Absurd, funny, and at times even unsettling. The jokes and characters are genuinely memorable. The literal camera quality and visual style were also really interesting and gave the film a slightly experimental feeling that fit it perfectly.

I also liked Spike Lee’s way of exploring racism. The film puts the viewer, especially when laughing, in a position where you start thinking about what you’re actually laughing at. It touches on how Black traditions and culture have often been treated as comedy or entertainment for years, even though they can be just as personal and fragile as anyone else’s. But the film doesn’t really try to pick a side, and I think that’s important, especially because Pierre himself is Black and the creator of the show within the film.

Absurd, funny, and at times even unsettling. The jokes and characters are genuinely memorable. The literal camera quality and visual style were also really interesting and gave the film a slightly experimental feeling that fit it perfectly.

I also liked Spike Lee’s way of exploring racism. The film puts the viewer, especially when laughing, in a position where you start thinking about what you’re actually laughing at. It touches on how Black traditions and culture have often been treated as comedy or entertainment for years, even though they can be just as personal and fragile as anyone else’s. But the film doesn’t really try to pick a side, and I think that’s important, especially because Pierre himself is Black and the creator of the show within the film.

Fuck Michael Rapaport

Fuck Michael Rapaport

Super utilisation de la caméra numérique qui permet de changer de qualité, de jouer avec un aspect presque documentaire, presque caméra embarquée, ce qui renforce l'aspect réaliste du film. Et c'est hyper important de la mettre en contraste avec les situations qui sont absolument grotesques.

Super utilisation de la caméra numérique qui permet de changer de qualité, de jouer avec un aspect presque documentaire, presque caméra embarquée, ce qui renforce l'aspect réaliste du film. Et c'est hyper important de la mettre en contraste avec les situations qui sont absolument grotesques.

As a privileged white man, I am unsure of the validity of my opinion on Spike Lee's Bamboozled. I don't know if there is anything I can truly add to the discourse of this film that would be any more than performative allyship. I considered not giving a score at all, out of respect for the subject matter and my own Caucasian lens towards it. But in the end, I felt the film too powerful overwhelming to ignore.

Bamboozled is a proverbial wake up slap to the face in cinematic form. Spike Lee's commentary about racial depictions in media is as sharp and angry as ever, and has only got increasingly relevant in the last decade. It is a challenging watch, and one that left me feeling uncomfortably complicit. The film is about as subtle as an atomic bomb, and it is all the more powerful for it.

That isn't to say that this works in every scene throughout. Daman Wayans gives a performance so on the nose it feels like a caricature. The film's stylistic choice to film most scenes.(aside from the minstrel show) in low quality digital video fits the piece thematically, but makes scenes either feel like a high school film project, or like you're watching the film with your brightness settings down to zero. These are all huge swings that miss most of the time, but when all the pieces fit together just right, the film just hits you, and hard.

I don't know if it will ever be as iconic as other Spike Lee joints like Do the Right Thing or Malcom X, but it sure takes the anger and anxieties of those films and ratchets it up to 11 and takes you to places that will leave you uneasy, and will have you reconsidering your own moral failings in the process.

As a privileged white man, I am unsure of the validity of my opinion on Spike Lee's Bamboozled. I don't know if there is anything I can truly add to the discourse of this film that would be any more than performative allyship. I considered not giving a score at all, out of respect for the subject matter and my own Caucasian lens towards it. But in the end, I felt the film too powerful overwhelming to ignore.

Bamboozled is a proverbial wake up slap to the face in cinematic form. Spike Lee's commentary about racial depictions in media is as sharp and angry as ever, and has only got increasingly relevant in the last decade. It is a challenging watch, and one that left me feeling uncomfortably complicit. The film is about as subtle as an atomic bomb, and it is all the more powerful for it.

That isn't to say that this works in every scene throughout. Daman Wayans gives a performance so on the nose it feels like a caricature. The film's stylistic choice to film most scenes.(aside from the minstrel show) in low quality digital video fits the piece thematically, but makes scenes either feel like a high school film project, or like you're watching the film with your brightness settings down to zero. These are all huge swings that miss most of the time, but when all the pieces fit together just right, the film just hits you, and hard.

I don't know if it will ever be as iconic as other Spike Lee joints like Do the Right Thing or Malcom X, but it sure takes the anger and anxieties of those films and ratchets it up to 11 and takes you to places that will leave you uneasy, and will have you reconsidering your own moral failings in the process.

this has to be one of spike lee's best. it's a real shame this is less popular on here than his oldboy remake.

this has to be one of spike lee's best. it's a real shame this is less popular on here than his oldboy remake.