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Critic scores range from 0 to 100, with higher scores indicating more favorable reviews.
It's a movie that's so personal, naked and vulnerable that you can understand why some of its humor seems rough, some of its visuals excessive. But Crooklyn has a quality not as obvious in any Lee film since "Do the Right Thing": the sense of a whole world opening, rich and real, before your eyes. [13 May 1994, p.A] Read full review
Crooklyn is not in any way an angry film. But thinking about the difference between its world and ours can make you angry, and I think that was one of Lee's purposes here. Read full review
This remarkable movie will haunt you for a good long time. Read full review
Crooklyn is a winning work whose charms far outweigh any pitfalls. Read full review
Messy as the semiautobiographical Crooklyn often is, it succeeds in becoming a touching and generous family portrait, a film that exposes welcome new aspects of this director's talent. Read full review
Modulating from heavy to light, from angry to lyrical, and so on, the movie's an enjoyable, emotional symphony. Read full review
Crooklyn has a warm, nostalgic, spilling-over-the-edges effusiveness that is new to Lee's work. At the same time, the movie often seems every bit as high-strung as the family it's about. Read full review
With characters this alive, it's a pity that no one was able to build a more convincing film around them, instead of leaving everyone more or less out there on their own. [13 May 1994, p.1] Read full review
Both leads and young Harris make Crooklyn an exasperating might-have-been, especially given the movie's surprisingly affecting wrap-up. There's no dearth of human feeling here, but a dearth of craft. [13 May 1994, p.8D] Read full review
Crooklyn is loud and raucous and occasionally cruel. The actors shout their dialogue, the kids trade insults and the movie has the strained, desperate-for-fun anxiety of a TV sitcom. [13 May 1994, p.C1] Read full review
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