79
Metascore
11 reviews · Provided by Metacritic.com
- 90Los Angeles TimesMichael WilmingtonLos Angeles TimesMichael WilmingtonSpike Lee's She's Gotta Have It is a joyfully idiosyncratic little jazz-burst of a film, full of sensuous melody, witty chops and hot licks
- Made for less than $30,000, Lee's first feature poses him as a rival to Woody Allen, nearly equaling him in psychological authenticity, perhaps bettering him in virtuosity and sheer creative glee.
- 88Slant MagazineEric HendersonSlant MagazineEric HendersonLee’s first film statement conveys the communal experience.
- 83The A.V. ClubNoel MurrayThe A.V. ClubNoel MurrayFrom the jump, She's Gotta Have It announced that it wasn't going to define black life in terms of crime and poverty, just as it wasn't going to bind independent filmmaking to moribund realism.
- 80Time Out LondonTime Out LondonStructurally, it could be compared to Kurosawa's Rashomon for its subjective cross-examination of Nola's loves; but this delightful low-budget comedy, with its all black cast and black humour, is 100 per cent Lee.
- 80Washington PostPaul AttanasioWashington PostPaul AttanasioShe's Gotta Have It is Spike Lee's impressive first feature, discursive, jazzy, vibrant with sex and funny as heck. [22 Aug 1986, p.D1]
- 75Chicago TribuneGene SiskelChicago TribuneGene SiskelFeaturing an all-black cast, this little film is a revelation, primarily because it provides black faces with the most natural dialogue they've had in years. She`s Gotta Have It is neither a crime story nor a heavy message movie, and the conversations in it are therefore free of the shackles of most minority-oriented stories.
- These people are not victims of blind forces; they make choices, defend them and grow in understanding, not always happily, as a result. Their story would be more enjoyable in a more polished film, but it has a power that is not dissipated by this one's weaknesses.
- 60TV Guide MagazineTV Guide MagazineAlthough the film's small budget and tight shooting schedule (lensed in 15 days on Super 16mm) is betrayed by sloppy editing, unpolished sound and an occasional flat performance, particularly Johns in the lead role, She's Gotta Have It still bursts with the energy and technical command that have quickly established Lee as a major force in American cinema.