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 a more mature magic. ... Now subject to the same raging hormones as any other 16-year-olds, our spell-casting heroes are learning to brew love potions this year, with results mostly played for laughs.
Harry Potter and the Half-Blood Prince, the sixth and worst installment yet, is two and a half hours of paralyzing tedium, featuring another colossal waste of British talent and a plot a real witch couldn't find with a crystal ball.
Harry Potter and the Half-Blood Prince isn't great family entertainment -- it's great entertainment, period, a blockbuster with true heart and real humanity alongside the high-stakes struggles and brilliant effects.
As for the ever-impressive supporting cast, neither a delightfully befuddled Jim Broadbent nor a wild-eyed Helena Bonham Carter can upstage Alan Rickman, who again proves invaluable as the slithery Prof. Snape.
Harry Potter and the Half-Blood Prince is the franchise's best so far, blending rich drama and easy camaraderie among the actors with the visual spectacle that until now has been the real star of the series.
Half-Blood Prince is plenty good in its own right as a stand-alone piece of entertainment. But it also serves the series well, delivering on perhaps its most-important requirement: It makes you really want to see the next one.
The experienced team behind the Harry Potter movie series is comfortably in the groove with the sixth film, which plays down the fantastic elements and introduces contrasting playful teenaged romance and a new tone of adult gloominess.
As the concerns of novelist Rowling's characters gravitate increasingly toward matters of the heart and the hormones, the Potter films are leaving childhood behind. Yet the friendship of the central trio remains the key to the magic.
Dazzlingly well made and perhaps deliberately less fanciful than the previous entries, this one is played in a mode closer to palpable life-or-death drama than any of the others and is quite effective as such.