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.
Jackman gives Logan a withering rage that seems heartfelt, not hammy; Stewart is touching in his enraged befuddlement; and Keen, who resembles here what Katie Holmes might look like if she were Carrie, has a feral intensity.
Jackman's performance is Clint Eastwood-esque, and the lines in Jackman's face tell the story of his worn character; he plays Wolverine as a man at the end of his line, adding at least a decade to his 48 years.
Logan was written by Scott Frank, Mr. Mangold and Michael Green. Their script is the crucial ingredient of this impressive production, a model of ambition, complexity and old-fashioned showmanship that's matched by Mr. Mangold's direction.
Logan offers an element of completion, and an intriguingly different take on the material. It is also, along with the FX series Legion, a sign of the maturation of comics on screen, for better or worse.
Director James Mangold, returning after the second installment, The Wolverine, orchestrates several jaw-dropping action sequences, heightened by Jackman's and Keen's intense performances and by Marco Beltrami's taut and plunky score.
The superhero category has gotten more boring as it's gotten more popular, but "Logan" suggests an escape from escapism, a restoration of the human element in blockbusters, a stripped-down return to the feel of 1970s Clint Eastwood pictures.
What's special about Logan is that it manages to deliver the visceral goods, all the hardcore Wolverine action its fans could desire, while still functioning as a surprisingly thoughtful, even poignant drama-a terrific movie ...
Let's cut straight to the chase and not mope around the point. "Logan" - the final chapter in the saga of the X-Men's Wolverine - is the best superhero-related movie since "The Dark Knight" nearly a decade ago.
Seamlessly melding Marvel mythology with Western mythology, James Mangold has crafted an affectingly stripped-down standalone feature, one that draws its strength from Hugh Jackman's nuanced turn as a reluctant, all but dissipated hero.
The violence in "Logan" isn't played for kicks, like it was in "Deadpool." It's grave and serious and sometimes hard to watch, which fits in with the overall tone of this grim, surprisingly downbeat movie.
Better as an agitated Western than as a fading superhero movie (or a listless cross-country chase), the most cantankerous X-Man's final outing is a scaled-back affair that nevertheless knows how to swing for the fences.