Filmmaking has rarely felt as urgent as Spike Lee's BlacKkKlansman, a scorching political and social commentary as powerful as it is important. Given the intense turmoil our world is facing, filmmakers must decide whether to ignore or embrace said tumult; Lee was never going to shy away from that and his latest piece is justified in the rage it demands - and if you can't see it, you mustn't be paying attention.
Based on the memoirs of Ron Stallworth, BlacKkKlansman tells of Stallworth's investigation into the Colorado chapter of the Klu Klux Klan. After responding to an advertisement recruiting new members and following numerous telephone communications, he is in need of a white person to stand in for him during face-to-face meetings; recruiting a Jewish co-worker, Flip Zimmerman is wired with a microphone and tasked with infiltrating the group's base, and quickly begins to ascend the rankings. Starring John David Washington and Adam Driver, the incredible true-life story finds an unfortunately disturbing relevance in its tale of segregation, hatred and division.
An extraordinarily well-balanced and calibrated piece of filmmaking delivered with the utmost sense of urgency and power, Lee's satire makes you laugh out loud and then uncontrollably sob out of pure despair in the space of a minute, with the sickeningly intense and uncomfortable standing firmly alongside the crowd-pleasing and touching moments present in the underdog narrative. With Lee adapting the screenplay alongside Charlie Wachtel, David Rabinowitz and Kevin Willmott, this is one of the rare examples where multiple hands on a script help to cultivate the very best out of the dramatised material; despite what could have been a most ill-advised and tone-deaf pictures of the year, under Lee (and producer Jordan Peele's) tight control and direction actually becomes one of the sharpest, most potent screenplays on offer. Fit to burst with thunderous dialogue, it asks some painful questions: why did we let this happen - and why are we letting it happen again? I hope it can inspire change.
Lee's astonishing ability to balance the dark themes and biting subject matter with a well-refined humour, again demonstrating why he is one of the most unwavering, unparalleled voices in cinema. The tremendous confidence and aplomb with which he executes BlacKkKlansman is nothing short of mesmerising, all of which is emphasised by genuinely terrific production design; it enriches the story with flourishes from the era that nail the minor details and encourage your engagement within the narrative. It no doubt lacks subtlety, but when we are talking about content as vitally important as this, you need to be as gutsy as Lee and co are. It's a defiant piece, daring to scorch with its relevancy and prowess, packed to the brim with punchy, stark imagery that won't (and shouldn't) be forgotten quickly. If it doesn't enrage you, you're not paying attention.
One of the most remarkable ways in which Lee achieves this is by carefully utilising and positioning his trademark dolly shot: while the film is always contextualised in the now, the transition literally carries us from the 70s to the present day in order to hammer this point home. Culminating in an epilogue that will shake you to your core through the blistering images shown, it is a defining moment not only of BlacKkKlansman but, sadly, for 21st-century filmmaking. Maybe you think that it is too early to consider BlacKkKlansman one of the most important films of the decade, but I'll sure as hell stand by it.
In front of the camera, the actors do a tremendous job of steadying the conflicting tones and genres with commanding, impressive performances all-round. John David Washington is a revelation; as somebody unfamiliar with his television work, his turn as Colorado's first black detective came as a real surprise, so confidently combining the weight of the story and his personal investment in the investigation with a surprisingly funny spirit that could have been completely undermined the severity of the tale in less trusty, secure hands.
Adam Driver continues to astonish in less conventional but brilliantly-suited roles, cultivating a real sense of empathy that introduces additional thematic strands that demonstrates that the fight is not restricted to one group of people, while never diluting the central premise and notion. Washington and Driver are fantastically matched, with a truly engaging dynamic as the dual Ron Stallworth, each facing individual struggles of their own but coming together to conquer injustice with a united front.
Other supporting performers commit to their unflattering roles, with Topher Grace, Jasper Pääkkönen and Ashlie Atkinson tackling such loathsome individuals with a relative gusto and energy. The intention of Alec Baldwin's opening cameo is undisputable, particularly considering his famous SNL impersonation of Agent Orange, and it sets the tone very effectively. Another MVP, although admittedly behind the scenes, is composer Terence Blanchard, whose score is among one of 2018's very best. Packed with complexity and personality, it is a characterful collection balances the plethora of tones found within the narrative.
A couple of minor, minor flaws crop up with BlacKkKlansman. Clocking in at 135 minutes, it is a touch on the long side with a couple of moments - notably, two separate meetings that don't always slot together as sharply and as seamlessly as intended - in need of a tightening. Even just shaving ten minutes or so from that runtime would iron out the creases, most of which are contained to the romantic sub-plot. While it is a dynamic that allows opposing sides to delve into hotly-discussed questions, the relationship itself is not quite fleshed out as solidly as it could be and, at times, seems to strain in order to set up a bold conclusion that encourages our protagonist to take a more overtly heroic route. It's no doubt packed with emotion but little of it stems from the relationship between Ron and Patrice.
Lee's latest joint is unwavering and unignorable; it will leave you speechless. An exhilarating, uncompromising and intrepid piece of filmmaking as impeccably-crafted as it is vital, BlacKkKlansman is not afraid to ask uncomfortable questions that encourage us to face the pressing and urgent issues of our times. Set in the 70s but rooted in the present, a trait emphasised by a concluding montage sequence that should be singed in your mind forevermore, I implore each and every one of you to seek out BlacKkKlansman and listen to its message: be angry, be saddened, be shaken but don't be still. This is a fight for us all. With the American flag flipped and fading in the final moments of the film, the message is clear that in order to save the nation (and the world), we must unite: be ready for change, and register to vote.
Summary: An exhilarating and uncompromising piece of filmmaking as impeccably-crafted as it is vital, BlacKkKlansman is not afraid to ask uncomfortable questions that encourage us to face the urgent issues of our times. Terrifically executed by the admirable confidence of Spike Lee's unparalleled cinematic voice (as well as his game cast of performers and the real-life story), this is one you all must see.
An extraordinarily well-balanced and calibrated piece of filmmaking delivered with the utmost sense of urgency and power, Lee's satire makes you laugh out loud and then uncontrollably sob out of pure despair in the space of a minute, with the sickeningly intense and uncomfortable standing firmly alongside the crowd-pleasing and touching moments present in the underdog narrative. With Lee adapting the screenplay alongside Charlie Wachtel, David Rabinowitz and Kevin Willmott, this is one of the rare examples where multiple hands on a script help to cultivate the very best out of the dramatised material; despite what could have been a most ill-advised and tone-deaf pictures of the year, under Lee (and producer Jordan Peele's) tight control and direction actually becomes one of the sharpest, most potent screenplays on offer. Fit to burst with thunderous dialogue, it asks some painful questions: why did we let this happen - and why are we letting it happen again? I hope it can inspire change.
Lee's astonishing ability to balance the dark themes and biting subject matter with a well-refined humour, again demonstrating why he is one of the most unwavering, unparalleled voices in cinema. The tremendous confidence and aplomb with which he executes BlacKkKlansman is nothing short of mesmerising, all of which is emphasised by genuinely terrific production design; it enriches the story with flourishes from the era that nail the minor details and encourage your engagement within the narrative. It no doubt lacks subtlety, but when we are talking about content as vitally important as this, you need to be as gutsy as Lee and co are. It's a defiant piece, daring to scorch with its relevancy and prowess, packed to the brim with punchy, stark imagery that won't (and shouldn't) be forgotten quickly. If it doesn't enrage you, you're not paying attention.
One of the most remarkable ways in which Lee achieves this is by carefully utilising and positioning his trademark dolly shot: while the film is always contextualised in the now, the transition literally carries us from the 70s to the present day in order to hammer this point home. Culminating in an epilogue that will shake you to your core through the blistering images shown, it is a defining moment not only of BlacKkKlansman but, sadly, for 21st-century filmmaking. Maybe you think that it is too early to consider BlacKkKlansman one of the most important films of the decade, but I'll sure as hell stand by it.
In front of the camera, the actors do a tremendous job of steadying the conflicting tones and genres with commanding, impressive performances all-round. John David Washington is a revelation; as somebody unfamiliar with his television work, his turn as Colorado's first black detective came as a real surprise, so confidently combining the weight of the story and his personal investment in the investigation with a surprisingly funny spirit that could have been completely undermined the severity of the tale in less trusty, secure hands.
Adam Driver continues to astonish in less conventional but brilliantly-suited roles, cultivating a real sense of empathy that introduces additional thematic strands that demonstrates that the fight is not restricted to one group of people, while never diluting the central premise and notion. Washington and Driver are fantastically matched, with a truly engaging dynamic as the dual Ron Stallworth, each facing individual struggles of their own but coming together to conquer injustice with a united front.
Other supporting performers commit to their unflattering roles, with Topher Grace, Jasper Pääkkönen and Ashlie Atkinson tackling such loathsome individuals with a relative gusto and energy. The intention of Alec Baldwin's opening cameo is undisputable, particularly considering his famous SNL impersonation of Agent Orange, and it sets the tone very effectively. Another MVP, although admittedly behind the scenes, is composer Terence Blanchard, whose score is among one of 2018's very best. Packed with complexity and personality, it is a characterful collection balances the plethora of tones found within the narrative.
A couple of minor, minor flaws crop up with BlacKkKlansman. Clocking in at 135 minutes, it is a touch on the long side with a couple of moments - notably, two separate meetings that don't always slot together as sharply and as seamlessly as intended - in need of a tightening. Even just shaving ten minutes or so from that runtime would iron out the creases, most of which are contained to the romantic sub-plot. While it is a dynamic that allows opposing sides to delve into hotly-discussed questions, the relationship itself is not quite fleshed out as solidly as it could be and, at times, seems to strain in order to set up a bold conclusion that encourages our protagonist to take a more overtly heroic route. It's no doubt packed with emotion but little of it stems from the relationship between Ron and Patrice.
Lee's latest joint is unwavering and unignorable; it will leave you speechless. An exhilarating, uncompromising and intrepid piece of filmmaking as impeccably-crafted as it is vital, BlacKkKlansman is not afraid to ask uncomfortable questions that encourage us to face the pressing and urgent issues of our times. Set in the 70s but rooted in the present, a trait emphasised by a concluding montage sequence that should be singed in your mind forevermore, I implore each and every one of you to seek out BlacKkKlansman and listen to its message: be angry, be saddened, be shaken but don't be still. This is a fight for us all. With the American flag flipped and fading in the final moments of the film, the message is clear that in order to save the nation (and the world), we must unite: be ready for change, and register to vote.
★★★★★★★★★☆
(9/10)
Summary: An exhilarating and uncompromising piece of filmmaking as impeccably-crafted as it is vital, BlacKkKlansman is not afraid to ask uncomfortable questions that encourage us to face the urgent issues of our times. Terrifically executed by the admirable confidence of Spike Lee's unparalleled cinematic voice (as well as his game cast of performers and the real-life story), this is one you all must see.