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 not remotely plausible, but with Willis' McClane leaping onto the tailfins of passing jet fighters and bringing down helicopters by launching police cars at them, there's enough stuff blowing up that action fans won't mind much.
Movie characters like McClane are the Paul Bunyans and John Henrys and Pecos Bills of our age, the stuff of tall tales spun with the technology of an age whose campfires are found in multiplexes with stadium seating.
Terrific entertainment, and startlingly shrewd in the bargain, a combination of minimalist performances -- interestingly minimalist -- and maximalist stunts that make you laugh, as you gape, at their thunderous extravagance.
None of the scrapes and bruises [Willis] sustains are as wince-inducing as the image of his younger self in the first film, padding across broken glass with bare feet. He was human back in 1988; now he's the Terminator.
Willis' John McClane, with that sly, sideways smile, is like an old acquaintance you don't mind running into. He may be older and balder, but he's none the worse for the wear. And he can still take a punch.
Live Free or Die Hard may work better for an audience that doesn't know much about the series than it will for Die Hard die hards, who will be wondering who that impersonator is and what he did with the real John McClane.
If your sense of the credible isn't awfully flexible, you're the wrong audience for movies like this. The nonsense bounces along at such a breathless clip that most viewers should willingly give the improbabilities a free pass.
This time the hype is real. The latest Die Hard film, the first in a dozen years, is the best in the series, an invigorating return to the style of blockbuster that dominated summers back in the early 1990s.
Willis has a firm grip on what has made his character popular for nearly two decades, and maintains a firm hand on the wheel. Like almost everything he drives, he keeps the movie airborne. Yippee-ki-yay.
This fourth installment in the franchise delivers when it comes to kick-butt, action-packed mayhem but bogs down focusing on key characters staring at computer screens, typing madly on keyboards or spouting techno-babble.
At a time when the action genre has come to be dominated by sleek, matte surfaces and set-'em-and-forget-'em computerized effects, Live Free or Die Hard seeks to remind viewers of the simple, nostalgic pleasures of watching stuff get blown up.
As long as you understand that [LFODH] is nothing more or less than a three-ring festival of intricate stunts and pyrotechnic effects, punctuated with clown routines, you may not mind that it's about a half-hour longer than it needs to be.
Stunt work is among the best ever committed to film. There is something very satisfying in this digital age about an action film where CGI doesn't overwhelm, actors are in great physical shape and huge spaces are actual sets.