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.
As Balian and his people withstand the might of Saladin's fiery projectiles, siege towers and the usual computer-generated swarm of soldiers, it's hard not to think we're really watching The Lord of the Rings IV: Legolas Defends Jerusalem.
The battle sequences here are actually worth the cost of admission, and there is exemplary supporting work by Liam Neeson, Jeremy Irons, Edward Norton and especially Syrian actor Ghassan Massoud as the legendary Muslim leader Saladin.
Dramatically, the problem is it's a lot easier to root for someone battling tigers and gladiators than it is to cheer on a guy wondering about the meaning of life. This is why Waiting for Godot has never been made into a summer movie blockbuster.
Jerusalem, Saladin tells Balian, is 'everything' and 'nothing.' Scott's well-crafted, intelligent epic inhabits some middle ground between the two -- better than nothing, but not everything it should be.
The movie does what any self-respecting politician would do: sidestep the issues, soft-pedal mortal costs, talk a fat game, and divert your attention away from history with exercises in spectacle and power.
You may not leave the theater feeling better educated about history or enlightened about the Crusades, but you will leave satisfied that the filmmakers have delivered 145 minutes of exciting, visceral cinema.
One imagined that a movie about the Crusades would be gallant and mad; one feared that it might stoke some antiquated prejudice. But who could have dreamed that it would produce this rambling, hollow show about a boy?