The Tomatometer rating – based on the published opinions of hundreds of film and television critics – is a trusted measurement of movie and TV programming quality for millions of moviegoers. It represents the percentage of professional critic reviews that are positive for a given film or television show.
From the Critics
From RT Users Like You!
The Tomatometer is 60% or higher.
The Tomatometer is 59% or lower.
Movies and TV shows are Certified Fresh with a steady Tomatometer of 75% or higher after a set amount of reviews (80 for wide-release movies, 40 for limited-release movies, 20 for TV shows), including 5 reviews from Top Critics.
Percentage of users who rate a movie or TV show positively.
It's something akin to the earlier films of Spike Lee -- She's Gotta Have It and Crooklyn come to mind -- in that the characters are cherished for their human qualities, not for how well they swagger onto the screen.
For a run-of-the-mill hip-hop drama, ATL has some engaging hooks that set it apart from the predictable formula of urban youth struggling to steer clear of crime and pull themselves up to a better life.
The second half is clumsier than the first, and you get the impression that the studio rushed to cut things that hadn't worked in last fall's kids-skating flop and play up the Boyz aspects of the routine moral-dilemma plot.
The movie is directed by a prominent video director, Chris Robinson (Jay-Z, Alicia Keys) and, no surprise, it feels less like a conventional movie than a video compilation of flashy scenes, montages and sound-track opportunities.
No, ATL isn't a drug movie, and it doesn't send its characters on a harrowing journey into danger. It's a film about growing up and working, about falling in love, about planning for your future, and about the importance of friends.
Eventually, Hollywood plot machinations rear their ugly heads, dictating a generic Romeo-and-Juliet love story and an even staler cautionary tale about the evils of drugs that completely stifle the film's laid-back appeal.
It unpretentiously serves class consciousness and conflict with its Cadillac music, attempting to capture -- not capitalize on -- the Atlanta scene that's spawned an aesthetic and a mythology all its own.