It’s surprisingly easy to forget that “BlacKkKlansman” is a Spike Lee joint. Not only does it open with an extended sequence from “Gone with the Wind” (not a Spike Lee joint), but it also spends a good amount of time parsing the fundamental dilemma of Jewish-American identity, and takes place in the snow-white hills of Colorado Springs … which in this country, is pretty much as far from Crooklyn as you can get.
Sure, the usual Lee flourishes pop up here and there — from the introductory text promising this buddy-cop biopic is “some fo’ real shit,” to the gorgeous conveyor-belt shot at the climax, and the sobering mic drop of news footage that brings things to a close — and the whole thing is kissed with his cock-eyed anger. But so much of this movie seems like it could’ve been made by anybody. It couldn’t have been — it wouldn...
Sure, the usual Lee flourishes pop up here and there — from the introductory text promising this buddy-cop biopic is “some fo’ real shit,” to the gorgeous conveyor-belt shot at the climax, and the sobering mic drop of news footage that brings things to a close — and the whole thing is kissed with his cock-eyed anger. But so much of this movie seems like it could’ve been made by anybody. It couldn’t have been — it wouldn...
- 5/14/2018
- by David Ehrlich
- Indiewire
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