Spike Lee’s hamfisted misfire throws everything at the kitchen sink – income inequality, Watergate, lesbian stud service – and none of it sticks.
Neither audiences or critics knew what to make of Spike Lee’s 70s period piece that made up for in mood and style what it lacked in focus.
Black cinema (and American cinema as a whole) hasn’t been the same since the release of Spike Lee’s revolutionary New York drama.
David Simon and Ed Burns’ adaptation of the Philip Roth novel paints a harrowing picture of an alternate America that feels all too prescient.
It’s Newman and Cruise’s picture first, but Scorsese’s work on it is still a pleasure.