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 restores the tarnished lustre to this most fan-beloved of Marvel characters by doing precisely what Chris Claremont and Frank Miller's near-sacred 1982 run did: It pumps some feeling into the guy along with his muscles and steel talons.
Director James Mangold's film features some breathtakingly suspenseful action sequences, exquisite production and costume design and colorful characters, some of whom register more powerfully than others.
Mangold front-loads the action, but near the end there's a first-rate fight atop a bullet train between Wolverine/Logan and some especially pesky ninjas. It puts the train fights in the recent The Lone Ranger to shame.
Although The Wolverine eventually falls back on a comic-book formula and CG effects (the climactic face-off between Logan and a giant silver warriorlike thing is totally generic), Mangold and his team find time to explore more nuanced realms ...
The Wolverine represents a strain of faux gravitas that squeezes nearly all the fun out of blockbuster moviemaking. Here we have multimillion-dollar proof that slow and unsure can be just as dull as hyperkinetic chaos.
A refreshing summer cocktail of action-movie staples, The Wolverine combines the bracingly adult flavor of everyone's favorite mutant antihero with the fizzy effervescence of several mixers from the cabinet of Japanese genre cinema.
Hugh Jackman, in his sixth time up as Wolverine, still has the juice. This pissed-off man of Adamantium claws is stalking new ground (Japan), and his fight with yakuza on top of Tokyo's speeding bullet train is a wowser.
Somewhere along the line somebody must have had a crazy idea, that The Wolverine required a decent script, and shouldn't rely only on action, audience goodwill and the sight of Hugh Jackman with his shirt off. The team delivers with this one.
"The Wolverine" won't change anybody's mind about the character, or about what Jackman can do with it. It's simply a more focused scenario than usual, full of violence done up with a little more coherence and visceral impact than usual.
"The Wolverine" dispatches its hero to Japan to grapple with a sinister criminal element and his own virtual immortality. For the uninitiated, the scene shift is surprising - and an effective way of dramatizing and accentuating the hero's dual nature.
At this point [Jackman] could play the role in his sleep - but he doesn't, and the nuances he and director Mangold bring to the character lift this enterprise up from the usual blockbuster-sequel fare.
It doesn't payoff prior installments or set up future ones, but seems to exist almost out of time, for the simple, quaint purpose of pitting its iconic mutant superhero against samurais, ninjas, and vicious yakuza thugs.
It's the stuff of Saturday-morning cartoons, but Mangold - who, as in the appalling 'Knight and Day', edits all action sequences on the shaky frappé setting - hasn't the visual pop or lightness of touch to make it bounce.
Until a third act that collapses in a harebrained heap, the director largely succeeds in keeping the more cartoonish aspects at bay, roughing up the surface with organically staged fight scenes and, crucially, raising the stakes.