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.
From the Critics
From RT Users Like You!
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.
Note to respected actors: If the movie involves dodging swarms of sparrow-sized locusts, tromping about in a creepy, blood-red river or facing down a scary little girl believed to be possessed by Satan, run, don't walk, out of the studio meeting.
The film succumbs to the plague of clichés -- things suddenly leaping into the frame, screeching sound effects, and a gag that must have been old by the time Moses hit puberty: Look at this freaky stuff! Oh, it's only a dream.
[Director Stephen Hopkins] must have decided that horror needn't be technically horrifying, just flashy and programmatic and full of woo-woo choral bits that loudly command our spines to tingle. Stubborn little thing, mine didn't. And neither will yours.
Notable for its enthusiastic abandonment of any semblance of narrative coherence. Lately, lonely women in Hollywood movies are particularly vulnerable to attacks by multiple montages and random sound effects.
Why were they ... ? Did she ... ? Couldn't he have just ... ? Since I have no intention of watching the movie two more times to sort it all out, I'm left disgruntled. It's almost enough to make you lose faith in horror movies.
Stephen Hopkins directs The Reaping according to the Satanic horror manual, right down to the choral chanting on the soundtrack. The lighting is often too dark to see what's happening, and the editing makes a mess of even the most tolerable scenes.
Upon reflection, it's not difficult to understand why The Reaping languished for so long on the shelves of Warner Brothers before being dumped into distribution. The film, despite attempts at edit-room reparation, is virtually unreleasable.