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.
Spectre is sloppier than other recent Bonds, but it also feels like it's exhausted the idea that fueled the franchise's relaunch -- darker and more realistic can only last so long when it's paired with a rotating cast of Bond girls and supervillains.
I regard it as a ravishing exercise in near-despair, with Bond beset by the suspicion that, were he to desist, both his character and his cause would be unmasked as a void. Killing is his living, and his proof of life.
We don't expect a James Bond film to be deep, but at least we should be dazzled by the seductive gloss of its surfaces. Aside from that stunning opening sequence, this installment feels overcompensating and dutiful.
Whether Craig has another Bond chapter in him, or producers are ready to move on with another actor, one thing is clear: The 007 franchise is in a much better place than when Craig first appeared as Bond in 2006.
Spectre wants to operate as both a grim post-9/11 thriller and a throwback spy yarn, and it succeeds often enough. There's something audacious about positing a massive security and civil liberties threat right in the heart of central government.
Had it been the first Bond film with Craig in the title role, the reaction likely would be "wow!" This is some good stuff, way deeper than the silly Bonds. But with history behind us, it feels a little slight.
For those who have been waiting patiently for Bond to stop brooding so heavily, Spectre is about as close as the Craig version of the character is probably going to get to the quipping, unflappable 007 of yore.
[Mendes is] smart about pacing and rhythm and an astute judge of when to go for the joke and how to let his actors run the show, as opposed to the show -- the explosions and murders and such -- flattening the actors.
A slick, beautifully photographed, action-packed, international thriller with a number of wonderfully, ludicrously entertaining set pieces, a sprinkling of dry wit, myriad gorgeous women and a classic psycho-villain.
In a number of key scenes, "Spectre" re-creates classic moments from past Bonds. Think of them as James Bond's Greatest Hits. Think of them also as signs Mendes and his writers have run out of fresh ideas.
A wealth of iconography - both incidental and integral - from the series' founding chapters is revived here, making "Spectre" a particular treat for 007 nerds, and a businesslike blast for everyone else.
As an action movie, Spectre is every bit the equal of its predecessor, Skyfall. For at least half its running time, this is as good as Bond gets -- a rip-roaring and very stylishly made thriller with tremendous production values.