90s version. This is a hard-core, down-and-gritty origin story.
An undeniable return to good form for the enduring comic book hero, an industrial-strength summer-action flick fantasia that manages to capture the excitement of the early Batman films while working in a decidedly darker tone.
Nolan turns Batman Begins into something much closer to Miller's 'Dark Knight' interpretation than the glamorous, slam-bang Hollywood jokefests into which the series had slipped by Batman and Robin time.
It's still an old-school superhero summer movie, the plotting tortuous, the characters relegated to one-scene-one-emotion simplicity, the digitized action a never ending club mix of chases and mano a manos.
[Nolan's] effort is not dishonorable, but what it needs, and doesn't have, is a Joker in the deck-some antic human antimatter to give it the giddy lift of perversity that a bunch of impersonal explosions, no matter how well managed, can't supply.