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.
It attempts to say something profound about the war on terrorism and the human tendency toward an us-vs.-them mentality. But the finale feeds on a sense of bloodlust and then tries to pull back to show us the error of maniacal revenge.
The movie pretends to be a dramatic exploration of the gulf of mutual suspicion that has grown from the oil alliance between the United States and Saudi Arabia. In the most superficial way imaginable, it does that.
The Kingdom offers the war on terrorism we wanted to fight -- with clear, identifiable enemies; rock-solid intelligence; and precise deployment of American might -- instead of the one we're stuck with.
A lot of satisfying, entertaining action pictures have only an artificial brain to power the machinery. The Kingdom is the opposite: It's a smart picture with much to say. But in the end, it elects not to say it.
The Kingdom has a heart and a viewpoint. It's a thrill ride with a lingering thought or two in its wake. But the explosions, breakneck chases, daredevil escapes and predictability about which side will be victorious remain its foremost mission.
Both discordant and disingenuous, this faux-profound final note suggests that Berg and screenwriter Matthew Michael Carnahan don't know what kind of movie they've actually made -- or would like to pretend they've made another kind.
So shameless is The Kingdom, ignoring consequence and treating its audience like cash-dispensing machines with buttons to be pushed rather than thinking individuals willing to consider the reality of America's entanglement with the Middle East.