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.
There's no doubt that Rush Hour 3 is anything but a mess. And yet there were moments when I found myself laughing giddily at the inanity of it all, and other moments when the picture was so beautiful to look at that I almost forgot its faults.
Nothing can justify the stale gags or Chris Tucker's shrieking minstrel show, and not even a Lalo Schifrin score can drown out the sound of money being counted. Feel free to call it commerce. Just don't mistake this for entertainment.
The division of labor is the same as in the first two films: Jackie kicks ass; Chris kicks sass. Ratner's challenge is giving the stars enough comedy byplay to keep audiences awake between the big action scenes, and RH 3 gets it done.
Ratner, who has been accurately dubbed a 'fauxteur', does an OK job keeping the action swirling, especially in the finale atop the Eiffel Tower. But there's no particular reason to have kept this franchise going except for commercial expediency.
It's a tedious, soulless, junky comedy whose outtakes reveal just how little effort aside from writing Tucker that big fat check and another for renting the Eiffel Tower was put into getting it on the screen.
Helmer Ratner knows the Rush Hour routine by heart, and production values, even with several new contributors to the franchise (including solid lenser J. Michael Muro), maintain the franchise's sharp, shiny look.