The invisible empire just got expose, how stupid, they really are. What an intriguing, surreal, funny comedy, this movie was!

Rating: 7/10 (7 September 2018)

Loosely based on the 2014 real-life memoir by good nature, ex-police officer, Ron Stallworth, originally titled, 'Black Klansman'. This 2018 biographical comedy drama, directed by Spike Lee; told the story of the first African American police detective in Colorado Springs history to ever infiltrate the Ku Klux Klan, successful. Without spoiling, this semi-historical flick, too much, I didn't mind, that the story wasn't as authentic as the motion picture should had been. Most of the major changes the film did; such as adding an imaginary cop hater activist girlfriend, Patrice Dumas (Laura Harrier) or made up, Jewish surrogate cop, Flip Zimmerman (Adam Driver) for Stallworth (John David Washington) to hang with, while solving a fictional bombing plot; work for the movie's favor, because it add more tension and suspense. However, having the events take place in 1972, instead of 1979 was a stylistic choice that was a mixed bag for me. While, I like that it allow a complex and impassioned debate about the portrayal of race in the media by referencing both Blaxploitation movies, as well, as political conspiracy thriller from that era. It does sway away, the struggles that Stallworth had to go, to accomplice with his main case. Pessimistically, this part of the film was often, sadly, delayed by other things, Lee wanted to shallowing show us first as well. Like, using film footage from another movie, 1939's 'Gone with the Wind' to open this motion picture up. Then, parodying a supremacy propaganda video with a minor character. Although, those sequences were unique to see. It didn't really help, move the plot, along. Much of the same, can be said, with the drawn out love subplot party scene. Did we really need to see Stallworth, dance to the whole song 'Too Late to turn back now' by Cornelius Bros and Sister Rose? It felt like time wasted. Even scenes that seem more important, like Stallworth, doing undercover work like infiltrating a local rally by national civil rights leader, Kwame Ture (Corey Hawkins) ran a little too long. No wonder, why it took forever for the case to take form. The pacing for this movie was way off. Don't get me wrong, I love how that scene is shot, with the lighting experiment, camera zooming in on close up of the bright faces of the crowd, listening to the organizer, surrounded by darkness. It was beautiful. However, the 'Tarzan' speech was kinda theatrical cheesy & forcefully heavy-handed. Not only that, but much of the 'take arms' bullet points, would be repeat, later in the film, anyways, in a jarring badly cut street scene where the black student union debate about having weapons at their protest. In truth, the lecture could had been cut down. Plus, we got a lot more powerful similar speech toward the end, with the film intercuts the KKK doing their rituals and watching director, D. W Griffith 1915's movie 'The Birth of a Nation', with footage of an elderly man, Jerome Turner (Harry Belafonte) illustrates in terrifying detail, how racism films like that, has cause an increase of real-life horrors of cruel and inhumane punishment toward minorities. Still, even that message, the film was somewhat muddled. For example, how on Earth, can Lee denounce one director's use of violent imagery, then, arguably does exactly the same thing, here, albeit from the opposite perspective? I get that, Lee doesn't want to shy away from making connections between the Klan Stallworth infiltrated in the '70s and the Unite the Right Rally of 2017; by having the movie open in theaters on the anniversary week of that tragic event, but having his protagonists, pull out guns and point them at the camera while visuals of modern day racism, both political and national dominates the screen, isn't the right message to give people of today. Anger through violence, in all its enflamed and even cinematic variations, is an emotion that our world could definitely use a little less. We don't need to fuel a future race war. Combating racial inequality through nonviolent resistance would had been a better message to the movie with. Regardless of the mixed moral principles of the director, I found Stallworth to be morally sounded character. Thanks from solid dramatic acting chops from Washington during the serious moments of the film. Stallworth is truly dedicated, good-hearted guy who is stuck in rock and hard place; when it comes to his moral duty. Some people think of him, as a traitor to his race, for being a cop, while others, embraced his courage for taking on the KKK. His struggles was compelling. As for actor's comedic side. It did felt like a variety act to the point, that I did mistake him for Chris Redd at certain moment. Nevertheless, his delivery of humor was hilarious, especially with Stallworth interactions with Klan's Grand Wizard, David Duke (Topher Grace) over the phone & during the infamous photography scene. As for the supporting cast. They were equally as good as Washington, both comically and dramatically, with Adam Driver, standing out the most. As for the music. Composer, Terence Blanchard gave out, one of his best. What a haunting, but funky melody. Plus, his use of catchy R&B culture from the 1970s was well capture. Overall: While, I have furthermore, unnamed nitpicks of historical inaccuracies & problems with film message, that I didn't have time or room to mention, here. I still found this movie as one of Spike Lee's best works to the point that I'm willing to gloss over it. It's highly recommended, even if the film is target at an urban African-American audience. It still does have the appeal to many people, pass racial and ethnic lines. Because of that, I believe every person who believe in human rights should watch this movie. It's fundamentally fascinating.