Rating: 
Summary: Bam! He Did It!
Review: No matter what we think about the shortcoming of Lee's films, he's certaintly taken risks and put out a body of work that attempts to be both entertaining and critically conscious. I have problems with many of his films, but Bamboolzed is without doubt Lee's best, most unoticed work. It's really too bad that this movie didn't receive the attention it should have.If we examine the film carefully, it causes us to question the representations of African people in American media today. To what extent have those representations moved beyond the stereotypical blackface stereotypes of the early 1930s? And to what extent do African people have an influence on these representations? Many viewers my not like how Lee chose to resurrect and tell about blackface, ministrel show history, but in my view he wrote, directed, and produced a creative modern documentary that raises questions about contemporary flicks and WB programs like Booty Call and The Parkers. Put these shows beside blackface ministrels and you'll get what Bamboolzed is trying to say.
Rating: 
Summary: Flawed but interesting
Review: I was thinking this was going to be a biting social commentary about a black guy that tries to get fired from his job for creating a minstrel show. That should have been the focus. Unfortunately, the movie goes on WAY too long, and goes off in all sorts of unrelated tangents. I get the point that he feels that a lot of black entertainment is not that different than minstrel shows of the past. I liked the television spoofs of that notion (most noteably the tv commercials featuring black people and their bootys), and that general direction. But you definitely get the feeling that Spike Lee has a LOT of hatred in his soul. The main white guy is obnoxious and offensive (quite often the case in Spike's movies), and most of the black characters are portrayed negatively as well. Many issues are addressed, much of which added to the unfocussed feel of the film (police shootings, use of the "n" word by both black and white folks, OJ, white people that act black, etc.). Much of this, I am sure, is what made the film seem to go on forever. Initially, you think you get what the viewpoint is, but by the end of the movie, you may be scratching your head thinking, "what was he really trying to say?". Spike's obvious disdain for the way black entertainment is packaged for mainstream America is somewhat annoying, only because white entertainment is often embarrassing as well--black people don't have the market cornered on low-brow laughs. I just feel like Mr. Lee needs to lighten up a bit. Still, a provocative piece of work that will stick with you awhile. However, my favorite Spike Lee movie to date is still his first: She's Gotta Have It. It's the movie that makes me come back for more of Mr. Lee's work, but unfortunately I haven't seen that level of lighthearted fare from him since.
Rating:
Summary: Important subject which got away from him
Review: I really enjoyed the first half of this movie, when it was biting, satirical, thought-provoking AND funny. But then it seemed like Spike got tired of it (or couldn't think of an ending) and just killed it off with a explosive Hollywood ending more suited to an action film. Many reviewers here have said they wish he'd made the movie as a documentary...actually, it's already been done and I highly recommend the Emmy-winning video "Ethnic Notions." It's widely available at many libraries. This is a personal peeve: We have enough work to do in race relations, so I wish Spike Lee wouldn't use his formidable reputation to perpetuate silly urban myths. In this film he has a fake ad for "Hilnigger Jeans" a reference to the urban myth that Tommy Hilfiger supposedly announced on Oprah (or Larry King) he was dismayed to see his clothes worn by Blacks and Asians. (According to Oprah herself, Hilfiger's never even appeared on the show. Nor has he been on Larry King. And think about it: why would anyone say something so financially self-destructive?) Spike fanned a similar urban myth in a 1992 Esquire interview in which he claimed Liz Claiborne had stated (on Oprah, of course) that she didn't want her clothes to be worn by wide-hipped Black women like Oprah and he urged everyone to boycott Claiborne. Again, she's never even been on the show. Documentation proving the falsity of these rumors is available at several sites, like urbanlegends dot com. and is also discussed in the book, "I Heard it Through the Grapevine."
Rating: 
Summary: Excellent, ground-breaking
Review: This is simply an excellent film. It is very well-written and well acted. It was shot on digital off-the-shelf cameras and maintained the quality of modern film-making. This is a ground-breaking film in many aspects.
The story, a modern satire, is pentultimate expression of Spike Lee's work. The story shocks and surprises on so many levels. The personal response of the viewer can be surprising, revealing. Spike Lee attempts and succeeds in showing every conceivable point-of-view of the topic and lays it out for the viewer like an intellectual smorgasborg. Prepare to be surprised at your own feelings and thoughts, no matter who you are. Highly recommended.
Rating:
Summary: 'BAMBOOZLED' Spike Lee's best yet
Review: If you really think about it, Spike Lee has been the only Black, African-American, or as "Bamboozled" puts it, "Negroe", who has been willing to stick his neck out to create not just films, but art to help others better understand the African-American race and culture in America. From "Do the Right Thing", to "X", and now "Bamboozled", Lee has tackled just about every issue concerning African-Americans in the book. "Bamboozled" is no exception. The movie concerns itself primarily with image and racial identity, and how entertainment and the media has portrayed the image of the Black people in America through the century and into the new Millenium. When Pierre Delacroix (Damon Wayans), a down and out television producer, concieves and revives the idea of the old minstrel shows, his intention is to solely offend, yet offer a general and new perspective on the roots of the Black people, using actors who use black makeup to create blacker faces on the show. Of course, this arouses controversy, and in the end, Delacroix and those involved are the ones who are "Bamboozled". Wayans and tap dancer extrodinaire Savion Glover are absolutely magic, as well as Jada Pinkett-Smith. The thought behind the movie, as well as Lee's other movies, is controversial, yet forces you to think about your own preconcieved judgements and stereotypes. The DVD offers some excellent features including a "Making of" documentary, which goes in depth into the unorthodox filming of "Bamboozled", and the extraordinary talent involved. Music videos, commentary, and an art gallery make great extra features. Controversial, underrated, satirical, witty, yet one of Spike Lee's best joints, "Bamboozled" is a must see!
Rating:
Summary: Filmmaker comes of age
Review: As a specialist in the area, I thought that little more of value could be said in public on the subject of African-American identity. The best dialogue on the tension between identity and stereotype has been kept internal. This film was poorly promoted and perhaps that's for the better - remember the thrashing Spike Lee received for School Days, particularly the film's publicization of the 'hair wars'? That was a minor breech compared to Bamboozled! I have never before seen such a public treatment of the constant negotiation of African-Americans (and women) within majority racist/sexist structures. For example, the public isn't ready to deal with the interrelation of white male power and the eroticization of black males, but Spike puts it out there anyway, in one sly and stunning scene near the beginning of the film...see if you can spot it! This film is a fine illustration for those familiar with issues of Black American identity, and an excellent introduction for those who are not. My only disappointment is in the film's treatment of specifically women's issues, which are for the most part viewed but not addressed. Speaking strictly in terms of craft, Spike Lee, already a skillful filmmaker, has come of age. A bold and masterful work, exceeding even this fan's expectations!
Rating:
Summary: The best underrated film of 2000.
Review: Without a doubt, Bamboozled shines in so many ways. I've been a moderate fan of Spike Lee for the longest (ever since Do The Right Thing), and I must say that this film is clearly among his best. The message of racism and how it plays in the media was shocking as well as entertaining. Not only does this film delivers in so many ways, but it opens our eyes so to speak, about the sybliminal racism that is in our media, but we fail to see it because forced to like it. Preformances by Damon Waynes was a revalation considering some of his past acting roles. Whether or not your a Spike Lee fan, this film will never fail to amaze you, and is a must see despite the lack-luster reviews some of the amazon reviewers have given it.
Rating:
Summary: Worth seeing, but it does not live up to its potential.
Review: About the first hour of this movie is stirring, and one finds oneself praising Spike Lee for a great concept and for barbed satire at its best. The caricatures are deft and the film hits the bullseye on many racial foibles in both the black and white communities. But once the characters and situation have been set up, the film runs out of steam; Lee doesn't appear to know what to do with his concept, so he allows it to dissipate into ridiculous melodramma. The clips at the end of the film, however, are a priceless montage. Donald Boogle wrote "Toms, Coons, Mulattoes, Mammies, and Bucks," a history of black images in the American cinema. It would be interesting to see what Spike Lee could do with a documentary version of this study. In the end--and this seems to be a constant in his movies---Lee's cinematographic skills in "Bamboozled" out paced his narrative skills. As one reviewer has stated, perhaps addressing the issue of images through a documentary text--like Boogle's work---would allow Lee to showcase his film making skills and side step his weakness with narrative.
Rating:
Summary: Wrong place at the wrong time
Review: Sure, the movie has problems but deserves acclaim for these reasons: It points out that rappers are putting on a modern day minstrel show. I use to like rap a few years ago, but todayevery rapper on the radio is trying their hardest to look and sound as stupid as possible to entertain their 70%+ caucasian audience. Consider the scene where Mantan has the body of chicken and then look closely at multi-platinum selling rap star Nelly's performance at the Super Bowl half time show. He's stooping, and flapping his arms like chicken wings. Coincidence? This film attacks materialism which is what every "urban" song is about and every "urban" video promotes. Mainstream rap is going the way of the Roman empire and they don't even realise it. I'm probably one of the few people who can say that 'Bamboozled' was the first Spike movie I ever saw. Since then, I've seen 8 other Spike joints. The reason that 'Bamboozled' didn't make an impact is because people are tired of Spike making movies about races at war, because he's already proven that he could do that. Spike should've made a movie about racial harmony, because it does exist. It couldn't hurt and it's probably what the public is waiting for him to do.
Rating:
Summary: Significant, if flawed
Review: This was a hard movie for me to watch because I did not want to deal with the emotions stirred up by the horrible images of African Americans that proliferated through this country during the 1800's. I mean it was hard enough to get through that during history lessons, but the idea of watching an entire motion picture about a minstrel show -- coal black faces, bulging eyes and bulbous red lips -- was unsettling to me. I could barely stand to see the trailers with Savion Glover rasping "Shoooooooowtime" as he poses with his bright white gloves next to his blackened face. Despite my misgivings, I felt like this movie was important enough for me to try to get over my discomfort. See, I had read all the controversy about what various entertainers thought Spike was saying with this flick and wanted to judge for myself. Everyone is fair game in this movie. Buckdancing entertainers who are so happy for a gig that they will sacrifice their dignity, mercenary television networks that will pander to the lowest common denominator if it means better ratings, the public that eagerly sops up whatever garbage Hollywood foists upon it, wannabe revolutionaries, white folks who think they are blacker than black and self-hating negroes with their pretensions (that accent is really annoying). Yep, Spike goes after everyone with mixed results, which leads to my only real criticism of this movie -- it tries to do too much and winds up disjointed. The first half is cool. Actually, it's kind of funny watching Wayans hatch "Mantan, the New Millenium Minstrel Show." In just one skit Tommy Davidson manages digs at M.C. Hammer, Kirk Franklin and Juvenile. But by the second half things kind of fall apart. I never really understood whether Wayans' character actually bought into the warped thinking that this "satire" was actually a good thing. I was not sure whether he was simply parrotting the spiel hatched by the PR person or whether he honestly believed that his show had a purpose. In the segment where he wins the award there are a couple of scenarios that could be read either way as he mimics the acceptance speeches of Cuba Gooding and Ving Rhames. "I could play the grateful negro and would always work in this town," Wayans muses. The ending is totally disappointing and far-fetched. Not to spoil it for those who haven't seen it, but there is high-drama and senseless violence at the close. On the whole, this is a worthwhile flick because it will force you to think about some serious, unpleasant things that most folks would rather ignore. Further, I don't think that any of us should ever forget these subhuman images of Black folks that were as commonplace as table salt. I daresay that if more of us were aware of these idignities that we couldn't help but to shun some of this ... palmed off on us as entertainment. There is nothing cute about buckdancing, bulging eyes, or shuffling. I think Mr. Lee's underlying premise is that minstrel shows are still among us, but the performers are no longer wearing black face, and the public loves them. Spike, I can dig it.
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