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.
Petersen definitely brings a nautical pedigree to the gig -- the man knows from water. He's also wise enough to retain only the essentials from the '72 original, just the title ship and the rogue wave that did it in.
Titanic without the metaphors, the class-consciousness, the love story, or anything resembling a theme, Poseidon invests so little in its screenplay that it might as well be an episode of The Love Boat gone horribly awry.
There's nothing hip or ironic about Poseidon, which makes Russell and Lucas the perfect leading men: jut-jawed, macho, and able to keep a straight face while being pinned by fake beams, and held hostage by page upon page of sappy dialogue.
You will definitely gasp and gulp while watching the new film. But, sadly, these reactions won't be traced to the expert effects. Instead, you'll find yourself gasping and gulping at the incredibly lame dialogue.
There will be people who won't go to United 93 because they think it will be depressing yet will go to Poseidon expecting an exciting night at the movies, and I guess I don't understand how their brains work.
If the prospect of expiring horribly strikes you as a rather extreme way of growing backbone and getting life plans back on track, you should know that Poseidon is a movie with absolutely no sense of humor.
Wolfgang Petersen's large-scale liner moves reasonably well, though anyone with the faintest memory of its 1972 predecessor will wonder where most of the plot went, and the dialogue is so stilted it can honestly be said the less the better.
Its intensity is strictly physical, the intended emotional impact submerged in a numbing onslaught of death, danger and derring-do as a bunch of mostly annoying, self-centered passengers fight their way to the surface.
You'll end up entertained if you forgive the cliches and let Petersen grab you with the visuals, from the avalanche of water in the ballroom to the eerie sight of a flooded crawl space where wires take on the form of deadly tentacles.