The LEGO Movie 2: The Second Part
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Get on the Bus finds Spike Lee pulling a page from history with fervor and flair, offering a strong, stirring fact-based drama further elevated by an array of solid performances.
All Critics (42)
| Top Critics (14)
| Fresh (37)
| Rotten (5)
The wonder of this funky, heartfelt film is that its humanity easily eclipses its didacticism. Working fast and cheap, Lee seems revitalized by the urgency of the endeavor.
It's a simple, appealing premise and filmmaker Spike Lee uses it to full comic advantage.
A vital regeneration of a filmmaker's talent as well as a bracing and often very funny dramatization of urgent sociopolitical themes...
Though Lee's deft expertise keeps things pacy and (mostly) plausible, the material can't avoid a certain predictability and, in the end, a preachy sentimentality.
While the film assembles a full array of black male stereotypes and conines them to what is essentially a talky one-set play, Mr. Lee stylistically jump-starts this small, earnest film in every way he can.
It's two hours of men sitting on a bus talking, but the talk is alive. Lee keeps the scenes short, so that nothing ever resolves completely.
It all has an artless, ephemeral feel, and 20 years from now people will marvel at the fashions, the landscapes and the attitudes it captures like fragile bugs in amber.
Bythewood's script offers sharp insights into the male psyche, and the fine actors play off one another with real assurance.
A stirring, heartfelt entertainment from the first frame to the last.
Get on the Bus may well be the best film Spike Lee's made since Do the Right Thing.
Enough lively banter and music, good humor and serious issues are aboard...to make the 3,000-mile journey worth joining.
One of Lee's best -- save for the didactic opening credits, he's rarely been less preachy and more insightful
Here Spike Lee tackles black history as always, but this time presents more rounded arguments and opinions.
A cross-section of African-American men travel cross-country by bus to the Million Man March.
There are films that rise above their politics, films that promote a particular political ideology but also tell an intimate, human story. In literature, I think of Upton Sinclair's The Jungle as a representative example. This is not one of those films. Spike Lee's Get on the Bus is so pat and obvious in its politics that it doesn't get a chance to breathe on its own and its characters never rise above the types they represent. Lee's talent keeps the film afloat, and his camera tricks give the film an energy that we've come to expect from a "Spike Lee Joint," but the real problem remains in the script. This is not Lee or writer Reggie Rock Bythewood debating with himself; if you're confused about the film's politics, Charles S. Dutton lays it all out at the end for you.
Overall, I don't have a lot of opinions about the political statements themselves, but I can say that the film is confined by its message.
Preachy Spike Lee rather than stylish Spike Lee spoils an otherwise decent film.
A very interesting Drama story ^_^
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