| Photos (See all 13 | slideshow) | Videos (see all 5) |
Directed by | |||
| Spike Lee | |||
Writing credits(in alphabetical order) | ||
| Spike Lee | screenplay | |
| James McBride | screenplay | |
Produced by | |||
| Spike Lee | .... | producer | |
| Tim Stacker | .... | line producer | |
Original Music by | |||
| Bruce Hornsby | |||
Cinematography by | |||
| Kerwin DeVonish | |||
Film Editing by | |||
| Hye Mee Na | |||
Casting by | |||
| Winsome Sinclair | (extras casting) | ||
Production Design by | |||
| Sarah Frank | |||
Art Direction by | |||
| Sila Karakaya | |||
Costume Design by | |||
| Emilio Sosa | (costume design) | ||
| Emilio Sosa | |||
Makeup Department | |||
| Nedjetti Harvey | .... | department head hair | |
| Nedjetti Harvey | .... | department head hair | |
| Anthony Pepe | .... | additional makeup | |
| Anthony Pepe | .... | special makeup effects artist | |
| LaWanda M. Pierre | .... | hair stylist | |
| LaWanda M. Pierre | .... | hair stylist | |
| Joanna Rodriguez | .... | makeup department head | |
Production Management | |||
| Angela Quiles | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Lionel Cineas Jr. | .... | second second assistant director | |
| Mike Ellis | .... | first assistant director | |
| Yves Hofer | .... | second assistant director | |
Art Department | |||
| Natasha Caraballo | .... | art department intern | |
| Tiisetso Dladla | .... | art department intern | |
| Floyd Hughes | .... | storyboard | |
| Sila Karakaya | .... | additional props | |
| Kris Major | .... | property master | |
| Zoe Munlyn | .... | art department intern | |
| Bora Yuksel | .... | additional props | |
Sound Department | |||
| Jamie Baker | .... | foley editor | |
| Corey Bishop | .... | adr recordist | |
| Alan Blanco | .... | sound recordist | |
| David Boulton | .... | adr mixer | |
| Marko Constanzo | .... | foley artist | |
| Mark DeSimone | .... | adr mixer: New York | |
| Stuart C. Deutsch | .... | additional sound recordist | |
| Chris Fielder | .... | assistant sound editor | |
| Michael Fowler | .... | adr recordist | |
| Ruth Hernandez | .... | adr editor | |
| Paul Hsu | .... | sound re-recording mixer | |
| George Lara | .... | foley recording engineer | |
| Michael Miller | .... | adr mixer | |
| Silvan Pinto | .... | sound intern | |
| Ric Schnupp | .... | adr recordist | |
| Rick Schnupp | .... | adr recordist | |
| Philip Stockton | .... | supervising sound editor | |
| Luciano Vignola | .... | adr mixer | |
| Luciano Vignola | .... | sound intern | |
| Josef Wladyka | .... | boom operater | |
Visual Effects by | |||
| Joyce Boll | .... | visual effects producer: LOOK Effects | |
| Darrell Claunch | .... | digital compositor | |
| Kevin Moseley | .... | digital supervisor | |
| Joseph Oberle | .... | digital compositor | |
| Niko Tavernise | .... | digital artist | |
| David Wanger | .... | digital effects coordinator | |
Stunts | |||
| Jeff Ward | .... | stunt coordinator | |
Camera and Electrical Department | |||
| Sidney Brisco | .... | gaffer | |
| Russell Burger | .... | additional grip | |
| Cliff Charles | .... | camera operator | |
| Winter Coleman | .... | still photographer assistant | |
| Alexa Harris | .... | grip | |
| Alexa Mignon Harris | .... | grip | |
| Kira Hernandez | .... | first assistant camera | |
| Kirsten Heywood | .... | electrician | |
| Kirsten Heywood | .... | electrician | |
| ManSee Kong | .... | camera operator | |
| Brian Lannin | .... | second assistant camera | |
| Cinqué Lee | .... | camera operator | |
| David Lee | .... | still photographer | |
| Thomas Moll-Rocek | .... | additional grip | |
| Simeon Moore | .... | best boy electric | |
| Rick Morrison | .... | key grip | |
| Roy Nowlin | .... | electrician | |
| Kimberly Parker | .... | first assistant camera | |
| Che Roacher | .... | additional best boy grip | |
| Ricardo Sarmiento | .... | camera operator | |
| Steve Sterling | .... | dolly grip | |
| Travis Tips | .... | best boy grip | |
| Spirit Trickey | .... | videography assistant | |
| William Wohleb | .... | camera operator | |
Casting Department | |||
| Marquita Bradley | .... | assistant extras casting | |
Costume and Wardrobe Department | |||
| Catalina H. Campuzano | .... | costume department intern | |
| Catalina H. Campuzano | .... | intern: wardrobe department | |
| Whitney Kyles | .... | associate costume design | |
| Ashley Lampkin | .... | intern: wardrobe department | |
| Ashley Lampkin | .... | costume department intern | |
| Azure McBride | .... | intern: wardrobe department | |
| Azure McBride | .... | costume department intern | |
| Cathy Parrott | .... | associate costume design | |
Editorial Department | |||
| Steve Bono | .... | assistant editor | |
| Charles Herzfeld | .... | post facility supervisor | |
| Richie Roefaro | .... | avid technician | |
| Andrew Still | .... | digital intermediate engineer | |
| Tim Stipan | .... | digital intermediate colorist | |
| Samantha Uber | .... | digital intermediate editor | |
| Kevin Vale | .... | digital intermediate producer | |
Music Department | |||
| Larry Pinkston -Marshall | .... | tenor | |
| Carl Alexander | .... | choir: tenor | |
| Tyler Alexander | .... | baritone | |
| Jonathan Batiste | .... | all original B-3 Hammond organ music written and performed by | |
| Raymond Bell | .... | bass | |
| Elijah Bell-Clarke | .... | tenor | |
| Damon Blair | .... | baritone | |
| Harold Booker | .... | baritone | |
| Alfred Brown | .... | bass | |
| Uzee Brown | .... | arrangements by | |
| Terrance Buck | .... | tenor | |
| LaMarcus Chancellor | .... | tenor | |
| David Cherry | .... | choir: tenor | |
| Darian Clonts | .... | tenor | |
| George Cooper | .... | baritone | |
| Andrew Cox | .... | bass | |
| Shawn Crosby | .... | baritone | |
| Daniel Dalpiaz | .... | tenor | |
| Paul Daniels | .... | baritone | |
| Rodney Davis Jr. | .... | baritone | |
| Melvin Davis | .... | bass | |
| Llewellyn Dixon | .... | baritone | |
| Derrick Douglas | .... | tenor | |
| Xavier Durden | .... | choir: tenor | |
| Christian Eddings | .... | tenor | |
| Jair Edwards | .... | tenor | |
| Ian George | .... | baritone | |
| Johnny Gillings | .... | tenor | |
| Antoine Griggs | .... | baritone | |
| Johnathan Hall | .... | tenor | |
| Kaedron Hall | .... | tenor | |
| William Harper III | .... | bass | |
| Torrance Harvey II | .... | bass | |
| Judith Hill | .... | songs | |
| Tyler Hill | .... | bass | |
| Bruce Hornsby | .... | score produced by | |
| Bruce Hornsby | .... | score recorded and mixed by | |
| David Horton | .... | tenor | |
| Michael Jack | .... | bass | |
| Thaddeus 'Thunder' Johnson | .... | soloist | |
| Tracy Johnson | .... | bass | |
| Cazemebe Kennedy | .... | baritone | |
| Jeremy King | .... | tenor | |
| Gaelen Lemelle-Brown | .... | baritone | |
| James Lockhart | .... | tenor | |
| Christopher Love | .... | baritone | |
| Keeyen Martin | .... | tenor | |
| Christopher McArthur | .... | tenor | |
| Jeremy McCants | .... | baritone | |
| Elijah McDavid | .... | bass | |
| Bryan Merritt | .... | choir: tenor | |
| Alphonso Mills | .... | baritone | |
| Sherman Modeste | .... | tenor | |
| Mitchell Moffett | .... | choir: tenor | |
| Myles Moody | .... | tenor | |
| Marvin Morris | .... | music editor | |
| David Morrow | .... | director of the musical ensemble | |
| Wayne Pooley | .... | score recorded and mixed by | |
| Bruce Purvis | .... | tenor | |
| Markyle Rondon | .... | tenor | |
| Tislam Swift | .... | choir: tenor | |
| Darrion Swint | .... | tenor | |
| Ardis Tate | .... | tenor | |
| Cameron Thomas | .... | tenor | |
| David Thomas | .... | baritone | |
| Jelani Watkins | .... | bass | |
| Mario Williams | .... | bass | |
| Christian Wilson | .... | tenor | |
Other crew | |||
| Laneesha Bacchus | .... | set production intern | |
| Randall Balsmeyer | .... | title designer | |
| Kecia J. Benson | .... | production assistant | |
| Steve Bono | .... | media manager | |
| Christopher Bynum | .... | parking | |
| Darnell Curry | .... | parking | |
| Jonathan Frederick | .... | parking | |
| Kayinde J. Harris | .... | chaperone: children | |
| Jared Hilliard | .... | production assistant | |
| Prezodous Johnson | .... | parking | |
| Steven Joyner | .... | parking | |
| Barrington G. Kirven | .... | set production intern | |
| Jason Lampkin | .... | administrative supervisor: 40 Acres | |
| Male Legrand | .... | parking | |
| Patrick Lind | .... | intern: 40 Acres | |
| Silas Luster | .... | set production intern | |
| Mega | .... | security provided by | |
| Alisse Nieves | .... | intern: 40 Acres | |
| Jamie 'Nico' Pappas | .... | set production intern | |
| Heather Parish | .... | business manager: 40 Acres | |
| Eden Marie Picazo | .... | archivist: 40 Acres | |
| Jimmie Pinckney | .... | production assistant | |
| Nicco Quiñones | .... | set production intern | |
| A.V. Richardson | .... | set production intern | |
| Edwin G. Robinson | .... | script editor | |
| Ayanna Saulsberry | .... | researcher | |
| Moriah Scott | .... | assistant to director | |
| Earl Smith | .... | liaison: 40 Acres | |
| Bruce Thierry Cheung | .... | script supervisor (as Bruce Cheung) | |
| Wayne Walker | .... | parking coordinator | |
| King Williams | .... | set production intern | |
| Erena Willis | .... | production assistant | |
| Ronica Wynder | .... | production assistant | |
| Max B. Young | .... | production assistant | |
Thanks | |||
| Joyce Boll | .... | special thanks | |
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| Do the Right Thing | B-Hurst | Laws of Gravity | Hope and Glory | My Last Day Without You |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb USA section |
Spike Lee's Red Hook Summer is a picture on par with his first major release, Do the Right Thing, from 1989, which rewarded him with mainstream attention and acclaim from critics and audiences who felt like they were punched in the face with the fist of raw honesty. Throughout his career, Lee has been dedicated to making films with black characters who collectively evade shallow stereotyping and on-set racism, but ones with true humanity and emotions seemingly bleeding from their cold, unhinged bodies.
If you haven't been properly acquainted with one film by Lee, Red Hook Summer is an efficient place to start, but one should wisely begin the adventure at Do the Right Thing, where his true vision and aptitude for writing and directing come into play. This is the closest thing we'll get to a sequel to that masterpiece and I'll take it with no quibbles. If anything. this is a return to form for Lee, who for years was centered on urban dramas with specific characters and a specific agenda. With this picture, he allows the capabilities and the talents of his actors, young and old, to grab the material and freely run with it, creating a fulfilling, spontaneous atmosphere showing not listlessness but an agenda determined to hit on several emotions and character studies. It may be a tad uneven, but it's a film that is so pleasantly written, wonderfully acted, and expertly placed and choreographed that one forgives these flaws and doesn't really notice them long after.
The story is slender, focusing on a young teenager named Flik, wonderfully portrayed by first-timer Jules Brown, who is forced to spend the summer with his grandfather named Enoch Rouse (Clarke Peters), a renowned bishop at the local church in Brooklyn, famous for his fiery sermons and eventful lectures on the word of God and Jesus. Coming from Atlanta, Flik is a kid who took a lot of his privileges for granted, mostly his private school which raised him better than many others he surrounds himself with in Brooklyn, his friends, his relationships, and his iPad 2, which he flashes around like a kid with a McDonald's happy meal toy. Going to Brooklyn with the limited street knowledge he possesses, he is in for a rude awakening but also a faithful (no pun intended) learning experience.
Flik soon learns that living with his grandfather will require a change from his strictly vegan diet, a change in work ethic, and most importantly, a change in the way he views spirituality. Flik is forced to attend his grandfather's sermons, whether he agrees with them or not, but soon realizes that him and the popular New York gang "the Bloods" are the only ones who reject religious beliefs when a church sits practically right next to their housing district.
Just a forewarning; this is not a story of a boy's discovery of the importance of faith and spirituality, but how one boy deals with the dependence on faith and spirituality in the world around him. How he deals with an abrupt change in ethics when forced to live with his grandfather who just found out he exists. And how he begins to respect and admire walking on the different side of the road; something I've preached about since the beginning of my odyssey reviewing films. What Flik is going through as a character is being exposed to a different lifestyle he was willfully ignorant of. He was confined to his small, spoonfed culture in Atlanta, Georgia, and I can't blame his inherent lack of tolerance towards another way of life. What matters is he goes on to accept it and perhaps even admire it.
Flik too befriends a young girl named Chazz Morningstar (Toni Lysaith), an openly feisty woman who questions faith just like her newfound best friend, but seemingly follows it with very loose direction and or guidance. Her homelife is rough, like many youths in the public housing district, her morals jumbled, and her outlook grim and shallow.
There is a twist in the picture, which the film has sort of become infamous for, as it is introduced abruptly and without a clear purpose. This seems to happen with spontaneous films, and being that Lee appears to have thrown a chockablock of ideas into a huge pot to see what works and what doesn't, it's understandably so that one thing doesn't flow well or fails to remain consistent with the remainder of the picture. The shocking thing is how there's only really one uneven element in the entire two hour excursion.
Just like Lee's debut Do the Right Thing, the film has the bright, vibrant, and luscious cinematography, with eye-popping primary colors, and a seamy, humidity-soaked atmosphere relevant to Brooklyn's summer climate. Mix this in with a plethora of great performances (the highlight being Clarke Peters' multi-layered bishop), a finely tuned script, sensitive and alert direction, and a fantastic score, and you have the work of under-appreciated perfection that is Red Hook Summer. Now stir.
NOTE: Spike Lee's character Mookie, the aimless pizza man from Do the Right Thing, makes a few brief cameo appearances, sure to churn a well-warranted smile from someone who appreciates "Spike Lee joints" and cross-film references.
Starring: Clarke Peters, Jules Brown, and Toni Lysaith. Directed by: Spike Lee.