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.
Let us take a moment to praise two great and surprisingly powerful characters: a winged monkey and a wee girl made out of china. Because so much human wonder resides in these two creations of make-up, puppetry, digital effects and lovely performances.
The new Oz falls short of the 1939 Oz in charm and innocence, and certainly in songs. But as family entertainment, it's hard to fault such a rapturous spectacle and astute, suspenseful piece of storytelling.
Oz the Great and Powerful aims for nostalgia in older viewers who grew up on The Wizard of Oz and still hold the classic dear while simultaneously enchanting a newer, younger audience. It never really accomplishes either successfully.
[Oz] qualifies as a cautionary tale, not about the perils of ambition and selfishness, but about the movie industry's misguided belief that it can distract the audience from a film's narrative weaknesses with little more than flash and spectacle.
Though Oz has some of the same narrative issues and effects-heavy bloat as that highly personal fantasy film, every frame is infused with a deep-rooted, impassioned understanding of the cinema's magical power to captivate and inspire.
There's some overlap between Raimi's irreverent sensibility and the large-scale fractured fairytale his Hollywood betters seem to want, but there's tension, too, and the persistent clank of an overly tinkered machine.
What it lacks, rather like Oscar himself, is any authentic magic: the script's post-'Shrek' wisecracks feel especially out of place, and the over-processed digital landscapes can't match the beauty of handmade Hollywood artifice.