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.
It's freighted not so much with entertainment value as it is with enough talk of fallen gods, absent parents, and dissolute heroes to fuel a Greek tragedy. And ... director Zack Snyder seems convinced that that's what he's making.
[A] glum, cool-toned behemoth that labors to lay groundwork for a DC cinematic universe while setting up two famous characters on a collision course, and lobs out big ideas like an underprepared undergrad sweatily pitching off-the-cuff thesis topics.
Batman v Superman is kind of dopey and plays out some laborious plot twists in the DC narrative at unnecessary length, but as I've already said it largely kept me entertained for two and a half hours, which is not nothing.
While the Marvel universe, now owned by Disney, is glib and sunny, it's a nice echo of Warner's past as a home to gangsters and gritty melodramas to find its DC world operating very much on the dark end of the street.
Rather than escapism and sensory exhilaration, viewers get down in the mire with protagonists who grimace, scowl and wince their way through heroics with the joyless determination of shift workers making the doughnuts.
The studio has, in the usual way, begged and bullied critics not to reveal plot points, and I wouldn't dream of denying you the thrill of discovering just how overstuffed and preposterous a movie narrative can be.
It's a shame that Batman v Superman is also a storytelling disgrace. It has maybe six opening scenes and jumps so incessantly from subplot to subplot that a script doctor would diagnose a peculiarly modern infection: "disjunctivitis."
Snyder sets his story within our modern world and attempts to fashion a kind of commentary on the media and the current geopolitical situation. What he has crafted instead is a grotesque expression of modern emptiness.
For those who go to the movies to see coherent narratives, [this] is Hollywood's latest exercise in fan service...taking the usual screenplay ingredients of logic, reason and character motivation, tossing it all in a blender and filming the scraps.
There's a gravitas here that even the staleist of comic book tropes can't diminish. Snyder, who directed Man of Steel and the failed comic book adaptation Watchmen, is nothing less than respectful. The effects aren't bad, either.
Filled with scenes of gloomy characters confronting their demons or wrestling with insipid moral quandaries, this joyless slog isn't a superhero film so much as it is an excruciating therapy session with huge explosions and guys in capes.
Questions regarding violence and mayhem are drowned out by violence and mayhem. Such is the superhero life as directed by Zack Snyder. There is no problem that can't be solved with a cranium-rattling explosion or two.
[Plays] less like a prequel for the JLA then a greatest-hits medley of every superhero movie ever made -- a little Dark Knight Rises here, a bit of Batman Begins there, all spiced up with some X-Men topicality. The thing is, none of it convinces.
There's enough mythic raw material sunk deep in every scene that you can piece together a classic in your mind if you're feeling charitable; but if you aren't, Batman v Superman will seem like a missed opportunity.
As superhero spectacles go, Zack Snyder's Batman v Superman: Dawn of Justice is a grand one, with a mondo-operatic climax and a final shot infused with quivering, exhilarating molecules of grace. It's also not much fun.
Overlong, underdeveloped and almost entirely humorless, Batman v Superman: Dawn of Justice may please die-hard fans by pitting two DC icons against each other. Everyone else may want to wait for the next Marvel movie.
And what of the title's promised skirmish? That face-off between two comics legends becomes but one in a series of big things bashing into other big things, which is what Snyder and writers Chris Terrio and David S. Goyer mistake for storytelling.
As a pure visual spectacle, however, Batman V Superman ably blows the hinges off the multiplex doors, and editor David Brenner does excellent work to comprehensibly streamline the chaos, capably captured by d.p. Larry Fong.
If there's any justice, dawning or otherwise, at the multiplex, audiences will reject Zack Snyder's lumbering, dead-on-arrival superhero mélange, a $250 million tombstone for a genre in dire need of a break.