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.
Bridget's is a world of upper middle-class Teflon-coated narcissism, the kind that effectively seals out any concerns other than her own, and those concerns tend to run the gamut from weight to men and back again.
Fielding, along with co-writers Andrew Davies, Richard Curtis and Adam Brooks, has turned what I can only believe were Bridget's charmingly human imperfections on the page into a lump of schoolgirl-style boy-craziness and corrosive self-loathing.
It is, I'm afraid, time to retire Bridget Jones. Send her off to Happily-Ever-After Land with her vodka and Silk Cuts and handsome human-rights lawyer and let her get on with her amiable, dizzy, neurotic and now thoroughly annoying life.
Misbegotten comedy sequels have a way of resembling souring relationships. All those adorable idiosyncrasies that initially melted your heart can curdle into the very irritating habits that send you packing.
All this unaccountable admiration is bestowed upon the ne plus ultra of the regressive rom-com heroine, a thirtysomething who displays the rudimentary motor functions, raging id, and darling pucker of a cuddly infant.
Though the script tries to replicate the first film's heart-tugging moments, there's a lack of a big emotional arc to tie the episodic structure together. However, on a performance level, the movie is practically flawless.