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.
Asks little more of you than to strap in, put away your phone and enjoy watching a freakishly huge prehistoric eating machine terrorize some scientists before it turns its appetite to a beach full of frolickers on floaties.
If there's any sense of menace in The Meg, it lies in the prospect that many more such films may be on the way. All that said, I hope there are bigger opportunities in store for whoever edited the trailer.
It's so bad that it's good, remember? It's bad, but it's funny! You're laughing! Right? The truth, unfortunately, is that the novelty of Statham's self-mocking performance and deadpan antics fades away... It is so bad that it's bad.
Turteltaub is better at the scenes of conceiving cockamamie plans than at the unleashing of cockamamie-ness. He only occasionally suggests the mystery and majesty of his monster and exhibits little feel for suspense.
A lot is obvious here, in fact, including a couple of twists...You're there for the action, and there's a lot of it. It's OK, and there are some scares and some silliness and some sadness doled out along the way.
If a lot of the plotting is colossally stupid, it's presented in a cheerful, old-fashioned, thoroughly unpretentious way, built on the simple premise that scaring people with sharks in summertime is a tried-and-true convention.
The Meg, stolidly directed by Jon Turteltaub, winds up proving a fairly obvious theory about its chosen sub-genre: the more massive the shark (and the budget), the lighter the scares and the lower the stakes.
Whether you like The Meg depends on how much you like seeing Jason Statham in and out of a wetsuit, doing action-hero things. He's certainly good at it, and he's the best thing about the movie, not that the competition is particularly fierce.
Blandly internationalized, generically derivative, drained of any personality, edited as if by computer and bleached of the slightest hint of emotion... The Meg is a one hundred percent inorganic meal.