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.
The journey of Maximus, from triumph on the battlefield through despair and degradation in slavery and then to a final epiphany in the Colosseum is an exciting one - and Russell Crowe plays the character with considerable toughness and authority.
This may be fundamentally Saturday night entertainment, but Scott attempts rather more than that on occasion, and at least succeeds in creating a memorable sense of a dark and often frightening period of time.
Gladiator is a triumph. On the surface, it's a terrific yarn with strong, rounded characters, agonizing suspense and visceral thrills. Look closer and you'll find rich historical themes, and a harrowing critique of violence as amusement.
Gladiator, well cast and impressively staged, is every inch the summer blockbuster it intends to be. It's also something more. Amid the action and intrigue, director Scott makes a few points about blockbuster-style entertainment.
Moviegoers may not have been pining for such spectacles since speeding chariots last rumbled through theaters in 1959's Ben-Hur and 1960's Spartacus, but the juiced-up Gladiator proves there's still plenty of grappa left in the genre.
For those old enough to remember the 70mm epics of yesteryear, this is a nostalgic synthesis of all of them. For those who haven't seen those earlier movies, Scott will open their eyes to a "brand-new" old world.
Gladiator is filled with brilliant filmmaking and features outstanding performances, but it's neither profound enough nor pop enough to be great -- it's mournful, serious, beautiful and, finally, pointless.
Ridley Scott thrusts us so close to the combat that all we see is a lot of whirling and thrashing, a sword thrust here and there, a spurt of blood, a limb severed. There's hardly a scene that is cleanly and coherently staged in open space.