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.
The Dark Knight always ought to be played on the biggest screen possible, and played loud, like a Led Zepplin song. Director Christopher Nolans' skyscapes, the helicopter shots and views from the 200th floor, are IMAX at its best.
The Dark Knight may not supply a happy ending, but there is a feeling of exhilaration as Batman rides off from the pursuing cops, and the realization that this is another big step forward for comic book movies.
This may seem like faint praise, but about the highest compliment I can give Christopher Nolan's The Dark Knight right now is to say that there were many long stretches during which I didn't even realize it was a superhero movie
The Dark Knight may mirror the ethical dilemmas & duplicities of the War on Terror, but it also offers a different, better way through them, with a seriousness that Bush & his clowns were never able to muster
Nolan has squeezed enough material for a saga into two and a half hours. The action moves insanely fast, the exposition is breathless, and the big setpieces practically tread on each other's heels. Down time doesn't exist in this film.
The Dark Knight is a clever, loud, technically brilliant film, superbly designed by Nathan Crowley and dramatically lit by Wally Pfister. Whether such a movie can bear the increasing moral weight imposed upon it is another matter.