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 original Transformers wasn't a great movie, but at least it started out as fun, with Shia LaBeouf as a high-school student who discovers that his new yellow Camaro is actually an Autobot sent to earth to ward off evil Decepticons from their...
If you're going to make a movie in which some of your stars are animated toys and much of downtown Chicago is reduced to rubble, this is the way to do it: shamelessly, with no expense spared and no cliche avoided.
Fine actors like John Turturro and John Malkovich are encouraged to strip-mine the scenery. Frances McDormand, playing a government bigwig, can now rest content knowing she has given the worst performance of her career. (Not her fault, either.)
The more action sequences, locations, actors, historical events, machines, effects, monosyllables, weapons, and American-flag close-ups the movie shoves in its mouth and ours, the less we're able to taste.
Shot by shot, Transformers: Dark of the Moon, like all of Bay's work, has a meticulous commercial sheen that's distinctive and beautiful, but he never lingers on any one of them for long, and they rarely make sense in sequence.
It's a momentous achievement and it will make untold amounts of money and you should see it even though it's hateful and empty and preaches the worst kind of reactionary violence without even really meaning it.
What does Optimus Prime see in the whiny Sam Witwicky? Why do both the Autobots and Decepticons keep departing Earth, only to reappear a few scenes later? And what is the evolutionary advantage of pretending to be a car, anyway?
Your brain cells perish by the thousands, their howls of agony lost to the cacophony inside your skull. Vast quantities of money, roughly equal to the GDP of Tonga, travel from America's wallets into the coffers of Paramount.
A vague story is cobbled together around the increasingly mind-numbing special effects and convoluted action sequences. But by the end of the 2 1/2-hour-plus slog, it's hard to even remember where it began.
Even as it showcases a new degree of directorial control, Dark of the Moon remains a live-action cartoon, more a delivery mechanism for testosterone and axle grease than a satisfying dramatic experience.
Bay misses every opportunity to make something interesting out of his characters; instead, he's content to spend his enormous budget on grinding destruction so generic and visually convoluted, it's often hard to tell who we're supposed to be rooting for.