Juice Reviews

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Jeffrey M. Anderson
Combustible Celluloid
March 27, 2009
An above-average story of four "boys in the hood."
Top Critic
Variety Staff
Variety
March 26, 2009
Dickerson and co-writer Gerard Brown exhibit a sharp ear for dialog and have some real finds in their largely unknown cast...
Top Critic

Time Out
February 9, 2006
Stylishly shot, it works well as a thriller; the result is energetic and entertaining, without the feeling of difficult truths being forgotten.
Emanuel Levy
EmanuelLevy.Com
July 24, 2005
| Original Score: 3/5
Clint Morris
Film Threat
May 6, 2005
Commanding performances mesh with solid storytelling
| Original Score: 3/5
Philip Martin
Arkansas Democrat-Gazette
March 27, 2005
| Original Score: 3/5
Michelle Alexandria
Eclipse Magazine
November 10, 2004
| Original Score: 3/5
Daniel M. Kimmel
Worcester Telegram & Gazette
February 22, 2004
| Original Score: 3/5
Top Critic
Janet Maslin
New York Times
May 20, 2003
Mr. Dickerson, whose cinematography has been the reason Spike Lee's films look so good, has a terrific eye and some juice of his own.
Full Review | Original Score: 3.5/5
Bob Grimm
Las Vegas Mercury
August 1, 2002
| Original Score: 3/5
Scott Weinberg
eFilmCritic.com
July 26, 2002
| Original Score: 3/5
Top Critic
Roger Ebert
Chicago Sun-Times
January 1, 2000
The movie generates a real tension in its closing passages, as it shows its characters trapped in a plot that seems to be unfolding according to its own merciless logic.
Full Review | Original Score: 3/4
Kathleen Maher
Austin Chronicle
January 1, 2000
Dickerson's story of street kids at risk breaks no new ground. It is better than most, but not by much. Sure looks good, though.
Full Review | Original Score: 3/5
Chris Hicks
Deseret News, Salt Lake City
January 1, 2000
Despite the script's reliance on familiar cliches, the film never feels like an exploitation thriller, as we genuinely feel for these kids and the life they've fallen into.
Top Critic
Owen Gleiberman
Entertainment Weekly
January 1, 1800
Coming out from behind Spike Lee's camera, Ernest Dickerson has instantly arrived at the forefront of the new wave of black directors. His film aims for the gut, and hits it.
Full Review | Original Score: B+
Mike McGranaghan
Aisle Seat
March 4, 2003
| Original Score: 2/5
Ed Gonzalez
Apollo Guide
February 13, 2001
A Hitchcockian moment in an elevator is perhaps the film's signature set piece.
Full Review | Original Score: 65/100
Top Critic
Hal Hinson
Washington Post
January 1, 2000
I'm sure Dickerson has strong feelings about inner-city problems, but if he does he can't convey them.
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