BlacKkKlansman ★★★★

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 — and the whole thing is kissed with his cock-eyed anger. But so much of this movie seems like it could’ve been made by anybody. It couldn’t have been — it wouldn’t have been — but it often seems that way. We’re talking a clean three-act structure, a couple of scenes that vaguely resemble car chases, and motherfucking Topher Grace.


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