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.
Abrams manages quite well in making $150 million look like an episode of Babylon 5. Fistfights are poorly edited, and when he wants to create excitement and tension, Abrams simply has the camera shake around a lot in close-up.
What I do have a problem with is sacrificing plot for speed, for thinking that grand spectacle and a great sense of pop culture are all that you need to make a new journey with the crew of the Enterprise work.
Quinto is the one person here who may leave teen-aged viewers more perplexed than puffed up; he somehow rebukes the movie's whole obsession with backstory and immaturity by seeming riper and wiser than the charmless folly that is spun around him.
This Star Trek sells cuteness, sentimentality and explosive F/X as if Starship Troopers, Minority Report, Mission to Mars or even Blade Runner or The Matrix (all visionary standard-setters) never happened.
Even by the standards of its own predecessors, this Trek feels like it was made by a committee of logic-minded Vulcans (or franchise-protective studio executives) rather than a filmmaker with the singular personality of Nicholas Meyer.
Requiring little or no foreknowledge of Klingons and Romulans, this "Star Trek" is a grand equalizer, transporting everyone to a space where it's possible to just sit back and marvel at the starlit view seen from the Captain's chair.