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.
For all its mythic, metaphorical weight, The Return of the King and its two predecessors finally speak to the dignity and humanity of the smallest among us. And the best movie masterpieces have always been made of such common stuff.
In Return of the King, the battle for the very survival of Middle Earth and all its fantastical creations will be fought, and unless you are a congenital buzz-kill, you will feel the urgency, terror, and sweeping import of it all.
I'm still not as blissed out by this trilogy as are hardcore fans of the J.R.R. Tolkien novels or filmgoers who revel in endless battle scenes. Still, this end chapter is as visually spectacular -- with its mythological creatures -- as movies get.
As the series grows in scope, so do the emotions. Jackson modulations of scale keep shifting between the vast and the intimate, but it's all so perfectly paced, you're gripping your chair throughout -- because it all feels so urgent.
The Return Of The King ultimately proves up to the series' increasingly difficult task: making movies that echo legends, making legends that reflect life, and reconciling it all with the fact that both legends and lives all eventually meet their ends.