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.
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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.
Maybe if the movie had left all the expensive period artifacts, and most of the hackneyed script, on the street corner and let its capable young cast loose, Deuces Wild would have offered the audience a more interesting game.
It not only promotes every stereotype and invokes every cliché of Brooklyn lore, it combines them all into an insulting composite, fuses that to the chrome-and-fins of the pointless Fifties, and then -- weirdly -- pretends it's Shakespeare.
This is a movie that can't say no to a melodramatic opportunity, and whatever verisimilitude inspired Paul Kimatian and Christopher Gambale to write a script based on Kimatian's memories of the gangs has been utterly lost along the way.
The script from first-timers Paul Kimatian and Christopher Gambale requires Dillon to say corny things like: 'Bricks don't fall outta the sky in this neighborhood unless I'm throwin' 'em.' Tony Soprano, he ain't.
If it was the intention of Kalvert, Gambale and Kimatian to infiltrate their script with every stereotypical hoodlum cliché from every movie covering Brooklyn bad boys, they were on the money. Too bad their movie isn't.
Tentando desesperadamente se transformar em uma espécie de O Selvagem da Motocicleta do novo milênio (com toques de Amor, Sublime Amor), o filme é esquemático demais, tornando-se artificial e nada envolvente.