Synopsis
Infiltrate hate.
Colorado Springs, late 1970s. Ron Stallworth, an African American police officer, and Flip Zimmerman, his Jewish colleague, run an undercover operation to infiltrate the Ku Klux Klan.
Colorado Springs, late 1970s. Ron Stallworth, an African American police officer, and Flip Zimmerman, his Jewish colleague, run an undercover operation to infiltrate the Ku Klux Klan.
John David Washington Adam Driver Laura Harrier Topher Grace Jasper Pääkkönen Alec Baldwin Harry Belafonte Danny Hoch Robert John Burke Ashlie Atkinson Jared Johnston Michael J. Burg Ato Blankson-Wood Paul Walter Hauser Ryan Preimesberger Michael Buscemi Corey Hawkins Elise Hudson Frederick Weller Isiah Whitlock Jr. Damaris Lewis Dared Wright Brian Tarantina Faron Salisbury Arthur J. Nascarella Ken Garito Nicholas Turturro Ryan Eggold Gary Ayash Show All…
Jason Blum Spike Lee Raymond Mansfield Sean McKittrick Jordan Peele Shaun Redick Jeanette Volturno Win Rosenfeld Edward H. Hamm Jr. Matthew A. Cherry Marcei A. Brown
Blumhouse Productions QC Entertainment Legendary Entertainment Monkeypaw Productions 40 Acres & A Mule Filmworks
Black Klansman, Infiltrado del KKKlan, BlacKkKlansman: J'ai infiltré le Ku Klux Klan, Csuklyások: BlacKkKlansman, Infiltrado na Klan, Infiltrado en el KKKlan, 臥底天王, El infiltrado del Kkklan
topher grace list of notable roles:
• eric foreskin
• venom from sam raimi’s emo spiderman
• grand wizard of the kkk david duke
this versatility......i will not rest until he wins a golden globe at the very least
This is maybe one of the most frustrating moviegoing experiences I've ever had.
It's not without its good moments. The scenes with the black student union are so powerful. I hope this film is successful enough that it ignites a fire inside the people that need it. But...
Okay.
The first act of this film sets up SO many threads with so many little sentences that feel like they're going to pay off in smart, progressive, eye-opening ways, and every single one of them is abandoned by the end without ever being commented on again. Adam Driver has absolutely no development or arc outside of being a fixture for the operation. Characters float in and out of the story without…
Really love this film. Best Spike Lee since 25th Hour.
DP Chayse Irvin kicks ass with gorgeous 35mm lensing. Beautiful framing and coverage.
Barry Alexander Brown, who has been editing most of Lee's films since School Daze, delivers once again. The pacing and bold cutting decisions are part of Lee's signature... building to an incredibly moving epilogue that had the audience sitting in deafening silence.
See it on the big screen.
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 is pretty much the furthest place from Crooklyn you can get in this country.
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 conveyer-belt shot at the climax, and the sobering mic drop of news footage that brings things to a close —…
I thought it was very good, tragic, weird and funny. Won’t lodge any criticisms, because last night when I did that, standing in the lobby saying dumb shit like I “didn’t like how the score was mixed”, Spike Lee walked by.
This movie has a lot to say and it says it pretty damn well. And that ending is one of the most powerful endings I have seen in a long time. A must-see for practically everyone.
Que filme maravilhoso. Estou impactada que não sei exatamente porque tô chorando. Meu favorito até agora dos filmes do Oscar. Nossa, que filme bom mano.
I really like this movie.
The tongue-in-cheek Trump-Duke stuff is funny and unsettling. The Kwame Ture scene is fantastic.
The general plotline is cool, but I feel like the details need attention. It's like he had a bunch of great separate ideas and didn't quite weave them together right. Every writer develops the skill of abandoning great ideas that simply don't work - whatever the medium. If you're writing a song, and you can't quite make this fantastic gem of a line fit in the song, you eventually have to just write the song without it. LITERALLY EVERY WRITER EVER HAS TO DO THIS. It's as if Mr. Lee has completely ignored the practice and forced all of his mismatched gems into one shiny, gnarled mass.
Also, Patrice is very attractive, but the character drives me crazy, and the acting is spotty.
I repeat: I really like this movie.
It's always lovely to watch a movie that seems comprehensive and precise. Spike Lee's film could be a standalone movie (well...probably) with a loose style and interesting characters with some unpredictable and shifting camaraderie between them for people who want just a quick-paced movie and not much else (weeeelllll...probably...not...) It can be as well a wise lyrical entry into the conversation over how naivete, complicity, and hypocrisy become polluted when nobody around interrogates them. Every beat in the story is its own part in honing an entertaining movie and an ideal piece in creating themes that are exponentially capable of getting viewers to talk.
I liked it. There’s not really much to say to be honest, it probably doesn’t deserve the 4 stars I’m giving it but my boy Ben Swolo was in it so I couldn’t resist. For a comedy, there weren’t too many comedic moments (or at least enough), but when they did come, they were pretty good. Overall, I just enjoyed it.
P.S. That club president bitch was a real bitch. The end.
A powerful, high-wire balance of humor and drama that captures the horror and quotidian nature of racism. Excellent performances from John David Washington and Adam Driver anchor the film, with a pitch-perfect casting choice in Topher Grace.
The film reverberates from the past into the present with it's final scene that may strike some viewers as too didactic, but racism and white supremacy deserve to be decried with all the bluntness we can muster. Lee's interested in weaving the film into the pop culture fabric of America, opening with Gone with the Wind and referencing in dialogue, cinematically, and visually countless other films throughout (from classics of blaxploitation to Birth of a Nation).
The film's depiction of the Klan is…
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