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.
Very well done. Obviously much higher budget than the first. I actually *started* reading both books but got bored with them, though I enjoyed both of the films very much. The sequel is very self-referential in both obvious and subtle ways. It's nostalgia for youth, nostalgia for the 90s UK rave culture and even nostalgia for the pop culture zeitgeist created by the film itself. It's a look back by Danny Boyle as well and he seems to be very conscious of this.
Apparently this flick put Spielberg on the map, but without knowing that, it seems very derivative of Hitchcock. On the other hand, if you look at it as the founding film of the "man vs. truck" genre, then it's quite trailblazing.
Better than I was expecting. The heady world of bike messengers. Perhaps slightly sensationalized, but still. It's nice to see Michael Shannon getting bigger roles. It's also nice to see Dania Ramirez.
Saw this at the film festival in Strasbourg. Not familiar with the director, but was pleasantly surprised with the concept. They didn't butcher (so to speak) the biology as much as these sorts of films tend to and I appreciated the commentary on the current celebrity obsession trend.
Too similar to Goodfellas, but somehow transcends that fact by being an incredible film in its own right and since it was also based on true events, probably speaks more to the raw brutality of organized crime more than it does to a lack of ingenuity on Scorsese's part.
Who wasn't pleasently surprised with what a great job Verbinski did bringing this Disney classic to the screen? Great cast, great effects and ultimately a fine franchise as well, although each successively diminishing in quality.
I first saw this movie before Pulp Fiction came out and no one (myself included) had any idea who Quentin Tarantino was. I remember thinking the dialogue was fantastic and of course the ensemble shot at the beginning credits in addition to what has come to be the characteristic integration of the 70s dicso soundtrack into his movies a la Casey's Super Sounds of the 70s. And who could ever forget the iconic ear severing scene with Michael Madsen dancing to Steeler's Wheel's "Stuck in the Middle"? Imminently quotable and unforgettable. Fantastic film on a shoestring budget.
It's like this: you know going in how bad it's going to be and yet you must go anyway. It's like a semi-annual progress report on Hollywood special effects only this time with no Meghan Fox and no terrible Lincoln Park song to go with it. They didn't even bother with a denouement this time; they just kill the bad guy and it's over. At least, I think that's what happened because I was dozing off for the last 30 minutes or so