BlacKkKlansman (Spike Lee)

[Peng]

This has me ruminating on why the references to current events feel strained to me here whereas I embrace them in The Post. Maybe because Spielberg leans into them all the way through the film's foundation while Lee, to me, almost pauses his story to make the connections, so I feel increasingly yanked out by the second or third reference to Trump. Also, while I think the film is more complex than the pro-cop criticism indicates, there is definitely something too easy in certain aspects, encapsulated whole in that awful, teeth-grittingly cheery One Cop of Racism resolution near the end. I am usually not one to mind cathartic crowd-pleasing sentiment, but the scene really clanks in its one-note execution all the way through, and I am not convinced by the reading of it being extreme to be subverted later on -- it should work in the moment, just on surface level, too.

Those are significant reservations, but for the most part I really liked the film otherwise, an entertaining buddy cop comedy combined with an appropriately incendiary work of layered, urgent rhetoric. And I'm in the camp of finding the horrific current event footage a perfect end to the film (with a great dolly shot leading in to it, literally a window to the present), a puncture of previously rambunctious, past-tense atmosphere that simultaneously strengthens, not undercuts, the story by tying it back to our horrifying everyday earth. 7.5/10

[Grouchy]

This film is as fine as Lee has been for a long, long time. True to his style, he crams everything and the kitchen sink in it and achieves more than one moment of pure cinema greatness.

It's also a direct reversal of what we see in Birth of a Nation.

This is my take on it as well. The problem is that Boots Riley is essentially right- it's damn near hypocritical of Lee to make a movie addressing cop racism and completely overlook the lenght and the true nature of the protagonist's anti-black work. It's a piece of reality that would make the themes of the film more complex. But at the same time the fact that the film opens with and prominently features footage from Birth of a Nation (plus the Tarzan speech) is clearly related to Lee's relationship with cinema as a political weapon. So it makes sense that he takes huge liberties with the real story to craft a black hero, same as Griffith completely ignored reality in order to make the Klan look good.

The montage at the end was quite wonderful and I'm surprised to learn it's controversial. It makes perfect sense and the use of the classic dolly shot as a trip into present day is inspired.

[Grouchy]

Wow, I was convinced Steve Buscemi was in this but it was actually his younger brother Michael who I didn't know existed and looks almost exactly like him.

I guess he has a huge career ahead of him as a cheaper Steve Buscemi.

[Irish]

The problem is that Boots Riley is essentially right- it's damn near hypocritical of Lee to make a movie addressing cop racism and completely overlook the lenght and the true nature of the protagonist's anti-black work.

Huh? What is "anti-black work"?

I only caught a whiff of Riley's statements about Lee and this film, so I'm a little lost...

ETA: Nevermind! Found it. https://ew.com/movies/2018/08/18/boo...lackkklansman/

Riley's an idiot. (Reading this, I'm less surprised "Sorry to Bother You" was such a mess.)

I think you're right on the money about the power of political films, Grouch.

[Grouchy]

Huh? What is "anti-black work"?

The movie depicts Ron infiltrating one Black Panther rally and downplaying the "arm yourself" part of the speech in his report because of his natural simpathies for the movement. Then he immediately moves on to the KKK infiltration. In reality, Ron spent three years undercover with the BPs. Riley's complaints in that regard are legitimate - three years doing that in the '70s counts as anti-black work.

[baby doll]

Wow, I was convinced Steve Buscemi was in this but it was actually his younger brother Michael who I didn't know existed and looks almost exactly like him.

I guess he has a huge career ahead of him as a cheaper Steve Buscemi.

He was also in Kelly Reichardt's first (and best?) film, River of Grass, back in the day.

[Dukefrukem]

I think this is my first Spike Lee film. (oh wait, the Oldboy remake)

[Ezee E]

I think this is my first Spike Lee film. (oh wait, the Oldboy remake)

You've got some good movies to watch.

[Dukefrukem]

You've got some good movies to watch.

Priority to watch?

[baby doll]

Priority to watch?

Do the Right Thing, Jungle Fever, Malcom X, Clockers, Four Little Girls, Summer of Sam, 25th Hour, When the Levees Broke. Possibly Bamboozled, although I haven't seen it since it was released.

[Ezee E]

Priority to watch?

From ** 1/2 up, Spike will generally have a few masterful parts in his movies, but sometimes tries to cram in way too much, whether it be one too many subplots, or maybe going overboard with the theme. He really fell off after Inside Man, but it looks like he's trying to do higher budget/more quality pics instead of just documentaries and small-small scale movies.

His docs are worth checking out too.

****
Do the Right Thing
Malcolm X

*** 1/2
25th Hour (probably his most liked movie by general audiences)
Inside Man
He Got Game
Clockers

***
Crooklyn
Mo Better Blues
Summer of Sam
Miracle at St Anna
Sucker Free City (if this can be found...)

** 1/2
Bamboozled
She's Gotta Have It
Jungle Fever

*
Oldboy

[Ezee E]

I also have no idea why he did Oldboy, except to cash in. There's practically nothing "Spike Lee" about it

[Dukefrukem]

I think I've seen 25th Hour. Didn't know that was a Spike Lee film.

Also, is Inside Man the one where [

Show Spoiler

the guy builds himself into the wall?

] I've seen that too then.

[Ezee E]

I think I've seen 25th Hour. Didn't know that was a Spike Lee film.

Also, is Inside Man the one where [

Show Spoiler

the guy builds himself into the wall?

] I've seen that too then.

That is the one.

Those are certainly his most 'commercial' of movies. But you can see where Inside Man and 25th Hour each have some solid moments that make it a Spike Lee movie in the end.

To see SPIKE, you've gotta try Do the Right Thing, He Got Game, and maybe..... Bamboozled. He Got Game, Summer of Sam, She Hate Me, Jungle Fever are all very SPIKE movies that have a masterful moment or two, but also overbloated.

Scorsese was going to direct Clockers at one point, but got caught up with Casino and shared that Spike should direct it, and so he did.

[Dead & Messed Up]

I loved this, and I agree with those who say that the ending was a good way to throw a "haymaker" after the film ends with an almost-too-easy depiction of underdogs sticking it real good to David Duke. More than anything, the movie functions as an almost unbearable thriller; the second we start to learn about the bomb plot, my stomach knotted, and many story turns had me lowering in my seat and groaning.

[MadMan]

Powerful, funny, anger inducing and even sticks the landing. Also my current #1 of the year.