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Clockers (1995)

6.9
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Ratings: 6.9/10 from 14,848 users   Metascore: 71/100
Reviews: 79 user | 43 critic | 20 from Metacritic.com

Young drug pushers in the projects of Brooklyn live hard dangerous lives, trapped between their drug bosses and the detectives out to stop them.

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(book), (screenplay), 1 more credit »
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Title: Clockers (1995)

Clockers (1995) on IMDb 6.9/10

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Cast

Cast overview, first billed only:
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Peewee Love ...
Tyrone 'Shorty' Jeeter (as Pee Wee Love)
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Thomas Jefferson Byrd ...
Errol Barnes (as Tom Byrd)
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Go (as Fredro)
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Horace (as E.O. Nolasco)
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Frances Foster ...
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Storyline

Strike is a young city drug pusher under the tutelage of drug-lord Rodney Little, who, when not playing with model trains or drinking Moo for his ulcer, just likes to chill with his brothers near the benches outside the project houses. When a night man at a fast-food restaurant is found with four bullets in his body, Strike's older brother turns himself in as the killer. Det. Rocco Klein doesn't buy the story, however, and sets out to find the truth, and it seems that all the fingers point toward Strike & Rodney. Written by Michael Silva <silvamd@cleo.bc.edu>

Plot Summary | Plot Synopsis

Taglines:

When there's murder on the streets, everyone is a suspect.

Genres:

Drama | Crime | Mystery

Motion Picture Rating (MPAA)

Rated R for strong graphic violence, strong language and drug content | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

Release Date:

13 September 1995 (USA)  »

Also Known As:

Nepperek  »

Box Office

Budget:

$25,000,000 (estimated)

Gross:

$13,040,603 (USA)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

|

Color:

(Technicolor)

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

The film's poster, designed by Art Sims, is an homage to the poster for Anatomy of a Murder (1959) which was designed by Saul Bass. Bass was not pleased with the poster and stated in an interview "when anyone steals something, they call it an 'homage'". See more »

Goofs

When Errol is threatening the kid on the trunk of the car, the helmet falls off. When the shot widens, the helmet is back on the kid's head. See more »

Quotes

Ronald 'Strike' Dunham: Why was you so gung-ho about all this shit, man? Most cops... Brothers killin' other brothers aint no big thing. Blasé, blasé. What made you care about me, my brother Victor, Darryl Adams, Tyrone? Huh? What made you give a shit?
Det. Rocco Klein: If I ever see you again... I'll book you on charges of criminal solicitation and conspiracy to commit murder. I'll let Andre beat you down again, then pick up Rodney on the same charges and I'll make sure you two share the same cell, the same fuckin' bed. Do you ...
[...]
See more »

Connections

Referenced in The Directors: The Films of Spike Lee (2000) See more »

Soundtracks

Illa Killa
Written by Rasheed Ali Brown (as Rasheed Brown)
Performed by Strictly Difficult
See more »

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User Reviews

Lee's most mature work
27 May 1999 | by (West Bend, WI) – See all my reviews

In 1995 I considered Spike Lee's gritty CLOCKERS one of the year's best films; recently I spotted its video in a clearance bin and picked it up. Upon re-viewing, I am struck again by its complexity. It is the first urban drama to depict inner-city race relations with the intricacy such a pervasive cultural issue demands. On the surface it resembles a whodunit, but its main concern is how drugs and violence contaminate entire communities, dramatized in the collapse of one African-American youth's life. (He chokes up blood the way some of us sweat.) This process is observed by a predominantly white police force that makes hollow attempts to keep order, and refuses to intervene with the community's gradual decline.

Instead of characters with overt prejudices and plain racial allegiances-characters that are sterile symbols of bigotry rather than credible humans guilty of it-Lee gives us characters of casual racism. Most representative of this is Harvey Keitel's Rocco Klein, a white detective who cannot understand the culture surrounding him, which is a culture of narcotics, violence, and black-on-black crime. On his beat, drugs are less a problem than a lifestyle, murder resolves the tiniest of disagreements, and young mothers valiantly but vainly battle the influence young dealers have on their sons. Klein views the inner-city with contempt, but deep down he knows all the whores and dealers are human beings, too.

Klein is introduced at the scene of a homicide, where the police handle the gruesome death with a clinical sense of detachment, cracking bad jokes and asking the bloodied corpse questions. Is it just a job, or is it racism? For Klein, it's both: he needs the gallows humor to psychologically deal with this culture of depravity. What's fascinating about CLOCKERS is Lee's willingness-and guts-to present Klein, despite his prejudice, as the film's hero. Lee understands that casual racism is simply endemic and inescapable in American culture. What he appreciates is Klein's ability to transcend his own prejudice and finally do the right thing.


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