BlacKkKlansman

Spike Lee's BlackKklansman Is the Movie We Need Now—And It's Funny, Too

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One of Spike Lee's best movies.

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The filmmaker turns true story of an African-American cop who infiltrated the white supremacy group in 1970s into an incendiary indictment of our current moment

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Lee would contend, I guess, that the sober approach will no longer suffice — that the age we inhabit is too drunk on its own craziness. He has a point.

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Spike Lee’s “BlacKkKlansman” Is Every Kind of Movie It Can Be

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Spike Lee is still doing the right thing with terrific 'BlacKkKlansman'

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Spike Lee's BlacKkKlansman is set in the '70s but exposes our current rot

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REVIEWS Spike Lee’s messy, funny BlacKkKlansman clowns on the dipshit thugs of skinhead America

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Spike Lee’s ‘BlacKkKlansman’ Is A Witty Comedy That Doesn’t Punch As Hard As Expected

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Spike Lee teams up with Jordan Peele for the funny, pointed, uneven BlacKkKlansman

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A perfectly decent comedy that will be accessible enough for a wide mainstream audience.

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A major comeback for Spike Lee, this incredible true story gives the outspoken director a ripe opportunity to focus his frustration in a constructive way.

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Snuggly wrapped in a ball of political half-humor and cautionary relevance, BlacKkKlansman packs a blunt wallop alongside its C-4 explosives and cross burnings, which Spike Lee reminds us are a bit more dimensional than a page in a history book.

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Spike Lee’s account of an African-American cop who infiltrated the Ku Klux Klan is loaded with incendiary imagery of racial hatred in the past and present.

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Rookie cop Ron Stallworth (John David Washington), who’s African-American, applies to join his local Ku Klux Klan chapter. While a white colleague (Adam Driver) does the face-to-face work, Stallworth works to expose the organisation’s plans.

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Spike Lee's rollicking KKK comedy nails every target in sight

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The film registers an awareness for the narcotic qualities of cinema, particularly films that address matters of race.

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Spike Lee's latest tells the true story of two Colorado cops, one black and one Jewish, who team up to infiltrate the local KKK chapter.

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As a director of actors, Lee is still one of the best in the business, as proven in scenes like the locker room banter between Stallworth, Zimmerman, and Buscemi in a cameo role as Flip's old partner Jimmy – sequences that reinforce the real Ron's belief that, yes, the system can be changed from within.

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Lee’s satirical 70s comedy – about a black police officer who infiltrates the Ku Klux Klan – is broad and unsubtle, but hits its targets effectively

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