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.
I have never been a particular admirer of either James Bond or Austin Powers, and could hardly be expected to be overjoyed by a 'cross between them.' Hence, I was hardly surprised when I didn't crack a smile over the antics of Mr. Jean Dujardin.
The French-made movie travels familiar ground, with a nod as well to Airplane!, Top Secret and that whole genre. Even compared to them, it pushes things just a little -- not too far, but toward the loony.
Dujardin is what really makes it all work, though. He's an absolute riot, with Conneryesque looks and physicality, and the ability to segue into utter goofballery with a degree of arch-browed suaveness.
Dujardin nails his character, who is deeply dense but always seems to draw the winning card, mainly through dumb luck. And Hazanavicius clearly knows the '60s-era Bond films, which are full of ripe targets that he lovingly demolishes.
Until someone figures out a way of truly subverting what's already been subverted, cartoon stick figures like Austin Powers and Johnny English will never feel fresh, even when they're actually saying funny things.
Sparkling production design, a jubilantly retroretro score and a genuine flair for using the film and TV vocabulary of the '60s to revisit colonial arrogance put pic in the same conceptual ballpark as Austin Powers.