When there’s murder on the streets, everyone is a suspect.
Strike is a young city drug pusher under the tutelage of drug lord Rodney Little. When a night manager at a fast-food restaurant is found with four bullets in his body, Strike’s older brother turns himself in as the killer. Det. Rocco Klein doesn’t buy the story, however, setting out to find the truth, and it seems that all the fingers point toward Strike & Rodney.
Title Clockers
Release Date 1995-09-15
Genres Mystery Crime Drama
Production Companies 40 Acres & A Mule Filmworks, Universal Pictures
Production Countries United States of America


Spike Lee is an unfortunate instance of a very talented filmmaker who's obvious talent in craftsmanship doesn't come across in contemporary mainstream cinema because of issues having nothing to do with cinema itself. I realize that in becoming great at anything in one's life, other things have to suffer, and with him it seems, at least to me, that for everything he has undoubtedly accomplished in the filmic realm, it's created a type of 'idiot savant' (it's simply an existing term--I certainly don't mean it pejoratively)--that is, in social skills, at least pertaining to self-marketing, or getting across one's persona in the field, he is lacking--and it negatively impacts his cinema. And that's a dirty rotten shame, because this was a fine film. He and his excellent approach to cinema remind me of the Heisenberg principle and make me: a) wish Lee could find more happiness in his life, so that he can come across better, and thus have his personality not negatively influence cinephiles like me; and b) wonder, like in 'A Beautiful Mind', if he was happier and more pleasant, if it would negatively impact his filmmaking? Philosophical questions such as this tend to keep me up at night, unless I have some red wine, milk or chamomile tea to wear me out and soothe me. 'Clockers' worked for me. Keitel was really on a roll when he worked in this, with 'Bad Lieutenant', 'Reservoir Dogs', 'Pulp Fiction' and 'Smoke' all around this time. It was certainly a great vintage for him, and a fine time to sample his acting.
This is a criminally underrated gem, a urban movie about drug dealers that feels nothin like your typical gangsta movie, it doesn't have constant rap playing the whole way through, but a poignant classical soundtrack from Blanchard, Albeit still great 90's hip hop in it. The emotion and color of the sets are tangible. I wouldn't really call this a Spike Lee joint, because Scorsese produced it, it has a much more professional and serious feel than Spikes previous corny work. The 90's Brooklyn hip hop street reality feel is there but this film hits a much deeper note in the soul, skip the mainstream trailer, it might be the reason this failed in the mainstream, when it sours with true underground heads.

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