BlacKkKlansman All User Reviews (14)

Average ratings from 22 ratings, 14 reviews
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BY arlomclean superstar

It says a lot when the most engaging part of your movie is not your movie.

BY PercyM superstar

Powerful, relevant and thought-provoking; with strong performances all-round and clever directing.

I very much enjoyed this film and I haven't seen a Spike Lee film in ages. Its funny and entertaining but the underneath its just terrifying. There is nothing that angers me so quickly as white supremacy bul***** honestly I don't understand it and I take great offense to the N word and i'm not black. but I knew this film was going to be difficult personally for me but its an important film with what is happening around the world right now, not just in America where its a powderkeg. Go see... More it...the performances from everyone is spot on and the end well , it needs to be talked about.Hide

BY MariaC superstar

I wasn't sure what to expect after seeing the trailer and knowing Spike Lee's reportoire - I was surprised, it was funny but still the serious element. You could have heard a pin drop with the ending. Recommended.

BY lost10 wannabe

This film was a real surprise, easily the best film I have seen for a while and I highly recommend this film.
The trailer makes this look like a 70's comedy and there are funny moments it is no comedy and the suspense near the end for the characters was very intense.

I don't remember being so tense throughout the entirety of a movie before - was super confronting and the ending was incredibly powerful. Very important film and worth any unease you might feel watching it.

Had no expectations but was entertained and challenged by the movie. Some classic Black humour great moods of the times and characters, but terrifying to realise that thinking is still radiating. Good night out

Spike Lee presents to the audience an enthralling story of politics, taboo, and race. I sat inside the cinema, absorbed in the film, feeling the past reflected in the present. Lee ends this unbelievable film, with clips of modern politics. As Tame Impala said, "It feels like we're going backwards".

BY ArthurMo nobody

Not a great fan of Spike Lee but I do like a black comedy (no pun intended. Well, maybe, a little;). A good film, a very timely reminder of what black people in America faced and still face. Just when we thought we had left all that racist crap behind in the last century up pops up the detestable KKK supporting and supported by the POTUS. Good film. Recommended. Great hair too!

BY TessaB nobody

I expected to love this movie but I wasn't prepared for just how timely it was. The links to what's happening in America right now were incredibly powerful and hit the right note at every step. Not only is this movie fun and exciting it's also essential viewing for 2018 and I would encourage everyone to see it!

A biopic with a difference, Spike Lee's directorial style is unmistakable, from cinematography, to editing to the soundtrack. A clear voice and topical message is blatant and self-aware in the BlacKkKlansman. Audiences may be surprised, as I was, at how frequent I laughed - a true testament to Lee's experienced hand and a sterling cast of amazing actors. Both haunting, damming and hopeful, it is well worth the watch ... though be prepared to settle in, as at over 2 hrs in duration, it felt... More just a tad long for me.Hide

At times this film doesn’t exactly know what it is. But when it finds it’s voice especially towards the third act. It’s a powerful account of the America of old, mirroring the American experience of today.

I count Spike Lee’s ‘Malcolm X’, ‘Do The Right Thing ‘and ‘25th Hour’ amongst my favourite films. As well as powerful hits and the odd miss, the director’s also capable of delivering solid genre fare, such as ‘Inside Man’ and the pretty good, but completely unnecessary, ‘Oldboy’ remake.

His new movie sits somewhere between classic and accessible, a biting satirical swipe at racism in America. “Based”, as the opening title states, “on some fo-real shit”, this is... More the early 1970s-set story of Ron Stallworth (John David Washington), the first African-American in Colorado Springs Police, who infiltrates the Ku Klux Klan, first over the phone, then in person, in the guise of a Jewish police officer Flip Zimmerman, (Adam Driver), because, as Ron says: “With the right white man we can do anything.”

With that kind of crazy-but-true story most filmmakers would have gone one of two ways: gritty, brutal real-life drama, or bold, brash outright slapstick farce. Instead Lee takes the bold and difficult step of walking satire’s thin line between social commentary, realism and comedy to create a Trumpian satire about today that holds a mirror up to modern race relations, and doesn’t give two hoots about subtlety.

By the time a bigoted Klan member utters a damn near quote of Trump’s baseball cap “Make America Great Again”, you’ll either be so swept up in the raging satire or so taken aback by the lack of subtlety, you will likely have made your mind up what kind of film this is.

A word of caution: don’t.

Go with it and Lee delivers a searing, heartfelt, important , uncomfortable and often laugh-out-loud funny indictment of racism, bigotry and prejudice in America.

Lee sets up his intentions right from the off. Opening with a scene from ‘Gone With the Wind’, in which the camera floats above Scarlett O’Hara as she wanders through a train station covered with the bodies of Confederate troops, and a direct to camera tirade by Alec Baldwin, playing a KKK hatemonger, punctuating his hate-speech with wild coughs and vocal exercises to clear his throat.

It’s shocking, hateful, funny and in-your-face – a direct assault on the audience and on the portrayal of America’s race history in Hollywood. It comes as no surprise when the D.W. Griffith’s 1915 epic hit silent movie ‘Birth of a Nation’ (originally titled ‘The Clansman’) is screened at a KKK gathering, for the white supremacists to cheer as black folk are lynched, humiliated and abused. Nor when Blaxploitation movies, from ‘Shaft’ and ‘Foxy Brown’ to ‘Superfly’ are directly referenced as part of an ongoing portrayal of caricatures envisioned by white filmmakers.

From the KKK to the Black Panthers to the Police themselves, Lee focuses on how self-interested groups close ranks and meet intolerance with intolerance, hate with hate, violence with violence.

As Ron, John David Washington hits the right notes of bemusement, anger, rage, confusion, humour and stunned disbelief. He’s a great protagonist and carries the crazy plot with assuredness.

As his white surrogate, and fellow police officer Flip, Adam Driver delivers an at times surprisingly subtle performance, as a lapsed Jew forced by hate and anti-Semitism to confront his own roots. It’s a great device, forcing audiences to see how, being faced with constant bigotry denies individuality and forces the recipient of hatred to see themselves as a “label” – be it “black”, “gay”, “Jew”, “Muslim” or “woman” – labelling and hatred begets more labelling and more hate.

It’s a vicious cycle society needs to break and that artists have been holding a mirror up to since the ancient plays of Greece.

As Ron’s boss and Police Chief, Robert John Burke is great, walking the line between supporting his new recruit and being a company man, towing the line and playing politics. Laura Harrier makes a strong impression as President of the University’s Black Power group, and as Grand KKK Wizard, David Duke, Topher Grace is at moments so reminiscent of Rhys Derby as inept manager Murray Hewitt in ‘Flight of the Choncords’, it’s hard to take his poisonous racist rhetoric seriously. Which may well be the point, right up until the moment it isn’t and laughing at the rednecks suddenly feels out of place, as hateful words turn to savage deeds.

It may be set in the 1970s but Lee’s firmly focused on now, and at how little has changed. The film wraps up with footage from the 2007 Charlottesville White Power riots, and the horrifying image of a fascist’s car ploughing into protestors, cut with President Trump announcing there was “violence on both sides” and some “very fine people” present, and former KKK Grand Wizard David Duke quoting Trump’s “it’s time to take our country back”.

Intellectually engaging, historically charged, beautifully made and righteously outraged, ‘BlackKKlansman’ is a fantastic film about racism, hatred, intolerance, the media depiction of “others” and civil rights from the 1970s to the Trump era.

Is it a comedy? Is it a drama? It’s both. A satire. Maybe not the one you want, but it’s the one we need. Powerful. Provocative. Funny and frightening. Lee’s latest had my belly aching with giggles, my guts churning with rage, and my mind doing flip-flops.

America First indeed.Hide

BY fairbrother superstar

Spike Lee, for all his intelligence and verve, can be a frustrating director. His fiction films, regardless of genre or subject, tend to be over-long and prone to hammering home their points with much stylistic flailing but without much subtlety (not unlike, say, Oliver Stone). BlacKkKlansman stands guilty as charged on both counts: it's longer than need be and tells us what's on it's mind with unapologetic bluntness. The lead character of Ron Stallworth, too, feels underwritten - strange,... More considering the film is adapted from the man's own memoir. But - and it's a big but - the essential (allegedly true) story is genuinely interesting, an organic weaving of undercover crime procedural, righteous political anger, and justifiably broad satire. Scene by scene, it's both funny and unsettling, amplifying both the absurdity and horror of "mainstream" bigotry until the two harmonize in that awfully familiar key of "America". BlacKkKlansman is a flawed film, for sure, but it's also an accessible provocation and satisfying entertainment. It's a hard film not to like - and, even then, it's still definitely a film you'll want to discuss and argue about.Hide