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.
From the Critics
From RT Users Like You!
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 a while, it looked like director Roar Uthaug was going to deliver a video game movie that transcended the genre, mostly through the neat trick of having his ass-kicking heroine be driven by the thoroughly human desire to be Daddy's little girl again.
Vikander, who won an Oscar for her performance in "The Danish Girl," has more than enough charisma to carry the film. She's not so much a wonder woman as she is a heroine who's up for whatever challenges she faces.
None of the digitally-assisted stunts will make you gasp, none of the dialogue will make you laugh, none of the twists will shock you, and none of the elaborate subterranean traps will seem as fiendish as they did when Indiana Jones faced them.
This is ... not just a reboot of a film franchise based on a video game. It's also a movie based on a reboot of that video game. If there were a television series it could reboot, then it would represent the hat trick of unoriginality.
Vikander successfully conveys the toughness and focus you might expect in, say, a champion triathlete. But she struggles to endow Lara with iconic force, which is not altogether her fault, considering how little she has to work with.
This Lara is spunky and fearless, with a mind of her own. That's nice to see, but what does it matter in a movie that's dull when it's not inexplicable, and is riddled with bad dialogue and worse special effects?
Story problems tank the new "Tomb Raider" - small, essential things like lack of motivation, lack of reasons for people to do the things they do, and lack of any reason for the audience to keep watching.
Vikander attacks this role at a headlong pace, with a raspy primal yelp, and she's so much fun to watch. This modern and grounded approach to Lara Croft has you in its chokehold before you can resist. Might as well go along for the rest of the ride.
Without the interactive component, we're just watching moldy movie tropes retranslated back into movie form. And by the end, the craven franchise aspirations have obliterated even the very modest retro appeal.
What makes Vikander's interpretation work is that this new-and-somewhat-improved "Tomb Raider" has been conceived as both a back-to-basics origin story and a smart, forward-thinking spin on a character with a tricky representational history.
Sensitivity and realism elevates the stakes of the film to such an extent that, combined with its playfulness and inventiveness, we can already safely call Tomb Raider one of the year's best action films.
Part II needs to switch gears and hone in all the crowd-pleasing thrills that come with an A-level adventure franchise. Think Raiders of the Lost Ark. The Marvel movies. Jumanji. Otherwise, the film should stay buried.
The movie is full of vine-swinging, bow-and-arrow-shooting, ancient-spirit-meeting action, but most of it is staged on a convincing human scale, one that's been expertly tailored to its star's understated directness.