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Despite a muted reception back in May 1994 — certainly compared to Spike Lee’s previous film “Malcolm X” — “Crooklyn” has endured for three decades as one of the director’s most treasured films.
At the time, Spike Lee was still in the first decade of his career as a director, and “Crookyln” marked his seventh film in nine years with his “brand” in the popular consciousness as a polemical artist at the vanguard of the ’90s Black New Wave that also featured filmmakers such as John Singleton, Mario Van Peebles, and the Hughes Brothers.
Crooklyn, while fitting within Spike’s collected body of work about the Black experience in America, took a detour in tone from his earlier, more overtly political films such as “Do the Right Thing” and “Jungle Fever.” Contemporary reactions to the film were mixed, and “Crooklyn,” like all of Spike’s post-”Malcolm X” films up to “Inside Man,...
At the time, Spike Lee was still in the first decade of his career as a director, and “Crookyln” marked his seventh film in nine years with his “brand” in the popular consciousness as a polemical artist at the vanguard of the ’90s Black New Wave that also featured filmmakers such as John Singleton, Mario Van Peebles, and the Hughes Brothers.
Crooklyn, while fitting within Spike’s collected body of work about the Black experience in America, took a detour in tone from his earlier, more overtly political films such as “Do the Right Thing” and “Jungle Fever.” Contemporary reactions to the film were mixed, and “Crooklyn,” like all of Spike’s post-”Malcolm X” films up to “Inside Man,...
- 5/28/2024
- by Sam Moore
- Indiewire
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