Critic Reviews

83

Metascore

Based on 56 critic reviews provided by Metacritic.com
100
BlacKkKlansman is both hilarious and exquisitely direct, and had it been made before November 2016, you might call Lee’s approach a little alarmist. But if anything, he’s restrained. This is an angry film as well as a hugely entertaining one, and Lee has complete control over its shifting tone, minute by minute.
90
BlacKkKlansman is a nuanced story of race in America, but Lee doesn’t take any chances with vagueness or ellipses, nor should he. As much as BlacKkKlansman plays with the mechanics of blaxploitation fantasy, it doesn’t leave one with any question about what’s real.
83
Hell, this thing is so mainstream it feels like the start of a franchise. And yet, that mass appeal is a huge part of what makes this funny and righteously furious American film so powerful.
80
It’s no surprise that director Spike Lee prefers a hammer to a scalpel for this real-life drama, but his righteous fury is supplemented with a mature thoughtfulness that gives the proceedings the grim weight of history.
80
Lee’s latest is as much a compelling black empowerment story as it is an electrifying commentary on the problems of African-American representation across more than a century of cinema.
80
A heady hybrid of comedy, polemic and period crime drama, it could have been scattergun stuff, and there are patches of preachy overkill. Much more often, though, there’s a rollicking drive and focus to it.
80
Lee uses Blaxploitation motifs playfully but with purpose, honoring an era of discourse and activism while urging for the necessity of a similar film language now. If we are not keen to the past, we’re likely to find ourselves mired in its ills again. We already are, of course.
80
That Lee has crafted a funny film full of snazzy editing, stylish imagery and a tremendous blues rock score, yet is laser-focused on a very serious subject matter, demonstrates his mastery of the cinematic medium.
70
Lee and his writers have thrown as many logs on the fire as they’ve been able to find to signal the persistence of racial injustice; they have also endeavored, and mostly succeeded, to entertain.
60
It’s an entertaining spectacle but the brilliant tonal balance in something like Jordan Peele’s satire Get Out leaves this looking a little exposed. Yet it responds fiercely, contemptuously to the crassness at the heart of the Trump regime and gleefully pays it back in its own coin.

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