The result is dizzying, exhausting, and ultimately effective in the most purely of unconventional ways. These moments are butted up against others that will no doubt fail to affect. It’s an everything-and-the-kitchen-sink approach, guaranteed, on a viewer by viewer basis, to contain portions that simply, glaringly, do not work. The film is a positively schizophrenic blend of anti-violence, irate feminism, rampant male gazing, religion, and hip-hop culture – all areas by no means unfamiliar to Spike Lee’s filmography – but here, more-so than ever before, they are transparently utilized as collective means to an end.
You will be genuinely moved at times, but you roll your eyes in disbelieve just as often. Brazenly based on the ancient play Lysistrata by Aristophanes, it’s shot in the streets where the gun problem is very real, the film nonetheless ventures freely and deliberately into the land of both tired cinematic tropes and cockamamie storytelling notions long rejected by the screen. After a solid decade, or longer, of slowly sliding into a plane of cultural irrelevance that the outspoken filmmaker is simply not suited for, the maker of Do the Right Thing and Malcolm X is re-emerging as his old firebrand self.Ĭhi-Raq, a wailing, wrenching, and downright bizarre screed on the crisis of gun violence in the south side of Chicago is, by design, an unforgettable experience. Spike Lee is making some noise, and he wants to make absolutely sure that you hear it. Spike Lee Aims To Put Gun Violence To Bed
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