ATL Reviews

April 3, 2006
Too predictable.
March 31, 2006
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.
March 31, 2006
Warner Bros.' low-budget stab at capturing an urban niche audience is higher on stylistic dazzle than originality or coherence, making it an unlikely candidate to bust out of the box office ghetto.
March 31, 2006
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.
March 31, 2006
The film's special appeal is that while the boys are poor and black, their stories transcend race and socio-economic matters.
March 31, 2006
Making his feature-film debut, music-video director Chris Robinson expertly choreographs the skating sequences, which are exhilarating fun.
March 31, 2006
Really, ATL -- like last year's Roll Bounce -- is about roller skating.
March 31, 2006
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.
March 31, 2006
A good message isn't enough to justify a $10 ticket. You also need a good movie.
March 31, 2006
A thoroughly convincing portrait of black teens in Atlanta, ATL has the same broad range of laughs and fears as Fast Times at Ridgemont High.