ATL Reviews

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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.
March 31, 2006
It feels like a real window on the lives of disenfranchised youths -- these are in South Atlanta -- as they make their way in a society that doesn't cut them any breaks.
March 31, 2006
Buoyed by a superlative soundtrack, ATL plays a familiar song about growing up, but hits notes that sound brand new.
March 31, 2006
A mellow and engrossing coming-of-age film about a young crew on the south side of Atlanta.
March 31, 2006
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.
March 31, 2006
ATL starts out somewhat fresh, but then turns slowly stale as its story of African-American kids in Atlanta takes on more and more of the standard elements of growing up in the hood movies.
March 31, 2006
ATL may fail to wow on the skate floor, but it still makes decent melodrama.
March 31, 2006
ATL may not have much appeal outside a youth audience, but it deserves credit for looking beyond contests toward the looming difficulties of adulthood.
March 31, 2006
ATL has more room for nuance than most films unfairly lumped under the black-movie label.
March 31, 2006
ATL is one of those filmic byproducts (in this case, a promotional vehicle for the rapper Tip Harris, a.k.a. T.I.) that somehow manage to emerge from the mill of commerce with their modesty preserved.
March 31, 2006
Several good ideas for a movie rumble around inside ATL, but they never coalesce.
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