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. But audience scores tend to not account for those who would never buy a ticket to the movie in the first place. The Emoji Movie, for example, was critically panned, garnering an abysmal 6 percent Rotten Tomatoes score. One may be surprised that some of the best high school movies made to date are not necessarily top-rated movies on Rotten Tomatoes, but rest assured, these are all interesting teen movie finds, as well as some you may wish to avoid. But once the screening invitations arrived in our inboxes, we pretty much knew, with a sinking feeling, that it wouldn’t be. Big disconnect w/ critics & people. 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. The opinions of about 3,000 critics — a.k.a. 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. video for Who the Electoral College really benefits, Sign up for the 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. 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. Still, studios certainly seem to believe the score makes a difference. But it still opened to $25 million in the US, which put it just behind the acclaimed Christopher Nolan film Dunkirk. 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. 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. 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. That’s the point. 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. You can join and make your own posts and quizzes.
After all, in the bigger sense, everyone’s a critic. Don't have an account? 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.
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. 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. (When I give a movie a 2.5, I consider that to be a neutral score; by Rotten Tomatoes' reckoning, it's rotten.) A good Rotten Tomatoes score indicates strong critical consensus, and that can be good for smaller films in particular.
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