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.
Melissa McCarthy, Kristin Wiig, Kate McKinnon and Leslie Jones make a formidable comic team in their own right - though McKinnon steals the show as oddball physics geek Holtzmann (the Egon, if you will).
These characters might even be more fun to watch in a movie that wasn't as beholden to its source. I'm saying I want a sequel, and maybe you should too. This one's pretty good. But it had a chance to be great.
The nearly two-hour film is akin to many of those sketches that come on after "Weekend Update." You know the ones -- too-long, time-filler skits that seem to have been scrawled on the back of a pizza box in the writer's room five minutes before air time.
When Kristen Wiig quotes Tony Montana before taking down a ghost with her blaster - "Say hello to my little friend!" - her line reading is anemic, as if she were embarrassed, and you cringe right along with her.
A goofy, free-floating romp with an anarchic spirit of its own, a fresh set of scares and laffs and a moderate dose of girl power that is unlikely to seem confrontational to anyone beyond the most confirmed basement-dwelling Gamergate troll.
After setting up the slightly revised premise, though, the movie pretty conspicuously runs out of gas about halfway through, yielding lapses where it doesn't scare up much of anything, most notably laughter.
While the dialogue doesn't labour the point, this is a film about women brought together by a shared intellectual passion, shrugging off the mostly male authority figures who try to put them in their place.
The talented stars are not to blame for a pointless, harmless and mildly funny remake that will leave most moviegoers shrugging their shoulders and musing, "well, at least it's better than Ghostbusters 2."
The new, bigger, bustier Ghostbusters is a rollickingly funny delight, paying homage to the classic film but rebooting it with four female protagonists who have the same laconic, ironic wit as the original men.
Jones, McCarthy, McKinnon, and Wiig are so good together - and in ways that are distinctively theirs and not recycled from the past - that their message of not giving a damn resonates better than the movie's underwhelming climax.
Wiig is at her best, Jones is a revelation, Chris Hemsworth is a wonderful surprise in the movie and Kate McKinnon steals the show. They're all weirdly endearing, too, and it has nothing to do with nostalgia.
Paul Feig's female-led reboot of the long-dormant franchise is thrilling, hilarious, lovingly crafted and the wild, colourful, giddy blockbuster this otherwise staid summer movie season so desperately needs.
Sliding into theaters on a river of slime and an endless supply of good vibes, the new, cheerfully silly "Ghostbusters" is that rarest of big-studio offerings - a movie that is a lot of enjoyable, disposable fun.
Whereas Feig has previously managed to cross genre streams successfully, here he succumbs to the familiar curse of the digital-effects era: When there's almost nothing the computer can't conjure, it falls to the director to know when to stop.
Feig's Ghostbusters is its own definitive creature, an affable, inventive riff on Ivan Reitman's proton-packing caper that exists not to score points, but only to make us laugh. For a summer comedy, there's no nobler purpose.