South Central

Roadshow Entertainment Video | Release Date: September 18, 1992

CRITIC SCORE DISTRIBUTION

64	METASCORE Generally favorable reviews based on 16 Critic Reviews

Positive:

Mixed:

Negative:

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Critic Reviews

Critic score Publication By date

Owen Gleiberman

Whatever its melodramatic shortcomings, South Central offers a wrenching view of modern youth-gang violence by demonstrating, with desperate candor, that the civilized alternatives are fast disappearing. Read full review

Desson Thomson

A bare-bones outline ignores the performances, the stirring music, the close-in camerawork and the direction of Steve Anderson. The emotional punch and atmosphere of the movie soar through any hokiness. Plummer's search for the son he never saw grow up becomes a powerful odyssey. Read full review

Staff (Not Credited)

As a cautionary tale about the nihilistic life of street gangs, South Central speaks eloquently to black kids desperately in need of straight talk. A profoundly moving story of a father's attempt to save his son from his own mistakes, Steve Anderson's film has performances by Glenn Plummer and young Christian Coleman that will touch any viewer. Read full review

Roger Ebert

This movie, like Boyz N the Hood, is uncompromising in its view of how things work in a neighborhood like South Central. It was made before the Los Angeles riots in April, 1992, but it provides a stark picture of the anger that was waiting to boil over. Read full review

Rita Kempley

South Central covers some of the same ground as Boyz N the Hood, but certainly there's nothing wrong with reiterating its positive message for black sons and fathers. Read full review

Dave Kehr

South Central treats its violent, often melodramatic storyline with a spareness and deliberation that lends the material an unexpected, quiet power. [18 Sep 1992, p.F]

Michael Snyder

It's the grittiest, most plausible movie depiction of the poverty-level black urban experience since Boyz N' the Hood. John Singleton showed a surer hand in directing Boyz, but Anderson displays promise and generates real emotion. [17 Oct 1992, p.C3]

Jeff Shannon

With its ever-so-earnest desire to shed light on the complex social issues of gang influence in Los Angeles, South Central is a film that's good - or at least, easily recommendable - in spite of itself. [06 Nov 1992, p.27]

Staff (Not Credited)

Low on directorial inspiration, but more relevant and resonant than much of the big-budget white trash churned out by Hollywood. Read full review

William Arnold

It's grim, humorless, uncompromisingly hard-edged, and marred by a handful of scenes that are clumsily staged and acted. And yet the film has an honesty and sincerity that is magnificently embodied in the always believable performance of star Plummer. [07 Nov 1992]

Michael Wilmington

Despite its good performances--Minns, Lumbly, Shelby and Best, as well as Plummer--South Central lacks a certain juice, heat and life. It doesn’t boil with the energy you’d expect from a gang picture, and it doesn’t have the density or rich atmosphere of a Boyz N the Hood, Do the Right Thing or New Jack City. Read full review

Janet Maslin

South-Central plays more like an exploitative potboiler than a civics lesson. Only late in the film, thanks to a sobering of tone and Mr. Plummer's credible performance, does the story develop any real impact. Read full review

TV Guide MagazineStaff (Not Credited)

Although inconsistent in tone, it is an emotionally wrenching account of life on the mean streets of Los Angeles. Read full review

David Sterritt

A former gang member, his ten-year-old son, and Los Angeles street life are the main concerns of this uneven story, which isn't convincing enough as drama to achieve the consciousness-raising effect that appears to be its goal. [26 Oct 1992, p.12]

Rene Rodriguez

Nowhere near as insightful as Boyz N the Hood, nor as uncompromisingly truthful as Colors, South Central still has some worthy things to say. But the film continually resorts to stock situations to express them. [22 Oct 1992, p.F8]

EmpireLloyd Bradley

Largely, real emotions are substituted here by people swearing and trying to kill each other, which adds up to a shamefully dehumanising piece of work. Read full review