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.
Although mounted with no little efficiency by director Pete Travis (who previously made the TV drama-doc 'Omagh'), the narrative enterprise actually hides a one-dimensional world view, with civilian casualties mere background set dressing.
While the title, trailer and commercials imply that we'll be carefully piecing together clues to a complex assassination attempt as seen from several perspectives, the final product turns out to be a tepid thriller that promises more than it delivers.
Chugging forward and chundering back, the movie keeps promising to whip up something hellishly complicated, but what keeps the movie going for an hour and a half is not a complicated plot but a stingy way of dribbling out information.
Vantage Point makes nice use of the heft of Dennis Quaid, Forest Whitaker, William Hurt and Sigourney Weaver in a story in which an assassination followed by an explosion gets revisited from eight points of view.
Reduces global terrorism to a Rubik's Cube suitable for an evening's entertainment. If that doesn't make you vaguely ill, by all means take this thriller for the shallow, gimmicky "ride" it aspires to be.
What is the real crime? Why, beating the audience about the ears, eyes and brain with essentially the same sequence of events from eight characters' points of view, none of which adds much more than deafening hysteria and identically dreadful music.
The director, Pete Travis, is a pulse-pounding technological showman whose high-strung, quick-cut style might be described as JFK meets Paul Greengrass meets Jerry Bruckheimer. That said, it's not the plot that thickens -- it's the pulp.
The sense of déjà vu I had watching so many runaway vehicles crashing and smashing through the narrow cobblestone Spanish streets only reminded me how much more fun I've had watching the running of the bulls in Pamplona.