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100It'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]
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88This remarkable movie will haunt you for a good long time.
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88Crooklyn 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.
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78Crooklyn is a winning work whose charms far outweigh any pitfalls.
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75While Lee fails to impose sufficient structure on his material, expertly drawn performances help vividly to evoke the family and street life of an era untroubled by crack or drive-by shootings.
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75Crooklyn comes to the screen with an upbeat tone and a lot of heart. Beneath the surface of this deceptively simple motion picture lurks a keen insight.
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Spike Lee's Crooklyn is a charming little movie. [14 May 1994]
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75On its own intimate terms, it's one of the most winning films on family life to reach the screen in ages.
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70Messy 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.
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Modulating from heavy to light, from angry to lyrical, and so on, the movie's an enjoyable, emotional symphony.
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67Crooklyn 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.
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60With 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]
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50Both 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]
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40Despite very good performances, this is anemic and uninspired filmmaking: shapeless as narrative, awkward and drifting as drama.
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25Crooklyn 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]
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20Our natural sympathy for the Carmichaels is sabotaged by crude and careless moviemaking.
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