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.
Perhaps director Sylvain White hoped that this laughably melodramatic film might find its way into the pantheon of urban dance films. But seen against such films as Rize and You Got Served, it's a step in the wrong direction.
Typical of dance movies, there's a bit of story to fill the gaps between energetic sessions of movement. Director Sylvain White captures loads of feverish step action with stylishly jittery camerawork, muted colors and claustrophobic framing.
The film introduces too many elements, doubles back on itself, repeats and repeats the same information, starts and stops, includes needless tangential riffs, finds artificial means to stretch the running length and is in every way a flabby mess.
The movie starts with furious team dance-offs, but these aren't as interesting as they should be. Camera trickery keeps slowing down or speeding up everyone's movements, which destroys the amazement factor raised by the documentary Rize.
It's impossible not to warm up to [actor Colubmus] Short's quiet intensity, and you can't beat the ferocious performance battle that rocks the stage in the film's final showdown. Don't be surprised if you leave the theater stomping your feet.
The plot is stale though some of the moves are fresh in Stomp the Yard, a Flashdance-like fable about a kid from the wrong side of the tracks who brings his street-wise gangster style to the world of competitive fraternity step dancing.
Director Sylvain White goes by the book, except in the early scenes where he gives new meaning to the concept of a shaky camera. Initially, the camera work is so frenetic as to be off-putting and dizzying.
As expected, there's a final contest that resolves a whole mess of conflicts. But before that, Stomp the Yard flirts with several silly soap opera subplots while twisting its way around to a cursory touch of social consciousness.