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.
Strap yourself in and try not to vomit, because this is more of a theme-park event than a movie -- Pirates of the Caribbean in reverse, a wild ride stripped of its story, down to a rattling series of obvious, underwhelming effects.
The key to enjoying this unique experiment rests, fittingly, on whether you are willing to set aside your own skepticism and go along with the movie's well-meaning and unmistakably original spirit. If so, it can truly be an exhilarating ride.
Although it occasionally makes us feel as if whimsy has been run over by a train, Polar Express achieves some genuine enchantment, offering just enough storybook comfort to keep from flying off the rails.
I only wish there were more of the disorienting -- more of the silently, hypnotically Van Allsburgian -- and less of the flat, linear, polished, technical brilliance with which this big-ticket vehicle runs its route.
There is wonder for us to cherish, courtesy of a spectacular visual sense. But there are also moments that deliver shock and awe instead, sequences of such exhausting, turbocharged jeopardy that it seems like we've wandered into a Jerry Bruckheimer movie.
Unnervingly smooth, mouths moving in strange, even frightening formations, the Polar people are the least convincing things on-screen, glaring impostors amid the otherwise painstakingly rendered scenery.
The Polar Express may succeed via the motion-capture process in replicating human movement by digitalizing the performances of live actors, but it fails to capture the subtlety of facial expressions or to fabricate sympathetic, evocative figures.