BlacKkKlansman

The filmmaker rips from the headlines, but the struggles remain the same.

There's nobody left in Hollywood making broad, sweeping, lively political melodramas like Spike Lee.

It's just about perfect in balance of tone, and it's easily Spike Lee's best film in years.

A kitchen sink and kaleidoscopic study of cultural and institutional racism in America.

What I especially love is how the movie refuses to offer up any pat or easy answers.

Spike Lee is one of the best directors of his generation. BlacKKKlansman assures him of that title

Spike Lee will remain a leader in cinematic cultural commentary but that very potency was less present in BlacKkKlansman. While the messaging is still assured and deliberate, perhaps this film is set to the temperature of those in need of it.

No one does it like Spike. BlacKkKlansman is sharp, powerful, and unapologetic. The sudden kumbayah felt too neat, but John David Washington is flawless. The messaging is exactly what we’ve come to expect from Spike—Black is beautiful, Black is powerful.

Spike Lee’s power is on full display in his film BlacKkKlansman, a gut-punch comedy drama that uses the past to critique the present (and possibly future).



It becomes painfully and chillingly obvious how relevant so much of the film’s commentary is, as Lee parallels “old America” to its current state of affairs through appropriate storytelling.