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As the world’s most trusted and recognized source of movie and TV reviews, Rotten Tomatoes and the Tomatometer score have served as the most reliable home of entertainment recommendations for over 25 years. We offer authentic reactions in a broad range of reviews from professional critics and everyday fans alike in addition to helpful, easily digestible what-to-watch roundups. Not only that, but we help build anticipation and provide fans with access to first look entertainment previews, trailers, behind-the-scenes exclusives, and more, as well as original editorial features, fun and informative video series, and even books and games. If you're an entertainment fan looking for a diverse range of perspectives curated in an easy-to-understand format, we'll help you find what you're in the mood for and open your eyes to new things to enjoy.

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Tomatometer scores are based on the collective opinions of hundreds of film and television critics and serve as a trusted measurement of critical entertainment recommendation for millions of fans. The Tomatometer score represents the percentage of professional critic reviews that are positive for a given film or television show. We have recently updated our criteria for the number of reviews it takes for a Tomatometer score to populate. You can read more about that HERE .

When at least 60% of reviews for a movie or TV show are positive, it is considered Fresh and a red tomato is displayed.

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Certified Fresh status is a special designation awarded to the best-reviewed movies and TV shows. To qualify, movies or TV shows must meet the following requirements:

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• Films in wide release must have a minimum of 80 reviews. This also applies for films expanding from limited to wide release.
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Rotten Tomatoes, explained

Does a movie’s Rotten Tomatoes score affect its box office returns? And six other questions, answered.

by Alissa Wilkinson

In February 2016, Rotten Tomatoes — the site that aggregates movie and TV critics’ opinions and tabulates a score that’s “fresh” or “rotten” — took on an elevated level of importance. That’s when Rotten Tomatoes (along with its parent company Flixster) was acquired by Fandango , the website that sells advance movie tickets for many major cinema chains.

People had been using Rotten Tomatoes to find movie reviews since it launched in 2000, but after Fandango acquired the site, it began posting “Tomatometer” scores next to movie ticket listings. Since then, studio execs have started to feel as if Rotten Tomatoes matters more than it used to — and in some cases, they’ve rejiggered their marketing strategies accordingly.

It’s easy to see why anyone might assume that Rotten Tomatoes scores became more tightly linked to ticket sales, with potential audiences more likely to buy tickets for a movie with a higher score, and by extension, giving critics more power over the purchase of a ticket.

But that’s not the whole story. And as most movie critics (including myself) will tell you, the correlation between Rotten Tomatoes scores, critical opinion, marketing tactics, and actual box office returns is complicated. It’s not a simple cause-and-effect situation.

My own work is included in both Rotten Tomatoes’ score and that of its more exclusive cousin, Metacritic . So I, along with many other critics , think often of the upsides and pitfalls of aggregating critical opinion and its effect on which movies people see. But for the casual moviegoer, how review aggregators work, what they measure, and how they affect ticket sales can be mysterious.

So when I got curious about how people perceive Rotten Tomatoes and its effect on ticket sales, I did what any self-respecting film critic does: I informally polled my Twitter followers to see what they wanted to know.

Here are seven questions that many people have about Rotten Tomatoes, and review aggregation more generally — and some facts to clear up the confusion.

How is a Rotten Tomatoes score calculated?

The score that Rotten Tomatoes assigns to a film corresponds to the percentage of critics who’ve judged the film to be “fresh,” meaning their opinion of it is more positive than negative. The idea is to quickly offer moviegoers a sense of critical consensus.

“Our goal is to serve fans by giving them useful tools and one-stop access to critic reviews, user ratings, and entertainment news to help with their entertainment viewing decisions,” Jeff Voris, a vice president at Rotten Tomatoes, told me in an email.

The opinions of about 3,000 critics — a.k.a. the “Approved Tomatometer Critics” who have met a series of criteria set by Rotten Tomatoes — are included in the site’s scores, though not every critic reviews every film, so any given score is more typically derived from a few hundred critics, or even less. The scores don’t include just anyone who calls themselves a critic or has a movie blog; Rotten Tomatoes only aggregates critics who have been regularly publishing movie reviews with a reasonably widely read outlet for at least two years, and those critics must be “active,” meaning they’ve published at least one review in the last year. The site also deems a subset of critics to be “top critics” and calculates a separate score that only includes them.

Some critics (or staffers at their publications) upload their own reviews, choose their own pull quotes, and designate their review as “fresh” or “rotten.” Other critics (including myself) have their reviews uploaded, pull-quoted, and tagged as fresh or rotten by the Rotten Tomatoes staff. In the second case, if the staff isn’t sure whether to tag a review as fresh or rotten, they reach out to the critic for clarification. And critics who don’t agree with the site’s designation can request that it be changed.

As the reviews of a given film accumulate, the Rotten Tomatoes score measures the percentage that are more positive than negative, and assigns an overall fresh or rotten rating to the movie. Scores of over 60 percent are considered fresh, and scores of 59 percent and under are rotten. To earn the coveted “designated fresh” seal, a film needs at least 40 reviews, 75 percent of which are fresh, and five of which are from “top” critics.

What does a Rotten Tomatoes score really mean ?

A Rotten Tomatoes score represents the percentage of critics who felt mildly to wildly positively about a given film.

If I give a film a mixed review that’s generally positive (which, in Vox’s rating system, could range from a positive-skewing 3 to the rare totally enamored 5), that review receives the same weight as an all-out rave from another critic. (When I give a movie a 2.5, I consider that to be a neutral score; by Rotten Tomatoes’ reckoning, it’s rotten.) Theoretically, a 100 percent Rotten Tomatoes rating could be made up entirely of middling-to-positive reviews. And if half of the critics the site aggregates only sort of like a movie, and the other half sort of dislike it, the film will hover around 50 percent (which is considered “rotten” by the site).

Contrary to some people’s perceptions, Rotten Tomatoes itself maintains no opinion about a film. What Rotten Tomatoes tries to gauge is critical consensus.

• Why people are freaking out over Wonder Woman’s stellar Rotten Tomatoes score

Critics’ opinions do tend to cluster on most films. But there are always outliers, whether from contrarians (who sometimes seem to figure out what people will say and then take the opposite opinion), or from those who seem to love every film. And critics, like everyone, have various life experiences, aesthetic preferences, and points of view that lead them to have differing opinions on movies.

So in many (if not most) cases, a film’s Rotten Tomatoes score may not correspond to any one critic’s view. It’s more like an imprecise estimate of what would happen if you mashed together every Tomatometer critic and had the resulting super-critic flash a thumbs-up or thumbs-down.

Rotten Tomatoes also lets audiences rate movies, and the score is often out of step with the critical score. Sometimes, the difference is extremely significant, a fact that’s noticeable because the site lists the two scores side by side.

There’s a straightforward reason the two rarely match, though: The critical score is more controlled and methodical.

Why? Most professional critics have to see and review many films, whether or not they’re inclined to like the movie. (Also, most critics don’t pay to see films, because studios hold special early screenings for them ahead of the release date, which removes the decision of whether they’re interested enough in a film to spend their hard-earned money on seeing it.)

But with Rotten Tomatoes’ audience score, the situation is different. Anyone on the internet can contribute — not just those who actually saw the film. As a result, a film’s Rotten Tomatoes score can be gamed by internet trolls seeking to sink it simply because they find its concept offensive. A concerted effort can drive down the film’s audience score before it even comes out, as was the case with the all-female reboot of Ghostbusters .

Even if Rotten Tomatoes required people to pass a quiz on the movie before they rated it, the score would still be somewhat unreliable. Why? Because ordinary audiences are more inclined to buy tickets to movies they’re predisposed to like — who wants to spend $12 to $20 on a film they’re pretty sure they’ll hate?

So audience scores at Rotten Tomatoes (and other audience-driven scores, like the ones at IMDb) naturally skew very positive, or sometimes very negative if there’s any sort of smear campaign in play. There’s nothing inherently wrong with that. But audience scores tend to not account for those who would never buy a ticket to the movie in the first place.

In contrast, since critics see lots of movies — some of which they would have gone to see anyhow, and some of which they would’ve never chosen to see if their editors didn’t make the assignment — their opinion distribution should theoretically be more even, and thus the critical Rotten Tomatoes score more “accurate.”

Or at least that’s what Rotten Tomatoes thinks. The site displays a movie’s critics’ scores — the official Tomatometer — at Fandango and in a more prominent spot on the movie’s Rotten Tomatoes landing page. The audience score is also displayed on the Rotten Tomatoes page, but it’s not factored into the film’s fresh or rotten rating, and doesn’t contribute to a film being labeled as “certified fresh.”

Why do critics often get frustrated by the Tomatometer?

The biggest reason many critics find Rotten Tomatoes frustrating is that most people’s opinions about movies can’t be boiled down to a simple thumbs up or down. And most critics feel that Rotten Tomatoes, in particular, oversimplifies criticism, to the detriment of critics, the audience, and the movies themselves.

In some cases, a film really is almost universally considered to be excellent, or to be a complete catastrophe. But critics usually come away from a movie with a mixed view. Some things work, and others don’t. The actors are great, but the screenplay is lacking. The filmmaking is subpar, but the story is imaginative. Some critics use a four- or five-star rating, sometimes with half-stars included, to help quantify mixed opinions as mostly negative or mostly positive.

The important point here is that no critic who takes their job seriously is going to have a simple yes-or-no system for most movies. Critics watch a film, think about it, and write a review that doesn’t just judge the movie but analyzes, contextualizes, and ruminates over it. The fear among many critics (including myself) is that people who rely largely on Rotten Tomatoes aren’t interested in the nuances of a film, and aren’t particularly interested in reading criticism, either.

But maybe the bigger reason critics are worried about the influence of review aggregators is that they seem to imply there’s a “right” way to evaluate a movie, based on most people’s opinions. We worry that audience members who have different reactions will feel as if their opinion is somehow wrong, rather than seeing the diversity of opinions as an invitation to read and understand how and why people react to art differently.

Plenty of movies — from Psycho to Fight Club to Alien — would have earned a rotten rating from Rotten Tomatoes upon their original release, only to be reconsidered and deemed classics years later as tastes, preferences, and ideas about films changed. Sometimes being an outlier can just mean you’re forward-thinking.

Voris, the Rotten Tomatoes vice president, told me that the site is always trying to grapple with this quandary. “The Rotten Tomatoes curation team is constantly adding and updating reviews for films — both past and present,” he told me. “If there’s a review available from an approved critic or outlet, it will be added.”

What critics are worried about is a tendency toward groupthink, and toward scapegoating people who deviate from the “accepted” analysis. You can easily see this in the hordes of fans that sometimes come after a critic who dares to “ruin” a film’s perfect score . But critics (at least serious ones) don’t write their reviews to fit the Tomatometer, nor are they out to “get” DC Comics movies or religious movies or political movies or any other movies. Critics love movies and want them to be good, and we try to be honest when we see one that we don’t measures up.

That doesn’t mean the audience can’t like a movie with a rotten rating, or hate a movie with a fresh rating. It’s no insult to critics when audience opinion diverges. In fact, it makes talking and thinking about movies more interesting.

If critics are ambivalent about Rotten Tomatoes scores, why do moviegoers use the scores to decide whether to see a movie?

Mainly, it’s easy. You’re buying movie tickets on Fandango, or you’re trying to figure out what to watch on Netflix, so you check the Rotten Tomatoes score to decide. It’s simple. That’s the point.

And that’s not a bad thing. It’s helpful to get a quick sense of critical consensus, even if it’s somewhat imprecise. Many people use Rotten Tomatoes to get a rough idea of whether critics generally liked a film.

The flip side, though, is that some people, whether they’re critics or audience members, will inevitably have opinions that don’t track with the Rotten Tomatoes score at all. Just because an individual’s opinion is out of step with the Tomatometer doesn’t mean the person is “wrong” — it just means they’re an outlier.

And that, frankly, is what makes art, entertainment, and the world at large interesting: Not everyone has the same opinion about everything, because people are not exact replicas of one another. Most critics love arguing about movies, because they often find that disagreeing with their colleagues is what makes their job fun. It’s fine to disagree with others about a movie, and it doesn’t mean you’re “wrong.”

(For what it’s worth, another review aggregation site, Metacritic, maintains an even smaller and more exclusive group of critics than Rotten Tomatoes — its aggregated scores cap out around 50 reviews per movie, instead of the hundreds that can make up a Tomatometer score. Metacritic’s score for a film is different from Rotten Tomatoes’ insofar as each individual review is assigned a rating on a scale of 100 and the overall Metacritic score is a weighted average, the mechanics of which Metacritic absolutely refuses to divulge . But because the site’s ratings are even more carefully controlled to include only experienced professional critics — and because the reviews it aggregates are given a higher level of granularity, and presumably weighted by the perceived influence of the critic’s publication — most critics consider Metacritic a better gauge of critical opinion.)

Does a movie’s Rotten Tomatoes score affect its box office earnings?

The short version: It can, but not necessarily in the ways you might think.

A good Rotten Tomatoes score indicates strong critical consensus, and that can be good for smaller films in particular. It’s common for distributors to roll out such films slowly, opening them in a few key cities (usually New York and Los Angeles, and maybe a few others) to generate good buzz — not just from critics, but also on social media and through word of mouth. The result, they hope, is increased interest and ticket sales when the movie opens in other cities.

Get Out , for example, certainly profited from the 99 percent “fresh” score it earned since its limited opening. And the more recent The Big Sick became one of last summer’s most beloved films, helped along by its 98 percent rating. But a bad score for a small film can help ensure that it will close quickly, or play in fewer cities overall. Its potential box office earnings, in turn, will inevitably take a hit.

Yet when it comes to blockbusters, franchises, and other big studio films (which usually open in many cities at once), it’s much less clear how much a film’s Rotten Tomatoes score affects its box office tally. A good Rotten Tomatoes score, for example, doesn’t necessarily guarantee a film will be a hit. Atomic Blonde is “guaranteed fresh,” with a 77 percent rating, but it didn‘t do very well at the box office despite being an action film starring Charlize Theron.

Still, studios certainly seem to believe the score makes a difference . Last summer, studios blamed Rotten Tomatoes scores (and by extension, critics) when poorly reviewed movies like Pirates of the Caribbean: Dead Men Tell No Tales , Baywatch , and The Mummy performed below expectations at the box office. ( Pirates still went on to be the year’s 19th highest-grossing film.)

2017’s highest grossing movies in the US

But that correlation doesn’t really hold up. The Emoji Movie , for example, was critically panned, garnering an abysmal 6 percent Rotten Tomatoes score. But it still opened to $25 million in the US, which put it just behind the acclaimed Christopher Nolan film Dunkirk . And the more you think about it, the less surprising it is that plenty of people bought tickets to The Emoji Movie in spite of its bad press: It’s an animated movie aimed at children that faced virtually no theatrical competition, and it opened during the summer, when kids are out of school. Great reviews might have inflated its numbers, but almost universally negative ones didn’t seem to hurt it much.

It’s also worth noting that many films with low Rotten Tomatoes scores that also perform poorly in the US (like The Mummy or The Great Wall ) do just fine overseas, particularly in China. The Mummy gave Tom Cruise his biggest global opening ever . If there is a Rotten Tomatoes effect, it seems to only extend to the American market.

Without any consistent proof, why do people still maintain that a bad Rotten Tomatoes score actively hurts a movie at the box office?

While it’s clear that a film’s Rotten Tomatoes score and box office earnings aren’t correlated as strongly as movie studios might like you to think, blaming bad ticket sales on critics is low-hanging fruit.

Plenty of people would like you to believe that the weak link between box office earnings and critical opinion proves that critics are at fault for not liking the film, and that audiences are a better gauge of its quality. Dwayne “The Rock” Johnson, co-star of Baywatch , certainly took that position when reviews of the 2017 bomb Baywatch came out:

Baywatch ended up with a very comfortably rotten 19 percent Tomatometer score , compared to a just barely fresh 62 percent audience score. But with apologies to The Rock, who I’m sure is a very nice man, critics aren’t weather forecasters or pundits, and they’re not particularly interested in predicting how audiences will respond to a movie. (We are also a rather reserved and nerdy bunch, not regularly armed with venom and knives.) Critics show up where they’re told to show up and watch a film, then go home and evaluate it to the best of their abilities.

The obvious rejoinder, at least from a critic’s point of view, is that if Baywatch was a better movie, there wouldn’t be such a disconnect. But somehow, I suspect that younger ticket buyers — an all-important demographic — lacked nostalgia for 25-year-old lifeguard TV show, and thus weren’t so sure about seeing Baywatch in the first place. Likewise, I doubt that a majority of Americans were ever going to be terribly interested in the fifth installment of the Pirates of the Caribbean franchise (which notched a 30 percent Tomatometer score and a 64 percent audience score), especially when they could just watch some other movie.

A pile-up of raves for either of these films might have resulted in stronger sales, because people could have been surprised to learn that a film they didn’t think they were interested in was actually great. But with lackluster reviews, the average moviegoer just had no reason to give them a chance.

Big studio publicists, however, are paid to convince people to see their films, not to candidly discuss the quality of the films themselves. So when a film with bad reviews flops at the box office, it’s not shocking that studios are quick to suggest that critics killed it.

How do movie studios try to blunt the perceived impact when they’re expecting a bad Rotten Tomatoes score?

Of late, some studios — prompted by the idea that critics can kill a film’s buzz before it even comes out — have taken to “ fighting back ” when they’re expecting a rotten Tomatometer score.

Their biggest strategy isn’t super obvious to the average moviegoer, but very clear to critics. When a studio suspects it has a lemon on its hands, it typically hosts the press screening only a day or two ahead of the film’s release, and then sets a review “embargo” that lifts a few hours before the film hits theaters.

Consider, for example, the case of the aforementioned Emoji Movie. I and most other critics hoped the movie would be good, as is the case with all movies see. But once the screening invitations arrived in our inboxes, we pretty much knew, with a sinking feeling, that it wouldn’t be. The tell was pretty straightforward: The film’s only critics’ screening in New York was scheduled for the day before it opened. It screened for press on Wednesday night at 5 pm, and then the review embargo lifted at 3 pm the next day — mere hours before the first public showtimes.

Late critics’ screenings for any given film mean that reviews of the film will necessarily come out very close to its release, and as a result, people purchasing advance tickets might buy them before there are any reviews or Tomatometer score to speak of. Thus, in spite of there being no strong correlation between negative reviews and a low box office, its first-weekend box returns might be less susceptible to any potential harm as a result of bad press. (Such close timing can also backfire; critics liked this summer’s Captain Underpants , for example, but the film was screened too late for the positive reviews to measurably boost its opening box office.)

That first-weekend number is important, because if a movie is the top performer at the box office (or if it simply exceeds expectations, like Dunkirk and Wonder Woman did this summer), its success can function as good advertising for the film, which means its second weekend sales may also be stronger. And that matters , particularly when it means a movie is outperforming its expectations, because it can actually shift the way industry executives think about what kinds of movies people want to watch. Studios do keep an eye on critics’ opinions, but they’re much more interested in ticket sales — which makes it easy to see why they don’t want risk having their opening weekend box office affected by bad reviews, whether there’s a proven correlation or not.

The downside of this strategy, however, is that it encourages critics to instinctively gauge a studio’s level of confidence in a film based on when the press screening takes place. 20th Century Fox, for instance, screened War for the Planet of the Apes weeks ahead of its theatrical release, and lifted the review embargo with plenty of time to spare before the movie came out. The implication was that Fox believed the movie would be a critical success, and indeed, it was — the movie has a 97 percent Tomatometer score and an 86 percent audience score.

And still, late press screenings fail to account for the fact that, while a low Rotten Tomatoes score doesn’t necessarily hurt a film’s total returns, aggregate review scores in general do have a distinct effect on second-weekend sales. In 2016, Metacritic conducted a study of the correlation between its scores and second weekend sales , and found — not surprisingly — that well-reviewed movies dip much less in the second weekend than poorly reviewed movies. This is particularly true of movies with a strong built-in fan base, like Batman v Superman: Dawn of Justice , which enjoyed inflated box office returns in the first weekend because fans came out to see it, but dropped sharply in its second weekend, at least partly due to extremely negative press .

Most critics who are serious about their work make a good-faith effort to approach each film they see with as few expectations as possible. But it’s hard to have much hope about a movie when it seems obvious that a studio is trying to play keep-away with it. And the more studios try to game the system by withholding their films from critics, the less critics are inclined to enter a screening devoid of expectations, however subconscious.

If you ask critics what studios ought to do to minimize the potential impact of a low Rotten Tomatoes score, their answer is simple: Make better movies. But of course, it’s not that easy; some movies with bad scores do well, while some with good scores still flop. Hiding a film from critics might artificially inflate first-weekend box office returns, but plenty of people are going to go see a franchise film, or a superhero movie, or a family movie, no matter what critics say.

The truth is that neither Rotten Tomatoes nor the critics whose evaluations make up its scores are really at fault here, and it’s silly to act like that’s the case. The website is just one piece of the sprawling and often bewildering film landscape.

As box office analyst Scott Mendelson wrote at Forbes :

[Rotten Tomatoes] is an aggregate website, one with increased power because the media now uses the fresh ranking as a catch-all for critical consensus, with said percentage score popping up when you buy tickets from Fandango or rent the title on Google Market. But it is not magic. At worst, the increased visibility of the site is being used as an excuse by ever-pickier moviegoers to stay in with Netflix or VOD.

For audience members who want to make good moviegoing decisions, the best approach is a two-pronged one. First, check Rotten Tomatoes and Metacritic to get a sense of critical consensus. But second, find a few critics — two or three will do — whose taste aligns with (or challenges) your own, and whose insights help you enjoy a movie even more. Read them and rely on them.

And know that it’s okay to form your own opinions, too. After all, in the bigger sense, everyone’s a critic.

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T he Rotten Tomatoes ratings system―good or bad? Well, I’d say it’s a bit better than the original way tomatoes were used to judge entertainment. Because even if we want to throw fruit at the screen, 21st century technology reminds us we don’t have to. Rotten Tomatoes will provide us with a fair Critic consensus before we even get to the theatre (saving us a ton of food and money).

So how does Rotten Tomatoes work, exactly? Is it a reliable judge of… characters … Okay, okay, hold your tomatoes please. Let’s get a behind the scenes look at how it all works.

What do the Rotten Tomatoes symbols mean? Read on

Rotten tomatoes ratings system.

Rotten Tomatoes started in 2000 and it quickly became moviegoers go-to for reviews. But ever since Fandango acquired the company, it’s become even more well-known adding something called a “Tomatometer” score next to every movie and ticket listing. 

Critics have suggested that there is much more nuance and complication when it comes to the correlation between a Rotten Tomatoes rating and ticket sales. And while we will not get into that in this article, I think there is something to be said psychologically about seeing a rating right before you make your choice.

But I digress. 

I know for me, the ubiquitous nature of a Rotten Tomatoes score has made me feel like they hold more weight than they once did. But do they really hold more weight? How is the score actually calculated? And how are critics curated? 

Let's break it down.

Tomatometer Breakdown

Rotten tomatoes rating system, how does the tomatometer work.

The Rotten Tomatoes rating system uses a scale better known as the “The Tomatometer.” This represents the percentage of positive reviews for a given film or show. The Tomatometer score is calculated after five reviews.

As the reviews come in, The Tomatometer measures the positive reviews against the negative ones and assigns either an overall score of fresh or rotten rating to the film or television show. 

A red tomato score indicating its fresh status, is designated when at least 60% of the reviews are positive. 

A green splat indicating rotten status, is displayed when less than 60% of the reviews are positive. 

If there is no score available, it usually just means the movie or show hasn’t been released or there aren’t enough reviews yet. So, now that we know how they’re calculated, who’s doing the reviewing? 

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How Does Rotten Tomatoes Rate Their Movies

How is rotten tomatoes rated .

Rotten Tomatoes is careful in its Critic curation. It won’t include just any critic’s review. It aggregates those who have been regularly putting out movie reviews over the last two years, and those who are considered active by Rotten Tomatoes standards. This just means they’ve published a review within the last year. While there are about 3,000 accepted reviewers (see the Tomatometer-approved critics criteria), usually only several hundred are actively reviewing for any given film. 

Many times, it’s much less. And Top Critics are counted with a separate score. So while the the Rotten Tomatoes rating system is really just general consensus, you can see some of the more renowned critics in a different space.

But it’s not just about the critics! You also get a fully rounded out review because you can also see how the audience feels. 

What is the Tomatometer?

Popcorn rating explained, rotten tomatoes audience score.

This is a great feature of the site because it provides information from everyday moviegoers but also gives you some insight to see how close this score is to the critics’ scores. It can help you gauge if it’s truly a must-see or probably-pass. And it’s calculated similarly to critic reviews.

The Audience Score is designated by a popcorn bucket.

The score is the percentage of users who have rated the movie or show positively. There is also a section for Verified Ratings which includes those that have actually bought tickets. 

To receive a full popcorn bucket , at least 60% of users give a film or show a star rating of 3.5 or higher.

A tipped over popcorn bucket indicates that less than 60% of users have given it a 3.5 or higher. 

The most interesting finds are the ones that have a green splat for critics, and a full bucket of popcorn from the audience. 

While it’s rarely ever vice-versa, it happens, and it’s then when Rotten Tomatoes ratings may seem more subjective, and we wonder if the system works. And while reviews are opinion to some extent, the site boasts something called Certified Fresh, which brings a little more objectivity to the critique. 

Audience Score Breakdown

Certified rotten tomatoes score, what is certified fresh.

What does Rotten Tomatoes mean by Certified Fresh?

If a film or television show is awarded a Certified Fresh status, it’s being acknowledged that it’s met these requirements:

• It has at least five reviews from Top Critics
• A steady Tomatometer score of at least 75%
• Limited release films must have at least 40 reviews
• Wide release films must have at least 80 reviews
• TV shows are eligible by season and must have at least 20 reviews per season

Of course these stats could fluctuate, especially within the first few days or weeks of a film’s release. If it meets these requirements, it is automatically flagged for review.

When the Rotten Tomatoes staff can determine the movie or show is unlikely to fall below these numbers, it achieves its Certified Fresh status.

Similarly, if the Tomatometer score ever falls below 70%, it will lose this status. Because the Rotten Tomatoes ratings system is so general, RT certified fresh consideration gives the site more objective credibility. 

What does Rotten Tomatoes mean for movies

Is rotten tomatoes good for movies.

So, what's the bottom line? With the movie theater business under constant assault from the rise of streaming services, audiences are less and less likely to venture out to the movies. If they do happen to make it outside the house, they'll likely be extra picky about how they spend their money.

Will they choose an "untested" wildcard movie or one that has general approval from fans and critics? The answer is self-evident. On its surface, the Rotten Tomatoes rating system and Tomatometer seem to be a legitimate resource for the discerning consumer. 

However, there is also a legitimate concern for low-budget indie movies who already have the cards stacked against them in distribution. Since they don't have the marketing budget of the Hollywood tentpoles, curious moviegoers have little else to go on besides the Tomatometer. These "little fish" movies live or die by this system, which is ultimately opinion-based and subjective.

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What is a Cliche? Learn from Examples

If you’re a filmmaker or just love the movies, using cliches are a sure fire way to get awarded a nice big green splat, or a tipped over popcorn bucket.  Next up, are some examples of these tired situations and ways to avoid them.

Up Next: Cliche explained →

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30 Highest Rated Movies of all Time: Movies With 100% on Rotten Tomatoes

For 23 years, Rotten Tomatoes has been the go-to for those looking to get the scoop on what is new in movies. Aggregating opinions from fans and critics across the country, Rotten Tomatoes uses its “Tomatometer” system to calculate critical reception for any given film. If 60% of reviews are positive, the movie is given a “Fresh” status, but if positive reviews fall below that benchmark, it is deemed “Rotten.” A popular piece of media will typically fall between the 70-90% range, but rarely, a project will receive a 100% score. This means every last review from critics was positive.

Close to 480 films with at least 20 reviews have achieved a 100% score, with many coming very close. Greta Gerwig’s “Lady Bird” had a 100% rating with 196 positive reviews before a critic submitted a negative one, knocking it down to 99%. The immortal classic “Citizen Kane” had a 100% rating until a negative review from a 1941 issue of the Chicago Tribune was rediscovered, revoking its 100% status.

Here are Rotten Tomatoes’ highest-rated movies that have managed to maintain a 100% score and have the highest number of reviews.

The Philadelphia Story (1940)

“The Philadelphia Story” is based on the 1939 Broadway play and follows a socialite whose wedding plans are complicated by the arrival of her ex-husband and a tabloid magazine journalist. Directed by George Cukor, he film stars Katharine Hepburn, Cary Grant, James Stewart and Ruth Hussey.

“It’s definitely not a celluloid adventure for wee lads and lassies and no doubt some of the faithful watchers-out for other people’s souls are going to have a word about that,” Variety ‘s review said. “…All of which, in addition to a generous taste of socialite quaffing to excess and talk of virtue, easy and uneasy, makes “The Philadelphia Story” a picture every suburban mamma and poppa must see – after Junior and little Elsie Dinsmore are tucked away.”

Meet Me in St. Louis (1944)

Christmas musical film “Meet Me in St. Louis” follows a year of the Smith family’s life in St. Louis leading up to the opening of the Louisiana Purchase Exposition, known as the St. Louis World’s Fair, in the spring of 1904. The film stars Judy Garland, Margaret O’Brien, Mary Astor, Lucille Bremer, Tom Drake, Leon Ames, Marjorie Main, June Lockhart and Joan Carroll and directed by Vincente Minnelli, who Garland later married.

“‘Meet Me in St. Louis’ is wholesome in story [from the book by Sally Benson], colorful both in background and its literal Technicolor, and as American as the World’s Series,” Variety ‘s review said. “Garland achieves true stature with her deeply understanding performance, while her sisterly running-mate, Lucille Bremer, likewise makes excellent impact with a well-balanced performance.”

Singin’ in the Rain (1952)

The musical romantic comedy “Singin’ In the Rain” follows three Hollywood stars in the late 1920s dealing with the transition from silent films to talkies. Starring Gene Kelly, Debbie Reynolds and Donald O’Connor, the movie was one of the first 25 films selected by the U.S. Library of Congress for preservation in the National Film Registry.

“‘Singin’ In the Rain’ is a fancy package of musical entertainment with wide appeal and bright grossing prospects,” Variety ‘s review said. “Concocted by Arthur Freed with showmanship know-how, it glitters with color, talent and tunes, and an infectious air that will click with ticket buyers in all types of situations.”

Seven Samurai (1954)

Epic samurai action film “Seven Samurai” follows the story of a village of farmers in 1586 who seek to hire samurai to protect their crops from thieves. The film was the most expensive movie made in Japan at the time.

“Director Akira Kurosawa has given this a virile mounting,” Variety ‘s review said. “It is primarily a man’s film, with the brief romantic interludes also done with taste. Each character is firmly molded. Toshiro Mifune as the bold, hairbrained but courageous warrior weaves a colossal portrait. He dominates the picture although he has an extremely strong supporting cast.”

The Terminator (1984)

Sci-fi action film “The Terminator” follows a cyborg assassin (Arnold Schwarzenegger) sent back in time to kill Sarah Connor (Linda Hamilton), whose son will one day save mankind from extinction from artificial intelligence, Skynet. Co-written and directed by James Cameron and co-written and produced by Gale Anne Hurd, the film topped the U.S. box office for two weeks and grossed $78.3 million.

“‘The Terminator,’ which opens today at Loews State and other theaters, is a B-movie with flair. Much of it, as directed by James Cameron (‘Piranha II’), has suspense and personality, and only the obligatory mayhem becomes dull,” wrote Janet Maslin in a New York Times review. “There is far too much of the latter, in the form of car chases, messy shootouts and Mr. Schwarzenegger’s slamming brutally into anything that gets in his way. Far better are the scenes that follow Sarah (Linda Hamilton) from cheerful obliviousness to the grim knowledge that someone horrible is on her trail.”

Toy Story (1995)

Animated comedy film “Toy Story” follows the first adventures of cowboy doll Woody and space cadet action figure Buzz Lightyear. Owned by a boy named Andy, Woody and Buzz are a part of a group of toys that spring to life when humans aren’t around. Birthed after the success of Pixar’s short film “Tin Toy,” “Toy Story” was the first feature film from Pixar and the first entirely computer-animated feature film.

“To swipe Buzz’s motto –“To infinity and beyond”–“Toy Story” aims high to go where no animator has gone before,” wrote Leonard Klady in a 1995 Variety film review . “Fears at mission control of the whole effort crashing to Earth proved unwarranted; this is one entertainment that soars to new heights.”

Toy Story 2 (1999)

“Toy Story 2” continues Woody and Buzz Lightyear’s journey as the co-leaders of the toy group. When Woody is stolen by a toy collector, Buzz and the other toys must find set out to find him. During his time with the collector, Woody meets Jessie and Stinky Pete, other toys also based on characters from the TV show “Woody’s Roundup.” The animated film was originally supposed to be a direct-to-video sequel, but was upgraded to a theatrical release by Disney.

“In the realm of sequels, “Toy Story 2″ is to “Toy Story” what “The Empire Strikes Back” was to its predecessor, a richer, more satisfying film in every respect,” wrote former chief film critic Todd McCarthy in a 1999 Variety film review . “The comparison between these two franchises will be pursued no further, given their utter dissimilarity. But John Lasseter and his team, their confidence clearly bolstered by the massive success of their 1995 blockbuster, have conspired to vigorously push the new entry further with fresh characters, broadened scope, boisterous humor and, most of all, a gratifying emotional and thematic depth.”

Deliver Us From Evil (2006)

“Deliver Us From Evil” is a documentary that follows the case of convicted pedophile Oliver O’Grady, who molested approximately 25 children as a priest in northern California between the late 1970s through early 1990s. Filmmaker Amy Berg tracks O’Grady down to Ireland, where he was deported after being convicted of child molestation in 1993 and serving seven years in prison.

“Given how strong this kind of testimony is, “Deliver Us From Evil’s” decision to hype it more than it needs to be is unfortunate,” L.A. Times film critic Kenneth Turan said about the film in a 2006 review. “The film has a weakness for over-dramatization, for unsettling music and portentous close-ups of O’Grady’s hands and lips that are distracting and unnecessary.”

“There is nothing over-dramatic, however, about the deeply painful testimony of the adults who were victimized as children and their still traumatized parents,” he continued. “’He was the closest thing to God that we knew,’ one mother says. ‘I let the wolf in through the gate.'”

Taxi to the Dark Side (2007)

“Taxi to the Dark Side” is a documentary film directed by Alex Gibney about the 2002 killing of an Afghan taxi drive named Dilawar, who was beaten to death by American soldiers while being detained without a trial and interrogated at a black site, a detention center operated by a state where prisoners are incarcerated without due process or court order.

The film was a part of the “Why Democracy?” series, produced by The Why Foundation, which consisted of 10 documentary films examining democracy.

“Gibney (“Enron: The Smartest Guys in the Room”) has crafted more than just an important document of systemic abuse — he’s stripped the rhetoric from official doublespeak to expose a callous disregard for not only the Geneva Conventions but the vision of the Founding Fathers,” writes Jay Weissberg in a Variety film review . “All enemies in wartime are perceived as animals, but Gibney uncovers the ways the White House and Pentagon have encouraged torture while distancing themselves from responsibility.”

Man on Wire (2008)

James Marsh’s “Man on Wire” documents the death-defining hire-wire stunts of Philippe Petit, who in 1974, performed a tightrope walk between the Twin Towers of the World Trade Center in New York City. “For contemporary audiences, Petit’s moment of mastery is inevitably shot through with a sense of loss; the following scenes, which reveal the band’s subsequent dissolution, reaffirm the bittersweet truth that triumph is but fleeting,” wrote Catherine Wheatley, who reviewed the film for Sight and Sound in 2010. “The film’s vision, though, is ultimately uplifting: relationships, like buildings, can collapse into rubble, but as [Annie Allix] tenderly puts it, sometimes ‘It is beautiful that way’.”

Poetry (2010)

Lee Chang-dong’s “Poetry” chronicles the life of Mija, a Korean grandmother who is simultaneously dealing with an early-onset Alzheimer’s diagnosis and the violent crime committed by her teenage grandson. “Now is the time to bestow on yourself the gift of one of the most, well, poetic films of 2010,” Lisa Kennedy wrote for the Denver Post in 2011. “And by ‘poetic,’ we mean rich with soulful pauses that are at once visual and aural and deeply observant of the dance of routine and quiet surprise.”

Waste Land (2010)

Lucy Walker’s “Waste Land” follows modern artist Vik Muniz to Jardim Gramacho, Brazil, the world’s largest landfill. There, he photographs the work of “catadores,” men and women who collect the refuse to recreate classical art. Legendary film critic Roger Ebert wrote for the Chicago Sun-Times in 2011, “I do not mean to make their lives seem easy or pleasant. It is miserable work, even after they grow accustomed to the smell. But it is useful work, and I have been thinking much about the happiness to be found by work that is honest and valuable.”

The Square (2013)

“The Square” is a documentary film by Jehane Noujaim, which follows Egyptian revolutionaries during the Egyptian Crisis, a period that started with the Egyptian Revolution of 2011 at Tahrir Square and lasted for three years. The film was nominated for the Academy Award for Best Documentary Feature and won three Emmys.

“Continuing to follow a group of activists as they rally against the undue powers of the Muslim Brotherhood and the Army, ‘The Square’ understands that the Revolution itself is a work in progress, and while its immediacy means it, too, will soon be superseded, it stands as a vigorous, useful account,” writes Jay Weissberg in a 2013 Variety film review .

Gloria (2013)

Sebastián Lelio’s “Gloria” follows the relationship between an aging divorce and an amusement park operator after their chance encounter at a singles disco. “With someone else in the central role, ‘Gloria’ might have been cloyingly sentimental or downright maudlin,” wrote Joe Morgenstern in his 2014 Wall St. Journal review. “With [Paulina García] on hand, it’s a mostly convincing celebration of unquenchable energy.”

The Tale of Princess Kaguya (2014)

Isao Takahata’s “The Tale of Princess Kaguya” tells the fable of a beautiful young woman who sends her suitors away on impossible tasks in hopes of avoiding a loveless marriage. In a 2015 review for Sight and Sound, Andrew Osmond wrote, “While the characters feel very simplified at times, there are scenes that put great weight on performance and subtle expressions, in a way that’s nearer to the classical Disney tradition than most Japanese animation.”

Seymour: An Introduction (2014)

Ethan Hawke’s documentary “Seymour: An Introduction” chronicles the life of Seymour Bernstein, a concert pianist who, at age 50, gave up performing to become an educator and composer. “Coming off of his superb one-two performances for Richard Linklater in ‘Before Midnight’ and ‘Boyhood,’ Hawke continues to work at a creative high level,” wrote Bruce Ingram in his 2015 review for the Chicago Sun-Times. “He demonstrates a rapport and openness with his subject that proves exceptionally affecting.”

Gett: The Trial of Viviane Amsalem (2014)

From directors Ronit and Shlomi Elkabetz, “Gett: The Trial of Viviane Amsalem” follows an Israeli woman’s three-year battle to separate from her husband who refuses to dissolve their marriage. “Ultimately the movie is wearying, but then it’s likely supposed to be,” Tom Long wrote for Detroit News in 2015. “If Viviane’s going through the wringer, you’re going through the wringer too.”

One Cut of the Dead (2017)

Shin’ichirô Ueda’s “One Cut of the Dead” follows Director Higurashi and his crew who attempt to shoot a zombie movie at an abandoned WWII Japanese facility. Things go wrong when they realize they are being attacked by real zombies. In his 2019 Los Angeles Times review, Carlos Aguilar called the film, “A master class in endless narrative inventiveness and an ode to the resourceful and collaborative spirit of hands-on filmmaking, ‘One Cut of the Dead’ amounts to an explosively hilarious rarity.”

Leave No Trace (2018)

Debra Granik’s “Leave No Trace” follows a father and daughter hiding in the forests of Portland, Ore. When a misstep tips off their location to local authorities, they must escape and find a new place to call home. Peter Travers wrote in his 2018 Rolling Stone review, “Debra Granik’s drama about a damaged war vet (Ben Foster) living off the grid with his teen daughter, brilliantly played by breakout star Thomasin Harcourt McKenzie, is hypnotic, haunting and one of the year’s best.”

Summer 1993 (2018)

Carla Simón’s “Summer 1993” is told through the eyes of six-year-old Frida, who watches in silence as her recently deceased mother’s last possessions are packed into boxes. “Some creatures are able to grow new limbs,” wrote Joe Morgenstern in his 2018 Wall Street Journal review. “Frida, given more than half a chance after demanding it, achieves something no less remarkable. She grows new joy and hope.”

Minding the Gap (2018)

“Minding the Gap” follows the relationship of three boys who use skateboarding as an outlet to escape their hardships at home. “The film captures more than a decade long documentary footage showcasing their friendship. In some documentaries, the filmmakers attempt to make themselves invisible. Despite Liu’s camera-shyness, he never pretends to be anything other than a part of the story, hitting his subjects with direct, deeply personal questions,” wrote Peter Debruge, who reviewed the film for Variety in 2018.

Honeyland (2019)

“Honeyland” is a Macedonian documentary film that was directed by Tamara Kotevska and Ljubomir Stefanov. The movie follows a woman and her beekeeping traditions to cultivate honey in the mountains of North Macedonia. Guy Lodge from Variety describes “Honeyland” as it begins as a “calm, captured-in-amber character study, before stumbling upon another, more conflict-driven story altogether — as younger interlopers on the land threaten not just Hatidze’s solitude but her very livelihood with their newer, less nature-conscious farming methods,” he said.

Welcome to Chechnya (2020)

“Welcome to Chechnya” released in 2020, exposes Russian leader Ramzan Kadyrov and his government as they try to detain, torture and execute LGBTQ Chechens. “A vital, pulse-quickening new documentary from journalist-turned-filmmaker David France that urgently lifts the lid on one of the most horrifying humanitarian crises of present times: the state-sanctioned purge of LGBTQ people in the eponymous southern Russian republic,” wrote Guy Lodge from Variety in 2020.

Crip Camp (2020)

“Crip Camp” is based on Camp Jened, which was a summer camp for teens with disabilities in the ’70s that inspired real-life activism. The film eliminates stereotypes and challenges the way people think about disabilities. “It may be startling for those who haven’t spent time with people with cerebral palsy or polio to see how a paraplegic gets from his wheelchair into the pool,” wrote Peter Debruge for Variety in 2020. “On closer inspection, it becomes clear that these teenagers…are having the time of their lives.”

76 Days (2020)

“76 Days” is a documentary released on Netflix in 2020 that shows the struggles of medical professionals and patients in Wuhan, China dealing with the COVID-19 pandemic. “As an artifact alone, the result is remarkable, capturing all the panic and pragmatism greeting a disaster before its entire global impact had been gauged, while strategies and protocols are adjusted on the hoof,” wrote Guy Lodge for Variety in 2020. “That it’s so artfully and elegantly observed, and packs such a candid wallop of feeling, atop its frontline urgency is testament to the grace and sensitivity of its directorial team, not just their timely savvy.”

His House (2020)

“His House” is a horror movie that initially released on Netflix and terrified audiences. The plot follows a refugee couple that try to create a new life for themselves in an English town by escaping South Sudan but find their new home is haunted. Jessica Kiang reviewed the film for Variety in 2020 and wrote “‘His House’ is at its most persuasively terrifying when it gets out of the house and into the existential terror of reality. Out there are aspects of the refugee experience that contain greater horrors and mortifications than all the blackening plaster, childish ghostly humming and skittering presences in the walls could ever hope to suggest.”

Quo Vadis, Aida? (2020)

“Quo Vadis, Aida?” documents the journey of Aida, a translator for the U.N. in Srebrenica interpreting the crime taking place when the Serbian army takes over the Bosnian town. “This is not historical revisionism, if anything, ‘Quo Vadis, Aida?’ works to un-revise history, re-centering the victims’ plight as the eye of a storm of evils — not only the massacre itself, but the broader evils of institutional failure and international indifference,” wrote Jessica Kiang, who reviewed the film in 2020 for Variety.

Hive (2021)

“Hive” tells the true story about a woman, Fahrije, who becomes an entrepreneur, after her husband goes missing during the Kosovo War. She sells her own red pepper ajvar and honey, and recruiting more women to join her. “Within the heavily patriarchal hierarchy of the country’s rural society, this places these maybe-widows in an impossible situation, especially when, like Fahrije, they have a family to care for,” writes Jessica Kiang for Variety . “They are expected to wait in continual expectation of their breadwinner-husbands’ return, subsisting on paltry welfare handouts, because to take a job or set up a business is looked on not only as a subversion of the natural order, but as a sign of disrespect to the husband and possibly loose morals.” 

Descendant (2022)

Netflix described its 2022 film, saying, “Descendants of the enslaved Africans on an illegal ship that arrived in Alabama in 1860 seek justice and healing when the craft’s remains are discovered.” “This past remains present, Brown shows, as activists explain how the land on which Africatown (formerly Magazine Point) was established once belonged to Meaher, who sold some of it to former slaves.,” wrote Peter Debruge for Variety . “Talk of racial injustice calls for nuance, and it’s impressive just how many facets of the conversation Brown is able to include in her film.”

20 Days in Mariupol (2023)

“20 Days in Mariupol” tells the story of a group of Ukrainian journalists who are trapped in Mariupol during the Russian invasion and struggle to continue documenting the war. The film is directed by Mstyslav Chernov, a Ukrainian director and it won the Academy Award for Best Documentary Feature Film in 2024. “Powerful as those glimpses were to international viewers, Chernov doesn’t spare his documentary more brutally sustained moments,” wrote Dennis Harvey for Variety . “There’s no political analysis or sermonizing here, just a punishingly up-close look at the toll of modern warfare on a population.”

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Rotten Tomatoes Ratings System: The Complete Guide

In the ever-evolving world of cinema, Rotten Tomatoes has emerged as a pivotal player in how movies are perceived and received.

This review aggregation website has become a go-to source for many moviegoers, offering a quick glance at a film’s overall reception.

It synthesizes the opinions of critics and audiences into a single, accessible metric, influencing viewers’ choices and the industry at large.

The Rotten Tomatoes ratings system, with its unique “Tomatometer” and audience scores, has reshaped the landscape of movie reviews and box office success.

ROTTEN TOMATOES RATINGS SYSTEM

What is the rotten tomatoes ratings system.

Rotten Tomatoes employs a ratings system that categorizes films into “Fresh” or “Rotten” based on critic reviews. A film is considered “Fresh” if it receives more positive reviews than negative ones.

The Tomatometer score, displayed as a percentage, reflects the proportion of positive reviews a movie has received from accredited critics.

For instance, a film like Toy Story 3 boasts a high Tomatometer score, indicating widespread critical acclaim.

Since its inception in 1998, Rotten Tomatoes has grown to become the most popular movie review site on the internet.

Across this platform, professional and amateur critics alike offer their opinions of movies they have seen recently or from years past.

This includes a film’s quality rating which is determined by dividing the number of positive reviews by all reviews written for that particular movie; however, many people are unaware of how exactly this process works.

How Does Rotten Tomatoes Work?

At its core, Rotten Tomatoes functions by collating reviews from accredited film critics. Each review is classified as “Fresh” or “Rotten” based on the critic’s assessment. The Tomatometer score is then calculated as the percentage of “Fresh” reviews out of the total number.

A significant aspect of the system is the minimum review requirement; a movie must receive a certain number of reviews (the number varies for wide releases vs. limited releases) to be assigned a Tomatometer score.

To earn the “Certified Fresh” status, a film must consistently maintain a high Tomatometer score and meet additional criteria including a minimum review count, with a requisite portion coming from “Top Critics.”

Rotten Tomatoes Ratings System

The Rotten Tomatoes rating system includes two key scores: the Tomatometer and the Audience Score.

The Tomatometer score, determined by professional critics, classifies films as “Fresh” or “Rotten” based on the percentage of positive reviews. A film like “Toy Story 3” with a high score is indicative of widespread critical acclaim.

On the other hand, the Audience Score reflects the opinions of regular moviegoers, providing a more populist perspective on a film’s appeal.

This audience-driven score is calculated from the ratings submitted by verified users and is presented as the percentage of audiences who have rated the film positively.

Rotten Tomatoes – Historical Context

Since its inception in 1998, Rotten Tomatoes has evolved significantly. The site started as a simple collection of movie reviews but has grown into a major aggregator, influencing viewers’ and critics’ perceptions of films.

Its acquisition by Fandango in 2016 marked a significant shift, integrating the platform more closely with movie ticket sales and expanding its influence.

Over the years, Rotten Tomatoes has adapted to changing media landscapes and audience behaviors, remaining a key player in how films are rated and reviewed.

Certified Fresh Rotten Tomatoes Score

The “Certified Fresh” designation is a mark of high quality and consistent positive reviews. To earn this badge, a film must have a steady Tomatometer score of 75% or higher after a set number of reviews, including a certain amount from Top Critics.

This status is a hallmark of excellence and often used in marketing materials.

Films like “The Dark Knight” have proudly displayed their “Certified Fresh” status, signifying their exceptional reception.

Rotten Tomatoes Audience Score

Alongside the Tomatometer, the Audience Score offers a perspective on the viewer’s reception of a film.

This score is calculated from the ratings submitted by verified users and presented as a percentage of audiences who rated the film favorably.

This metric provides a sense of how a movie resonates with the general public, complementing the critics’ reviews.

Movies like “The Greatest Showman,” which garnered mixed critical reviews but was beloved by audiences, illustrate the divergence that can occur between critic and audience opinions.

Is Rotten Tomatoes Good For Movies?

The influence of Rotten Tomatoes on the film industry is significant. Its scores can impact a movie’s marketing strategy and audience turnout.

While some argue that the aggregation simplifies the nuanced opinions into a binary system, potentially skewing public perception, others appreciate the straightforward, accessible summary of a film’s reception.

The platform has become a powerful tool for viewers to gauge whether a movie is worth their time and money.

Methodology Of Critic Selection For Rotten Tomatoes

Rotten Tomatoes employs a selective process for including critics in its aggregation system. The site categorizes critics into two groups: “All Critics” and “Top Critics.”

To be considered, critics must be affiliated with a recognized publication or have a proven track record in film criticism.

This includes writers for major newspapers, notable online publications, and recognized freelance critics.

The “Top Critics” category is more selective, including those from major publications like The New York Times, The Guardian, or significant industry-related magazines.

Rotten Tomatoes continuously evaluates and updates its list of critics to ensure a diverse and comprehensive representation of viewpoints.

This methodology aims to provide a balanced and authoritative assessment of films, although it has faced criticism over representation and inclusivity in its selection of critics.

Impact Of Rotten Tomatoes On Movie Marketing

The influence of Rotten Tomatoes on movie marketing is profound. A high Tomatometer score can be a significant marketing tool, often prominently featured in movie trailers and advertisements.

Conversely, a low score can lead studios to adjust their marketing strategies, sometimes reducing the promotional budget or shifting focus to other aspects like star power or genre appeal.

In extreme cases, studios might limit pre-release screenings to delay the aggregation of reviews on the site, thereby managing potential negative impact.

The “Certified Fresh” badge, in particular, is a coveted status, often used in marketing materials to attract audiences looking for quality assurance.

This dynamic has led to a growing debate within the industry about the power wielded by Rotten Tomatoes and its potential to unfairly sway audience perceptions before a film’s release.

User Interaction On Rotten Tomatoes

Rotten Tomatoes not only aggregates critic reviews but also encourages active user interaction. Users can rate movies on a scale from 0.5 to 5 stars, and these ratings contribute to the Audience Score.

This feature democratizes film criticism, allowing everyday viewers to voice their opinions alongside professional critics. Users can also write full reviews, engage in discussions, and create personal lists of favorites.

The site incorporates these user ratings into its overall presentation of a film’s reception, offering a more holistic view that includes both critic and audience perspectives.

However, this system has been subject to manipulation attempts, such as review bombing, where groups of people intentionally lower a film’s audience score due to controversies or fan-driven campaigns.

Rotten Tomatoes has implemented measures to counteract such issues, emphasizing the importance of genuine audience engagement.

Criticism Of Rotten Tomatoes

Rotten Tomatoes has faced its share of criticism. One major concern is the potential negative impact of a low Tomatometer score on a film’s box office performance.

Critics also point out potential biases in the critic selection process and the oversimplification of reducing complex film critiques to a single numerical score.

The platform has been accused of influencing public opinion disproportionately, potentially discouraging viewers from watching films with moderate scores.

Influence On The Film Industry

Rotten Tomatoes’ ratings have a notable impact on audience decisions and box office numbers. High scores can significantly boost a movie’s appeal and marketing, while low scores might deter audiences.

The site’s influence extends to shaping public discourse around films, often becoming a reference point in discussions about a movie’s quality and success.

Comparison With Other Platforms

When compared with other review aggregation sites like Metacritic , Rotten Tomatoes stands out for its straightforward, binary rating system.

Metacritic, on the other hand, provides a weighted average score, potentially offering a more nuanced view of a film’s reception.

However, Rotten Tomatoes’ simplicity and the distinction between critic and audience scores make it a unique and influential platform in the film review landscape.

Rotten Tomatoes Rating System – Wrapping Up

Rotten Tomatoes has established itself as a pivotal component in the film industry, offering both moviegoers and professionals a comprehensive overview of a film’s reception.

Despite criticisms regarding its methodology and impact, its significance in shaping public opinion and box office outcomes is undeniable.

Matt Crawford

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I use rotten tomatoes to get a feel of how a movie is. I read the critics reviews. If it’s really bad I won’t go see the movie. If it’s 50/50 I’ll take a chance and go see the movie. Who knows I might be part of the 50% that likes it.

Good plan, Tonya!

I rarely rely on rotten tomatoes finding it a popularity contest not a quality review of excellence. It simply doesn’t include all genres.

Fair comment, Patricia.

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“ The Score ” is an ambitious effort, a movie that is both a tense crime drama and a musical. Skillful attention has been paid to both elements by writer/director Malachi Smyth and a strong cast. But these elements are never integrated enough to become organic, and never come together to create a satisfying whole. 

For the second time this year, Johnny Flynn plays a hoodlum with an impulsive sidekick in a twisty crime story almost completely in one location. But “The Outfit” was intricately plotted and directed with propulsive dynamism, possibly in part because it was not interrupted by singing monologues. In “The Score,” Flynn, who also wrote the movie’s songs, plays Mikey, who is planning a deal with some powerful new gangsters for the first time. “Up to now, we’ve been nobodies,” he tells Troy. “I’ve been the nobodies’ gofer,” Troy responds. But we see that there is more to Troy than Mikey notices, not because he brags about the one good grade he got in English or because he can do the math on the returns they should get from the new partners, but because of the way he muses about the many meanings of the word “score.”   

Driving with him to the meeting place is Troy ( Will Poulter ), the younger brother of Mikey’s long-time partner Derek, who is no longer available because he is in prison. Half of the 20,000 pounds in their bag would have been Derek’s, but is now Troy’s. As they drive, Mikey expresses concern about Troy’s ability to participate in a deal of this level, denigrating his intelligence, especially after Troy gets into a fistfight with two men at a gas station because he thinks they might want to attack him.

Troy wonders how Mikey knows he can trust these new partners. “They’re professionals,” Mikey assures him. But Troy becomes more concerned after they get to the meeting place, a little café. A handful of customers come and go, but none of them are the ones they are waiting for. 

This gives Troy a chance to spend time with the café’s only employee, a waitress/cashier named Gloria ( Naomi Ackie , soon to star in a Whitney Houston biopic). There is an immediate connection between them. 

Poulter and Ackie have great chemistry and bring many layers to their performances. And there are some smart ideas behind this film. It has echoes of Waiting for Godot  and “ In Bruges ” as the two men, one a bit cleverer, or at least he thinks so, wait for something that may be dangerous. 

The difference in tone between the constricted indoors and the lush, boundaryless outdoors is well-handled, with Troy and Gloria able to connect, laugh, and dream. Stay through the credits to see more of them goofing around on a rowboat. And the music is not what you might expect. It does not move the story along as we are used to in musicals. The songs are more like interior monologues about uncertainty and yearning. The lyrics have little to do with what is going on; indeed, they have a distinctly folkloric, timeless quality, using words like “I’m burning for thee” and with references like John Barleycorn. The script and the lyrics reflect a love of language, from the discussion of the many meanings of “score” to Troy’s unexpected wit. He is quick in a fight, whether verbal or physical and there are sharp exchanges between Troy and Gloria that show us how quickly they can discern that they are going to be special to each other. There is an encounter with a photographer who wants to take a picture, asking, “May I make art out of great and tragic beauty?” He says he can make them immortal, eternally youthful, but Troy and Gloria know he cannot change their reality. The question is whether they can.

Some of the twists do not pay off as well as the movie wants them to, and the songs weigh down the story more than they add to it. But while Smyth does not succeed, in the photographer character’s words, by making art out of great and tragic beauty, “The Score” does leave me interested in seeing what he will do next.

Now playing in theaters.

Nell Minow is the Contributing Editor at RogerEbert.com.

• Will Poulter as Troy
• Naomi Ackie as Gloria
• Johnny Flynn as Mike
• Lydia Wilson as
• Roger Ashton-Griffiths as Frank

Cinematographer

• Darran Bragg
• Malachi Smyth
• Sadaf Nazari

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Daniel Choi is a writer who’s currently pursuing a BA in Film & Television from New York University. With a background in amateur film production, Daniel is fascinated by how artists’ cultural backgrounds inform their work, subconsciously or not, and how that work is then perceived by different audiences across time and space. He joined Hollywood Insider to promote its mission statement of substantive entertainment journalism, and hopes to enrich readers’ understandings of cinema through insightful analysis.

Dec 28, 2020

Table of Contents

Photo: Rotten Tomatoes

Before we waste our time and money sitting through an entire feature film or television series, we go online to check its ratings. Many of us probably have a mental threshold for what’s worth seeing–80%, maybe 70%. 60% is right on the cusp–that’s a film you might approach with dampened expectations. But is this the right way to go about things?

Like many modern fixtures of the internet, Rotten Tomatoes was once a novelty–it quickly became such an authoritative denominator of a film’s quality that a bad rating can tank box office performance. Good ratings, on the other hand, are now often featured in trailers.

Aggregate review sites such as Rotten Tomatoes and Metacritic are excellent and useful tools for getting an idea of a work’s critical reception at a glance, but they’ve also shaped our ideas of what it means for a piece to be “good” or “bad,” for better or for worse. Ratings were never meant to be a conclusive evaluation of a film’s quality, but that seems to be the way that the general public looks at it. 

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For the most part, they tell you what you need to know. If a film has a rating of 17%, it’s probably not going to impress. Nevertheless, their percentage scores hide a lot of nuances that has simultaneously bolstered the collective power of critics while undermining the significance of the individual voice. In this article, I’m going to discuss the reasons why a percent rating shouldn’t be taken at face value, specifically in terms of Rotten Tomatoes, as that has become the most powerful locus of critical discussion of film and television.

Rotten Tomatoes: Thumbs-up or Thumbs-down

Rotten Tomatoes’ Tomatometer score is calculated by simple division–the number of positive reviews over the total number of reviews. Becoming a Tomatometer-approved critic is an application-based process and no critic’s opinion is given more weight than any other. 

However, in order to calculate this basic percentage, Rotten Tomatoes simplifies each critic’s reviews–in the same way that a film is either “fresh” (exceeds 60% approval) or “rotten,” a critic’s review is either favorable or unfavorable. Hypothetically, a film to which every critic gives a rating of 3.5/5, for instance, would attain a Rotten Tomatoes score of 100%. It’s unlikely that this would occur outside of this hypothetical scenario, but is plausible nonetheless. 

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On the other end of the hypothetical spectrum is a film that garners deific praise from half of those who saw it, and abject disdain from the other half–a polarised reception. This film would receive an ultimate rating of 50%, which is commonly interpreted as a bad rating. 

If you look at contemporary reviews of what are now legendary films, many received polarised critical reception. 2001: A Space Odyssey and The Good, the Bad, and the Ugly , for instance, would probably have received around 50% if Rotten Tomatoes were around, but are now considered exemplars of their genre. 

Their current Tomatometer ratings reflect the result of their re-evaluations, but will films of the present be granted the same amnesty moving forward? In this way, Rotten Tomatoes has solidified the film canon while casting immediate judgment on new releases, coloring their public perception prematurely.

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The Illusion Of Objectivity

Additionally, the fact that ratings are presented in the form of a percentage necessitates the comparison with schoolyard letter grades . With no evidence to back up this statement, I postulate that our deeply-ingrained concept of letter grades contributes to the ease with which we accept percentage ratings as indicators of quality.

Educators and pundits have long expressed the inadequacies of measuring student performance through summative assessment–causing students to focus more on earning a grade rather than learning the material, for instance, not to mention the impossibility of a subjective evaluation being translated objectively into a numerical value.

If it’s impossible for a teacher to objectively evaluate a 500-word essay, it’s impossible to put an objective numerical value on the quality of a film. However, that was never Rotten Tomatoes’ goal. Aggregating critical reviews is just a good way to get a finger-in-the-wind type of reading, but many people don’t care to look beyond that convenient, monolithic percentage. Its democratic approach to rating a film has contributed to a sense of objectivity, but the value of film criticism has always come from more than an objective, ultimate indictment.

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Pauline Kael , one of the most influential film critics of all time, is famous for her derision of the “ideal critic’s” aim of achieving objectivity, calling it “saphead objectivity.” Her reviews were grounded in her personal experience of the film, as opposed to the commonplace approach of technical, esoteric didacticism. Her style and philosophy were pivotal in the landscape of criticism and analysis, proving that a film couldn’t just be reduced to a technical examination of its craft.

Why Critics Aren’t As Credible

Today, fewer people read individual reviews than ever before. The open forum of the internet has done much to dispel classic notions of elitism, and people have shied away from critics who tell them what’s good and what’s bad–Pauline Kael was rebelling against the same thing decades ago. 

Furthermore, there has been a greater outcry in recent years about the lack of diversity among professional film critics, a point justly made. The opinion of the white male is less valuable in a world of film and television offering greater diversity and stories thereof.  

To read an individual review reveals these underlying issues, but taking that plethora of opinions and turning them into nameless “yays” or “nays” depersonalizes them. People aren’t trusting of singular opinions, but amass a bunch and it becomes a poll. The fact that Rotten Tomatoes offers an audience score furthers the idea that this is simply a populist approach to judging films. The question of what a film does right and what it does wrong is no longer relevant–the question is- how many people out of 100 liked it?   

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In his review of Spirited Away , Roger Ebert wrote, “Movies made for “everybody” is actually made for nobody in particular.” This quote has always stuck with me and seems to repudiate the philosophy that Rotten Tomatoes have nurtured–a “good” film is one that’s palatable to most people. 

It’s important to note that it was never the intention of Rotten Tomatoes to be a barometer of “quality,” but it seems to me that the Tomatometer score is often interpreted by the average person as such. In turn, it seems like studios make a greater effort to cater to their audience before the film even comes out.

It’s unfortunate that a website which aggregates reviews of films has wound up affecting the works that it only meant to discuss–it reminds me of an actor becoming self-conscious because a mirror is held up to their face. While ratings are certainly a useful tool, I only want to emphasize how it shouldn’t be the be-all and end-all of critical discussion.

By  Daniel Choi

Click here to read H ollywood Insider’s  CEO Pritan Ambroase’s love letter to Black Lives Matter,  in which he tackles more than just police reform, press freedom and more – click here.

An excerpt from the love letter:  Hollywood Insider’s  CEO/editor-in-chief  Pritan Ambroase  affirms,  “Hollywood Insider  fully supports the much-needed Black Lives Matter movement. We are actively, physically and digitally a part of this global movement. We will continue reporting on this major issue of police brutality and legal murders of Black people to hold the system accountable. We will continue reporting on this major issue with kindness and respect to all Black people, as each and every one of them are seen and heard. Just a reminder, that the Black Lives Matter movement is about more than just police brutality and extends into banking, housing, education, medical, infrastructure, etc. We have the space and time for all your stories. We believe in peaceful/non-violent protests and I would like to request the rest of media to focus on 95% of the protests that are peaceful and working effectively with positive changes happening daily. Media has a responsibility to better the world and  Hollywood Insider  will continue to do so.”

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Daniel Choi is a writer who's currently pursuing a BA in Film & Television from New York University. With a background in amateur film production, Daniel is fascinated by how artists' cultural backgrounds inform their work, subconsciously or not, and how that work is then perceived by different audiences across time and space. He joined Hollywood Insider to promote its mission statement of substantive entertainment journalism, and hopes to enrich readers' understandings of cinema through insightful analysis.

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Screen Rant

Wolfs debuts on rotten tomatoes with george clooney's best score since 2016.

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Wolfs has earned the best Rotten Tomatoes score for star George Clooney in eight years. The Brad Pitt and George Clooney movie features the stars as a pair of "lone wolf" fixers who find themselves hired to work the same job and are forced to work together in order to get themselves out of a sticky situation. The movie, which was written and directed by Spider-Man: No Way Home 's Jon Watts, also stars Amy Ryan, Austin Abrams, Poorna Jagannathan, Richard Kind, and the voice of Frances McDormand.

Rotten Tomatoes has now aggregated the first early reviews for Wolfs following the movie's world premiere at the 81st Venice International Film Festival. Out of 11 different critics' reviews, the movie has earned a Fresh score of 71%. While the score could fluctuate as more reviews are added closer to the official release date, at the time of writing this score is the best for a movie starring George Clooney since the 2016 Coen Brothers movie Hail, Caesar! , which earned a Certified Fresh 86% score.

George Clooney's Dismal Rotten Tomatoes Streak Explained

Clooney has earned splats both as an actor and a director.

In addition to Wolfs reviews earning the star his best score in eight years, the movie marks his only Fresh score as either an actor or a director in that time . Before 2016, his Rotten Tomatoes average looked quite different, with the majority being Fresh scores. Of his 34 scored movies as an actor or director that are listed on the platform from 1988 on, 21 are Fresh and only 13 are Rotten, showcasing how dire his recent streak has been. Below, see a breakdown of the Rotten Tomatoes scores earned by every George Clooney movie released since Hail, Caesar! :

While the George Clooney movies over the past eight years have universally failed to impress critics, the same has not been true of audiences. Although Hail, Caesar! itself has a Rotten audience score of 44% on what has now been dubbed the Popcornmeter, three of his movies between 2016 and the time of writing have won over audiences . Those titles would be The Tender Bar (70%), Ticket to Paradise (87%), and The Boys in the Boat (97%), the latter of which has officially been "Verified Hot" on the Popcornmeter.

It remains to be seen if these early reviews for Wolfs indicate that Clooney's dismal streak of nearly a decade has reached an end. However, it could be the beginning of a new era of Fresh movies for the star. The next project that Clooney has in the works is a currently untitled movie directed by Noah Baumbach, which could boost his chances at getting a second Fresh score considerably, as Baumbach has been on a Fresh Rotten Tomatoes streak since 2014.

Source: Rotten Tomatoes

Wolfs is an action-thriller film written and directed by Jon Watts, and sees the on-screen reunion of Brad Pitt and George Clooney after nearly fifteen years. The film centers on two fixers who are brought together when they're both hired for the same job.

Henry Cavill’s 4% Rotten Tomatoes Action Stinker With Bruce Willis Finds New Life on Freevee

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Not every action flick can be a hit, but sometimes a film’s sheer spectacle and star power give it a second chance—especially on streaming platforms. Case in point: The Cold Light of Day , an action-thriller starring a not-quite-Superman himself, Henry Cavill , alongside Bruce Willis and Sigourney Weaver , has found new life on Freevee, despite its dismal 4% rating on Rotten Tomatoes.

Originally released in 2012, The Cold Light of Day follows Cavill’s character, Will Shaw, a young man on vacation in Spain who must navigate a dangerous conspiracy after his family is kidnapped. The film is packed with gunfights, car chases, and high-stakes espionage. Cavill, then on the cusp of his Man of Steel fame , plays the reluctant hero, while Bruce Willis delivers his trademark tough-guy persona as Will’s father.

Despite the high-profile cast, the film bombed with critics, earning its spot among the lowly 4%-club on Rotten Tomatoes . Reviews panned the film’s weak plot, clichéd dialogue, and lack of character development. The New York Times famously criticised it as "thoroughly incompetent 'Bourne' movie imitation.” However, for fans of mindless action, The Cold Light of Day offers plenty of explosions and tense moments, making it a guilty pleasure for some.

What's the Movie About?

The film follows Will Shaw (Cavill) , a young businessman who goes on a family vacation to Spain. However, things take a dramatic turn when his family is kidnapped while out on a sailing trip. Will soon discovers that his father, Martin (played by Willis), is actually a CIA operative, and the family’s abduction is tied to a briefcase that his father has stolen.

Will is forced into a dangerous game of espionage, as he navigates a conspiracy involving intelligence agencies, ruthless criminals, and corrupt officials in a race to save his family. As Will struggles to stay alive and outsmart his enemies, he uncovers secrets about his father and must learn how to survive in this high-stakes world.

Now that it’s available for free streaming on Freevee, the film is finding a new audience. Fans of Cavill and Willis may be tuning in out of curiosity or to revel in the over-the-top action sequences, and, while it may not win any awards for storytelling, it’s the kind of easy-to-watch action romp that Freevee viewers are more than happy to rediscover.

If you’re looking for a film that doesn’t take itself too seriously and provides some old-school action fun, The Cold Light of Day may be worth a watch—even if its Rotten Tomatoes score suggests otherwise.

The Cold Light of Day

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A24's Latest Horror Movie Might Have Just Ended the Studio's Winning Streak

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A24's upcoming horror film The Front Room looks to end the critically acclaimed studio record. Directed by Max and Sam Eggers, the brothers of acclaimed filmmaker Sam Eggers, The Front Room stars Brandy as Belinda, a pregnant woman who discovers that her stepmother-in-law Solange (Kathryn Hunter) is working her way to manipulate her stepson and take the baby from the young family for her own sinister means. A24 has earned a reputation for redefining the horror genre in the 21st century with films like Talk to Me , Heriditerary , and even Robert Egger's The Witch , so there was a certain level of expectation for The Front Room to deliver another critically acclaimed horror film.

That does not seem to be the case as Max and Sam Eggers's debut feature film will not match their older brother Robert Eggers. The initial Rotten Tomatoes score for The Front Room was revealed at 46%, with thirteen reviews. More reviews will come in and could either increase or decrease the number, but as of this moment, this puts The Front Room at the same Rotten Tomatoes score as fellow A24 film Tusk from director Kevin Smith back in 2014, a decade ago. This also ends the studio's impressive 2024 slate of films, which included critically acclaimed like Sing Sing , Civil War , and I Saw the TV Glow . Below is a chart of A24's biggest 2024 releases and their Rotten Tomatoes score to highlight the gap between The Front Room and the rest of their slate from this year.

The Front Room

A24 has become a big name in horror and beyond.

2024 has been a strong year for A24 in terms of critical output, as Sing Sing has already entered the Oscar conversation, and Civil War is their second highest-grossing film worldwide behind Everything Everywhere All At Once . However, the release of The Front Room highlights how A24 might have lost a bit of its grip on the horror genre this year. IFC Films' two releases, Late Night with the Devil and In a Violent Nature , earned better Rotten Tomatoes scores than A24's two big horror films of 2024 with MaXXXine and now The Front Room, with 97% and 78%, respectively,

Meanwhile, Neon's Immaculate grossed an impressive $28 million worldwide and earned a 71% on Rotten Tomatoes. Neon made headlines with the release of Longlegs , which earned 85% on Rotten Tomatoes and became a breakout hit of the summer , grossing $73 million domestically and $103 million worldwide. Not only did Longlegs become Neon's highest-grossing movie in its history, but the domestic total outgrossed nearly every A24 film except Everything Everywhere All At Once.

Brandy Norwood & Kathryn Hunter Dish on A24's The Front Room and the Horror Genre

The actors discuss going one on one in The Front Room, Megalopolis, and the upcoming legacy sequel to I Know What You Did Last Summer.

A24 is bound to bounce back. Their next film is A Different Man , which already has an 86% on Rotten Tomatoes following its debut at the Sundance Film Festival earlier this year. They also have the Andrew Garfield and Florence Pugh-led drama We Live in Time , the horror film Hectic , and the apocalyptic teen comedy Y2K . The Nicole Kidman-led erotic thriller Babygirl is set to open on Christmas Day and, just after debuting at the Venice Film Festival, already has a 93% based on 30 critic reviews. The Front Room might be a disappointment for the studio right now, but it won't destroy the audience goodwill in A24.

The Front Room opens in theaters on September 6, 2024.

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We're introducing verified ratings and reviews to help you make your viewing decisions, read about the latest enhancements to our audience score..

At Rotten Tomatoes, we’re always working to make our recommendation tools the most useful they can be for movie and TV fans. Today, we’re releasing some enhancements to our Audience Score, which we started revamping earlier this year.

In February we ditched our pre-release “Want to See” percentage in favor of a more straightforward Want to See tally (kind of like the “likes” you see on social media). We also removed the function that allowed users to write comments about a movie prior to seeing it.  You can read about these changes here .

What’s next? Today, we’re excited to introduce new features to our Audience Score and user reviews with the addition of Verified Ratings and Reviews.

So, let’s get to it.

Rotten Tomatoes now features an Audience Score made up of ratings from users we’ve confirmed bought tickets to the movie – we’re calling them “Verified Ratings.” We’re also tagging written reviews from users we can confirm purchased tickets to a movie as “Verified” reviews.

You’ll start to see these changes on the main pages for new movies and in the user reviews section for those films. The first Audience Score you see on a movie page – that’s it next to the popcorn bucket just to the right of the Tomatometer – will be the score made up of Verified Ratings. As with the current Audience Score, when the score is Fresh (that is, above 60%), you’ll see a red popcorn bucket; when it is Rotten (59% and below), the bucket will be green and tipped over ( you can read more about that here ). If you want to see a score that incorporates all included ratings – both verified and non-verified – simply click “more info” where you can toggle between the two.

You’ll see written user reviews marked “Verified” when you click into the Audience reviews section for a particular movie. You can choose to view only verified reviews or read all included user reviews – verified and not – together.

At launch, users can verify ticket purchases through Fandango, and we plan to introduce other ticket providers as well. Users who want to verify their ratings and reviews simply choose where they bought their ticket when leaving their rating and/or review. If we can match their email address to the account used to buy their ticket, their rating and/or review will be verified. (For more info on this process, and reasons why a rating or review wouldn’t  be verified, check out our updated FAQs .)

Why introduce Verified Ratings and Reviews? It’s about giving fans the most useful tools possible when making their entertainment decisions.

We’ve worked for some 21 years to ensure the Tomatometer is a trusted tool for those who want to know what critics think of movies and TV series. But the development of that trust didn’t happen overnight – it was a process. We’ve been consistently evolving the Tomatometer and how we select the critics whose opinions generate it to meet the times.

The introduction of Verified Ratings and Reviews is a similar evolution, one designed to meet different challenges. In the face of increased skepticism about online user ratings and reviews, and greater demand for transparency about how user scores are generated, we’re offering something simple: ratings and reviews from people we can confirm have purchased a ticket to the movie they’re rating, which we think is a strong indicator someone has seen the movie.

We believe an Audience Score made up of these Verified Ratings is the most trustworthy measure of user sentiment we can offer right now – one that gives entertainment fans a genuine audience assessment of a movie they’re considering watching, and one which puts significant roadblocks in front of bad actors who would seek to manipulate the Audience Score.

Today is another phase in a rollout of changes we’re making to our Audience Score, user ratings, and user reviews. As we’ve mentioned, we’re working on bringing other ticket providers into our verification system, as well as finding ways we can verify ratings and reviews for movies that are not theatrically released, for TV series, and for streaming titles. And there will be further enhancements to come.

We’ll be announcing these changes right here in the product blog, and we welcome your feedback and suggestions in the comments section below. We’ll take your thoughts and ideas into consideration as we continue to evolve our recommendation tools.

Thanks for using Rotten Tomatoes – and contributing to it. And don’t forget to let us know what you think of the latest Fresh and Rotten flicks in theaters.

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NEWS... BUT NOT AS YOU KNOW IT

How to binge 90s shows with highest Rotten Tomatoes score this weekend

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The 1990s produced some of the greatest TV series of all time – and to this day we still go back to that wonderful decade for a big nostalgia hit.

Thanks to the huge catalogues of streaming services such as Netflix and Disney Plus, we can watch them to our heart’s content whenever we wish.

And that’s true whether we want to immerse ourselves in the world of Patrick Stewart and Star Trek’s Next Generation , or geek out with the actual geeks of Freaks and Geeks.

For drama fans, The Sopranos provides the goods on that front , and for people who want a little fantasy and blood with their drama, Buffy the Vampire Slayer.

Or if you want something a little funnier and you’re on the hunt for classic 90s comedy, you’re never far away from Seinfeld, Friends, or Frasier.

Find out where to watch these top-rated 1990s TV series on UK streaming, services, starring some of the biggest names in TV and showbiz.

Freaks and Geeks (98%)

Back before they were some of the biggest names in Hollywood, Seth Rogen , James Franco , and Linda Cardinelli starred in Freaks and Geeks.

The classic teen comedy-drama, created by film director extraordinaire Paul Feig, was only on the air for one season but kickstarted the careers of future household names.

Feig himself went on to direct the likes of Bridesmaids, A Simple Favour, while producing on show such as The Office (US).

First broadcast in September 1999, Freaks and Geeks follows the trials and tribulations of students at William McKinley High School – it currently has a 100% rating on Rotten Tomatoes.

Available to watch on Amazon Prime Video and ITVX.

The Sopranos (94%)

No doubt about it, The Sopranos changed television forever. The gritty crime drama revolutionised the way stories could be told on TV and influenced the medium for years afterwards.

The domestic family life and crime family life of Tony Soprano enraptured viewers from the very first episode in 1999, leading to six seasons and a huge number of awards and accolades.

James Gandolfini , who sadly died in 2013, was the leading star who went on to influence the performances of Bryan Cranston in Breaking Bad and John Hamm in Mad Men.

Set in New Jersey, the series, created by David Chase, effortlessly blended crime, family drama, comedy, philosophy, and psychology into its excellent story.

Available to watch on SkyGo and NowTV.

Friends (86%)

One of the most successful comedies of all time, Friends made global stars of its cast, from Jennifer Aniston to David Schwimmer , as well as the late Matthew Perry and Courteney Cox .

A consistent TV audience hit for a decade after starting in 1994, Friends followed the lives of six New Yorkers as they navigated their way through their late 20s and early 30s – we were there for them and they were there for us in turn.

As they fell in and out of love, we were obsessed with finding out everything about them, from who Regina Phalange really was and whether Ross and Rachel really were on a break.

Even in the 20 years since it concluded, Friends has remained a huge favourite, with its worldwide following only growing as demands for a reunion finally culminated in a live talk show special in 2021.

Available to watch on Netflix.

Buffy the Vampire Slayer (89%)

You think Twilight started the vampire obsession for millennials? Think again. Wonderful as those movies were (yes, really!) Buffy really got the ball rolling on all things fanged in 1997.

Starring Sarah Michelle Gellar as the eponymous heroine, the series followed high school student Buffy after becoming a slayer – a young woman chosen by fate to battle evil forces.

The supernatural horror series was geared towards the teen market but adults fell for the series, which grew significantly in popularity as the world entered the 2000s.

Haven’t seen it yet? By all means dive in, journey to Sunnydale High School, and find out what inspired the Twilight saga, True Blood, and The Vampire Diaries.

Available to watch on Disney Plus.

Frasier (95%)

Frasier was one of the most beloved American sitcoms of its era, starting in 1993 and captivating audiences with its witty humour and endearing characters.

The show follows Dr. Frasier Crane, played by Kelsey Grammer – a psychiatrist who returns to his hometown of Seattle to start a new life as a radio show host.

It eventually came to an end in 2004, with its final episode being one of the most-watched broadcasts of that year – it had 11 seasons in total.

A spin-off from Cheers, Frasier was known for its sophisticated humour and became one of the most successful spin-off series of all time – it was revived in 2023 and starred Only Fools and Horses star Nicholas Lyndhurst.

Available to watch on Channel 4 and SkyGo.

Star Trek: The Next Generation (91%)

Stark Trek: The Next Generation let us know before every episode that were about to witness something that was never to have been shown on TV before.

Space: the final frontier. Boldly going where no man had gone before.

With Patrick Stewart in the lead role as the Enterprise’s captain Jean Luc Picard, The Next Generation began in 1987 and dominated sci-fi TV ratings until it came to an end in 1994.

It reinvigorated Star Trek for a new generation, almost 20 years after the original series had come to an end, with its success also responsible for the creation of Star Trek: Deep Space Nine, Star Trek: Voyager, and later revivals including Star Trek: Enterprise and Star Trek: Discovery.

In 2020, Patrick Stewart donned the famous uniform once again for Picard, which ran for three seasons.

Seinfeld (91%)

On the air from 1989 to 1998, Seinfeld was a groundbreaking sitcom.

Created by Larry David and Jerry Seinfeld , it was famously described as ‘a show about nothing,’ with one rule imposed on every person who wrote, directed, or starred in an episode: No hugging, no learning.

Focusing on the everyday lives of Seinfeld, George Costanza, Elaine Benes, and Cosmo Kramer, it became a cultural phenomenon.

Seinfeld has left a lasting impact on TV, with shows such as Curb Your Enthusiasm and It’s Always Sunny in Philadelphia carrying the torch for dark humour and selfish sitcom characters ever since.

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