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.
If only it were allowed to be merely a cheesy romp, an Indy Jones movie with more sophisticated stereotypes and far less humor. But apparently this is no mere pop novel-turned-high-hat megaplex product.
The Catholic Church has nothing to fear from this film. It is not just tripe. It is self-evident, spirit-lowering tripe that could not conceivably cause a single member of the flock to turn aside from the faith.
Ron Howard doesn't so much solve The Da Vinci Code as preserve it under glass. It's a bloodless best-seller adaptation, competent but uninspiring, rather like the vast bulk of Howard's long filmography.
As a film derived from a book, The Da Vinci Code isn't a fiasco on the order of The Bonfire of the Vanities nor is it a triumph a la The Lord of the Rings. Instead, it's an acceptable but uninspired simulacrum.
Ron Howard and screenwriter Akiva Goldsman struggle mightily to cram as much as possible of Dan Brown's labyrinthine thriller into a 2-hour-28-minute running time, resulting in a movie both overstuffed and underwhelming.
The film lacks the deductive appeal of the book -- the way it compelled you to match wits with the protagonists. Instead, what might have been a cerebral treasure hunt bogs down in a miasma of nonstop exposition.
Howard doesn't move the story along as quickly or as smartly as he should. (It's a sad state of affairs when Hanks' character is actually asked to utter the words 'We have to get to the library, fast!')
Is it really necessary to add a whirlwind of CGI planets to Hanks' consideration of a sphere-based puzzle, or cut to crane shots of Greek architecture and writhing, toga-clad women when he name-checks a pagan event?
... Mr. Howard and Mr. Goldsman handle the supposedly provocative material in Mr. Brown's book with kid gloves, settling on an utterly safe set of conclusions about faith and its history, presented with the usual dull sententiousness.