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.
"Ideals are peaceful. History is violent." Yes, it's the same overplayed theme that dozens of other war films center around, but David Ayer's Fury does it better than most. The acting is pretty top notch, but the script could be significantly better. I guess I was foolish to buy into the best picture hype surrounding this film a few months ago, but based on the Oscar's history of time-pieces, it seemed reasonable... War begets death begets more death is the takeaway from Fury... At least until the final scene, which, while mirroring the opening shot, contradicts the theme the entire film was centered around. For a mainstream film, this is insanely violent; but for a quality war film, it's average to below average violence wise. I did enjoy this film more than my brain says I should have, and it was as entertaining as anything out there today; but it could've been so much better. 7.5/10.
The fad of actors becoming directors needs to stop, and The Water Diviner further proves that point. The story is genuinely interesting and the film technically sound, but Crowe's directorial debut comes across as spacy and inconsistent. How this film shared the award for best picture with The Babadook at the Australian Academy Awards is something I'll never understand. On a side note, this was the last film of the groundbreaking cinematographer Andrew Lesnie's imacculate career. He will be missed.
New Zealand comedy legends Taika Waititi and Jemaine Clement write, direct, and star What We Do In The Shadows, a mockumentary on par with something from legendary filmmaker Christopher Guest. Absolutely brilliant pacing paired with unrelentingly subtle comedic gold create a cult classic destined to go down as one of the best.
Tomorrowland is what happens when an elite director is forced to work inside the narrow-minded framework of a multi-billion dollar corporation... Or at least I hope that's why Brad Bird's film was overrun with exposition on a tell-not-show basis and riddled with ignored plot holes. The narrative had real potential, but unfortunately it was squandered, for the most part, resulting in an average popcorn flick.
Despite the amateurish acting, the first twenty minutes of the rebooted Poltergeist managed to intrigue me far more than I thought it would... Then came the onslaught of jump scares without any tension to speak of. Wound up being just another Hollywood money grab lacking any real substance.
Definitely an interesting idea for a show, and at times it's genuinely entertaining; but overall, it's convoluted with senselessness and doesn't have any real direction to speak of. If you're bored, you could do worse, but not by much. I wouldn't recommend it.
Season six of house picks up with House in a mental institute, which was an extremely unique and creative thing to do... But sadly, once he returns to the hospital, this season is incredibly boring compared to previous ones overall and utterly redundant. the overarching plots (House and Cuddy's drama, Chase's murder and his marriage with Cameron falling apart, House's sobriety, and Taub's relationship with his wife) are uninteresting and underdeveloped. That being said, it's still House and is still well written and funny, just not up to House standards.
The second season of House speeds up towards the end, but for the first eighteen or so episodes, there's nothing new here compared to the first season. It's incredibly entertaining, but it's nothing we haven't seen before. The last five episodes are incredibly enthralling, but the majority is just more House (which isn't necessarily a bad thing).
the first half of season three of House establishes an overarching plot involving Tritter and House's abuse of Vicodine. This story adds another aspect to the show that's previously been absent. Other than that and a few staff changes, there's nothing new here aside from some character development.
The fourth season of House finally makes some major changes to the structure of the show. House's search for a new team is hilariously entertaining and the Amber storyline adds yet another layer to the mix. There are a few weak episodes, but for the first time an entire season has a consistent plot running through every episode in addition to the thoroughly amusing diagnoses.