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.
Too many villains, too many pale plot strands, too many romantic misunderstandings, too many conversations, too many street crowds looking high into the air and shouting "oooh!" this way, then swiveling and shouting "aaah!" that way.
Notwithstanding a cute scene in which Peter enlists suave maitre d' Bruce Campbell to help him propose to Mary Jane, director Sam Raimi's juggling of the comedy and the action is unusually flat-footed.
If there's a moral to be gleaned from Spider-Man 3 -- aside from the fact that heavily promoted franchise movies tend to rake in megabucks -- it's this: Movies don't necessarily need to hit grand slams to score.
Aesthetically and conceptually wrung out, fizzled rather than fizzy, this latest installment in the spider-bites-boy adventure story shoots high, swings low and every so often hits the sweet spot, but mostly just plods and plods along.
In an apparent effort to put a stake in the heart of the franchise that threatens to define his career, director Sam Raimi has delivered an overlong, visually incoherent, mean-spirited and often just plain awful Spider-Man 3.
Spider-Man 3 offers a touching portrait of the need for humility in the face of great success. It's a lesson the creators of this oversized blockbuster-in-waiting might have taken a little more to heart.
I liked it. To place a sensitive story in a male-epic genre -- to dramatize feelings of angst and personal betrayal worthy of an Ingmar Bergman film, and then to dress them up in gaudy comic-book colors -- is to pull off a smartly subversive drag show.
This is a wonderfully imagined, heartfelt piece of pop entertainment that soars not only for its spectacular eye candy, but also during the moments when its protagonists simply stand still and talk to each other.
Watching Spider-Man 3, you more than once get the impression that, for the principal artists and technicians who've been with the series from the get-go, the thrill has somehow gone out of it for them this time around.
What's with all the crying? Both heroes and villains shed tears so readily, you almost want to stand up mid-screening and ask director Sam Raimi to stop the projector so everybody can have a group hug.
Director Sam Raimi tries to pump some life into this dutiful enterprise but seems more than a little bored himself, especially when he's getting mushy about Spider-Man's moral decline and regeneration.
Over-produced, over-publicized, over-designed, over-computerized and just plain over the moon, it's so preposterously overwrought with so many bewildering plots juggling simultaneously for over-emphasis, there's no entry point for criticism.
Spider-Man 3 is nothing if not eclectic, but somehow this ambitious mishmash works. Action-packed, with all the digital fireworks that a $250 million (or more) budget can buy, it's both the most grandiose chapter and the nuttiest.
After the significant improvement of the second installment over the first, new entry reps a roughly equivalent dip in quality and enjoyment, with Spidey now giving off the faint odor of running on fumes.