Here we see John David Washington pitching his role in the next Star Wars while Adam Driver considers what small quiet film he's going to audition for. (Image Courtesy of: slashfilm.com)
Quick Take: BlacKkKlansman is an explosively angry critique of the modern political climate framed in a historical depiction of racial tensions in the early 1970s. Brimming with passion that comes in both horror and humor, this should be celebrated for a long time as one of Spike Lee's classics.
***This review will not contain spoilers beyond the basic set-up of the story. Those who not seen BlacKkKlansman yet can read ahead without risk though you may want to just go and see it first just to not have your opinion affected before experiencing it.***
The idea of "black cinema" is a fairly simplistic label, but its usage has grown in recent years thanks to a slew of new voices entering the scene. We live in a time where minority representation is slowly rising but marginalization is certainly ever-present particularly in the United States of America.
There is nothing more important in today's American entertainment industry than a diversity of smart voices both in perspective and ideas. Boots Riley made a splash this year with Sorry to Bother You while Donald Glover has taken over television with Atlanta. Ryan Coogler made perhaps the most important superhero film Black Panther, and Barry Jenkins won Best Picture for Moonlight.
Before any of these directors were given a chance though, there was one man changing the game in a way that feels like it has helped create the opportunities many have today: director Spike Lee (Do The Right Thing). With 83 directorial credits to his name, Lee has been in the game since 1979.
Despite all this, it is possible that BlacKkKlansman is the best movie of his career, driven by an anger and frustration at a time that is far more backward leaning than should be possible. While many others have taken a subtle even surreal approach to addressing the times, this movie presents its message in big bold letters, and it absolutely works.
This film focuses on new detective Ron Stalworth (John David Washington), the first minority policeman in Colorado Springs in 1972, as he quickly makes it his personal mission to take down the local Ku Klux Klan chapter by infiltrating it with the help of fellow intelligence officer Detective Flip Zimmerman (Adam Driver).
Based on the real biographical life of Ron Stalworth, this is both a comedy and drama that uses slightly heightened absurdity to pull out laughs while underlining the fundamental truth behind the story that is so terrifying.
The idea of "black cinema" is a fairly simplistic label, but its usage has grown in recent years thanks to a slew of new voices entering the scene. We live in a time where minority representation is slowly rising but marginalization is certainly ever-present particularly in the United States of America.
There is nothing more important in today's American entertainment industry than a diversity of smart voices both in perspective and ideas. Boots Riley made a splash this year with Sorry to Bother You while Donald Glover has taken over television with Atlanta. Ryan Coogler made perhaps the most important superhero film Black Panther, and Barry Jenkins won Best Picture for Moonlight.
Before any of these directors were given a chance though, there was one man changing the game in a way that feels like it has helped create the opportunities many have today: director Spike Lee (Do The Right Thing). With 83 directorial credits to his name, Lee has been in the game since 1979.
Despite all this, it is possible that BlacKkKlansman is the best movie of his career, driven by an anger and frustration at a time that is far more backward leaning than should be possible. While many others have taken a subtle even surreal approach to addressing the times, this movie presents its message in big bold letters, and it absolutely works.
This film focuses on new detective Ron Stalworth (John David Washington), the first minority policeman in Colorado Springs in 1972, as he quickly makes it his personal mission to take down the local Ku Klux Klan chapter by infiltrating it with the help of fellow intelligence officer Detective Flip Zimmerman (Adam Driver).
Based on the real biographical life of Ron Stalworth, this is both a comedy and drama that uses slightly heightened absurdity to pull out laughs while underlining the fundamental truth behind the story that is so terrifying.
We live in a modern age devoid of many things but most troubling is its total lack of giant hair. (Image Courtesy of: washburnreview.org)
For a film with so many writer (Charlie Wachtel, David Rabinowitz, Kevin Wilmott, and Spike Lee), this has a fairly consistent comedic tone behind its dialogue. It is a funny and heartfelt film likely guided most directly by Lee as the director through its visual 70s influences.
He also brings performances out of Adam Driver (Star Wars: The Force Awakens) and John David Washington (Love Beats Rhymes) that are career-defining. Driver is well known but again shows his strong comedic chops alongside some great dramatic moments.
However, it is Washington who really steps out here as a new star. He's intense in some fantastic moments while remaining consistently sympathetic. He portrays Stalworth with honesty that makes it understandable when he struggles with his loyalties between his police life and the rising black movement.
This is one of the most intense and well-made movies of the year, outshining some great cinema so far in the year. Its themes are fairly simple to understand though the nuance of the messages is impressive. In particular, Stalworth's duality is a key emphasis.
Police brutality toward minorities has been a frequent topic of discussion that has grown in relevance in the last few years, and this movie does an impressive job of showcasing that being a policeman is not a simplistic label in the same way as race does not wholly define a person.
Spike Lee has made fantastic movies over the years, but it has felt like his large filmography had taken a dip in the current decade. Some of this came down to choosing disappointing projects like the Oldboy remake and the aimless musical adaptation Red Hook Summer.
This is where the director shines brightest, speaking loudly with biting critique and honest exploration of the world. This film will never be more relevant than right now, but its way of exploring how history changes far less over time than it appears on the surface will likely stand the test of time.
He also brings performances out of Adam Driver (Star Wars: The Force Awakens) and John David Washington (Love Beats Rhymes) that are career-defining. Driver is well known but again shows his strong comedic chops alongside some great dramatic moments.
However, it is Washington who really steps out here as a new star. He's intense in some fantastic moments while remaining consistently sympathetic. He portrays Stalworth with honesty that makes it understandable when he struggles with his loyalties between his police life and the rising black movement.
This is one of the most intense and well-made movies of the year, outshining some great cinema so far in the year. Its themes are fairly simple to understand though the nuance of the messages is impressive. In particular, Stalworth's duality is a key emphasis.
Police brutality toward minorities has been a frequent topic of discussion that has grown in relevance in the last few years, and this movie does an impressive job of showcasing that being a policeman is not a simplistic label in the same way as race does not wholly define a person.
Spike Lee has made fantastic movies over the years, but it has felt like his large filmography had taken a dip in the current decade. Some of this came down to choosing disappointing projects like the Oldboy remake and the aimless musical adaptation Red Hook Summer.
This is where the director shines brightest, speaking loudly with biting critique and honest exploration of the world. This film will never be more relevant than right now, but its way of exploring how history changes far less over time than it appears on the surface will likely stand the test of time.
