Rating: 
Summary: the most important american film of the year
Review: i can't remember where i read this, but this particular article put forth that no working director has more good ideas than spike lee...however, no director has as many bad ideas as him, either. spike lee is a provocateur: whether one agrees with his politics or even believe he makes good films, one must agree that he's never less than thought-provoking. i saw bamboozled over the weekend and, while i enjoyed it and think it's his best film in some time now, it still suffered from the unevenness that's plagued his last several films.bamboozled is the story of a network writer who goes by the dubious name, pierre delacroix (damon wayans). as played by wayans, delacroix is a caricature: he's a harvard-educated man who, by all indications, is ashamed of his background and therefore changes his name and speaks in a ridiculous pseudo-french accent: he is what most people would call a "sell-out." delacroix becomes angered that none of his shows -- shows all about the black middle-class -- are getting anywhere. his white boss (michael rappaport, the actor called in when one wants a white guy to play "street"), married to a black wife with two biracial children and posters of black athletes covering his walls, demands that delacroix write something "black." delacroix decides that he wants out, but the only way that can happen is if he's fired. his solution? write something that's so offensive and so out there that the network has no choice but to can him. the result: "mantan: the new millennium minstrel show," featuring two street performers, manray (savion glover) and womack (tommy davidson). the catch: everyone on the show will perform in blackface, except the cast will be all african-americans. imagine delacroix and his assistant's (played by jada pinkett-smith) surprise when the boss loves the idea and orders up twelve episodes. the show becomes a big hit and delacroix, initially upset, starts to revel in his success despite his assistant's pleas for some sanity. understandably, the nation is torn: the show inspires a blackface trend but is boycotted by al sharpton and johnnie cochrane. in particular, the show is despised by a "political" rap group called the mau maus led by big blak africa (mos def) who, ironically, tried out for the show. i'll stop here to keep from spoiling the rest of the film. so who is lee taking shots at? - most obviously, the wb and upn. - "in living color" - capitalism. - a nation not willing to give serious black shows a chance. - african-americans not willing to give black shows a chance. - hypocritical rappers. - white people who think degrees in african-american studies or being married to a black person or having black friends mean they have a unique understanding of african-americans. - tommy hilfiger - advertisers - people who'd do anything for money. - people who criticize others for making money. at the heart of bamboozled lies this question: what is black? is black "the wayans brothers"? is black "the cosby show"? is it neither? delacroix's father is played by paul mooney , on one end of the spectrum, as a nightclub comedian. he's a very funny man and someone who i'd believe wayans' character, on the other end of that spectrum, plays in to stereotypes. even if that is the case, he's realer than delacroix. on "bamboozled," the show, there are three characters who are important to our understanding of the film and its message. there's mantan (glover) who, like his partner womack, was once homeless, but, until the very end, enjoys all of the advantages that money and fame bring him: he's willing to do anything in order to do that which he loves, dancing, and to get paid for it. womack ("sleep'n'eat" on the show), in a particularly moving scene and in stark contrast to his partner, is seen crying as he applies the blackface to himself, right before he quits: to him, money isn't worth his dignity. finally, there's honey-cutta: when we first meet him, it seems that he's homeless, as well, but he's much older than the other two. the show is his big break and enables him to make have something late in his life. he's more than happy to do whatever's required of him. just as you're ready to judge everyone on the show for getting involved with something so vile, the character of honey-cutta makes you stop and ask: but who am i to say what people can and can't do for money? with his talent, mantan could very likely find other work, though it's possible he's been typecast for good; womack doesn't seem to care what the alternatives are: he left for the good of his soul; and honey-cutta reminds you that there's a scarcity of roles out there for african-americans, even in this new millennium, and that sometimes you do what you must. wrapping up, there are, i feel, two main faults to the story. though they were good for comic effect, the mau-maus, given their important role in the film, should've been played straighter in order for the film to have more of an impact (and to make more sense) in the end. secondly, delacroix shouldn't have been given an inner dialogue given the way his character was played. at times, it seemed that whatever he felt was insignificant, that he was all surface like patrick bateman in american psycho. yet, at the end, his feelings played an integral part in the movie. he came across as a cartoon and to have the film hinge on his emotions lessened the effect. as i left the theatre, i remarked, "that's a lot to process" and, indeed, it is. bamboozled is a font of ideas and it's lee's angriest film since do the right thing: if it possessed that classic's focus, it would've been a masterpiece. despite these flaws, though, bamboozled is still a film to see, and better yet, discuss.
Rating: 
Summary: Everything an American film should be
Review: This film, to my surprise, came to my local multiplex and it's a good thing that I went right out and saw it because it's gone after only one week of playing. I'm not surprised; I was the only one in the theater. This film is ballsy, loud, brash, heavy-handed, insightful, hilarious, touching, sad, deft, and on and on. Spike Lee has crammed a lot of vitriol into this movie. It's a satire in which no one escapes unscathed. Unfortunately, it's also a satire without a clear or coherent point of view. I'm still unsure of what his point is, but Lee's anger comes across loud and clear. This is an important movie. It SAYS SOMETHING about our culture, unlike CHARLIE'S ANGELS and whatever "fun, popcorn" flicks are currently raking in billions. It perfectly illustrates how hard it is to promote a critical perspective of our culture without that perspective being read as an endorsement. Read the reviews (particularly Ebert's) of this film to see how incapable some reviewers were of separating the message from the representation. I think Lee did a terrific job of complicating my pleasure: some scenes had me laughing and cringing because I was laughing. I've never had this experience before and I doubt I will anytime soon.
Rating:
Summary: Look beyond the surface level of a very important film
Review: Spike Lee's multi-layered satire/documentary-type look at racist stereotypes of Blacks throughout American TV and film history is excellent. "Bamboozled" challenges its audience, asking it to think about the implications of what's on screen. This film is a definite alert to whites, but above all it's a film Blacks truly need to see. However you slice it, "Bamboozled" is a must-see film. Lee's film challenges many people. First, those contemporary Black entertainers who have become oh-so-comfortable with demeaning themselves for the almighty dollar. The white TV executives who make the decisions about which "black" shows see the TV light of day. The rap artists who think they're "doing the right thing." And that's just the tip of the iceberg. The everyday attitudes of Blacks and whites towards Blacks, based upon how Blacks are perceived on TV, is also a major focus. These and many other interesting issues regarding race make for a stimulating, thought-provoking conversation after "Bamboozled" is over. This film is insightful, not controversial. Controversial is the wrong (and over-used) word. "Bamboozled" is an educational experience, not an entertainment fest. And don't miss the end credits!! This film will be a classic in years to come. If you are smart enough to decide to see the film, ignoring those dissenting film critics who have attacked "Bamboozled" without providing intelligent reasons why they believe it is flawed, then you've successfully avoided being bamboozled!!
Rating: 
Summary: BAMBOOZLED Bamboozles
Review: BAMBOOZLED Bamboozles By Uhhmone 10/25/00 Part of the good news is Spike's movie found a distributor; in St. Louis no ads noticed the public of its showing in ONLY one movie theater. Spike may have blown his own ad campaign by way of his choice of 19th century post slavery caricatures in black face. Advertisers naturally feared reprisals from depicting black skin toned red juicy lipped stereotypes. Though advertisers and television producers deserve criticism for much much less they certainly would have deserved even more had they aired Lee's ads. Otherwise Spike's ads would open the door to minstrel heaven in advertising. Starring Damon Wayans, Savion Glover and Jada Pinkett, the film is recorded on some hairy looking film, I suppose part of the new jack thing in Hollywood, much like "Private Ryan" and others. It took 1/3 of the movie to accept Damon Wayans in his role --he just didn't fit. Some lines meant or not meant as comical seemed confusing. In the movie Spike makes a huge swiping comparison of today's and yesterday's Black cast sitcoms as modern minstrel shows -- deliberately failing to specifically identify the current Wayans sitcom which best fits the minstrel mode, as does "The Fresh Prince". Hmmm, I wonder why! Spike, as writer/director showed touches of creative genius for the first one hour + but lost track after making his point, then rambled into losing his way to the story's conclusion. Quoting an earlier viewer "I felt like the ending was too Hollywoodish". Despite it all Glover's dancing was splendid and he played a great and surprisingly believable role while Pinkett's on screen presence was captivating, serene and provocative. Glad to see the Sistuh on the big screen with the Bruthuhs. Spike deserves credit for daring to take the lead in criticizing the exploitive nature of Black sitcoms and the individuals responsible for their airing whether in front or behind the camera. He also deserves credit for a well developed satire - a caricature of a caricature. And finally, "Bamboozled" was fun to watch and opens the door for more creative criticism. Like the film "Lets Do It Again" a Brother faced an obstacle and overwhelming personal and professional circumstances. Clearly thinking through his problem, the Brother put together a plan to extricate himself, but, unlike the Cosby and Poitier characters, in "Lets Do It Again", when the Brother's plan goes awry the Brother tripped, proving his own character most resembled that which he claimed to despise most. Of course some people won't understand the significance and magnitude in the development and conclusions of Lee's satire. And, it is that lack of understanding that Lee managed to incorporate into the film's live television audience. So, here once again in this film, Lee displays a magnificent artistic imagination blended to a disheartening socio/political reality. Spike Lee at his uncompromising best! In "Bamboozled" Spike doesn't attack Black Hollywood but merely points to their foibles. Certainly many in Hollywood will take the film's portrayals and satirical sojourns personally, as well they should and deservedly so. Readapting an old adage, "They're either part of the problem or they are the problem". Hey Spike where were you when "Roots" was in its "[G]lory". © Pushkin Publishing 2000
Rating:
Summary: Spike: The Ultimate Controversalist
Review: Some say Spike loves to stir it up. I think thats pretty accurate. He has a long list of films that have succeeded in getting at least one group of people angry. But oddly enough, the people that are most angry at his latest production are his own people. Spike has finally taken a swing at Black entertainers... or has he? That is my major problem with this movie. In his effort to make so many points, he loses sight of the main message he wants to convey, whatever that may be. I have always applauded Spike's moves. But at the same time,I have always felt that while he is an excellent filmmaker and a talented artist, he is not a great STORYTELLER. There is so much potential in his ideas. But it seems like when he actually sits down to put his pure idea onto paper, it becomes muddled and convoluted. Mr. Delacroix was supposedly the protagonist of the film. His character was inconsistent and underdeveloped. He gave the viewers mixed signs of how he really felt about his creation called the Mantan New Mellinium Minstrel Show. He sets out to create an outrageous farce... then he accepts and defends it... then he's proud of it and daydreams about getting awards... then he apparently has a nervous breakdown. And what about his relationship with his dad? That should have been explored more. Number 1 rule in trajedy: While all the walls are crumbling, there must me one character that retains sanity. There is none in this film. Even Jada Pinkett, the supposed voice of reason, goes looney by the end. And the Tarantino-like ending left me with a feeling of great dissatisfaction. I did enjoy this movie due to the scattered brilliant dialogue and the Minstrel scenes that brought immense emotions. Savion and Tommy Davison were brilliant in that capacity. But with regards to creating a story that is not only entertaining but complete, Spike failed. And it is unfortunate, because a film of this nature has great potential for opening eyes. Spike was only trying to shock people, as evident by the ending. Too bad.
Rating:
Summary: Bedazzled
Review: I ain't mad at Spike. He confronts our ugliest, deepest racial secrets. Head on. In this case, as in most of his films, his ambition far exceeds his talent. But I ain't mad at him. If Spike can't do it, no one can. Give him points for bravery. Give him points for visual style. At least he doesn't overuse that moving sidewalk effect in this one. Love the history lesson, Spike -- you got down on that! But I am avoiding the main topic here - 21st century negroes in blackface. The truth hurts. Spike is too subtle, I think, in his attempt to equate today's consumer-based values with sellouts in blackface. Overkill, I think, on the notion that black folks can be their own worst enemies. His archetypes - the corporate sellout (wayans), the intellectual waffler (pinkett) and the conflicted artists (davidson and glover) - are too comically simplistic. All that said, it's a movie worth seeing - and seeing again. I can't wait until the DVD comes out.
Rating:
Summary: Spike Lee's Best
Review: This is the movie that got me turned on to Mr Lee. When I rented this movie just a few years ago I watched it 3 times and then watched it with the audio commentary. I found the movie *that* interesting. Also, the movie has a few layers to its plot so each time one watches it, they're sure to pick up on something new. The characters are also great - I especially love Damon Wayan's boss who is a caucasian married to a black woman and tells Damon "I'm more black than you are" From that point on, you know this movie is going to put a lot of stuff in your face. The basic premise - Damon's character is tired of the types of shows with black people that show on tv nowadays. It's all very stereotypical (think this summer's "Method and Red" on fox) and he wants to do something creative. His boss wants something along the lines of "homeboys in outer space". Damon's character is so incensed that he decides he'll get fired in order to break his contract. What could be better for getting him fired than to make the most racist and ignorant show on tv? He decides to make a show called "Bamboozled" which will recreate the blackface shows of the 30s and 40s only it will be black actors putting on blackface. There's only one problem with his plan: the show becomes a hit. The rest of the movie shows what happens to the rest of the characters in the style of a Shakesperean tragedy. In other words, a few things don't quite go according to plan and everyone suffers. (ie Romeo & Juliet, MacBeth, etc) Another thing that makes this movie so awesome is the fictitious commercial spot during the show Bamboozled. Spike Lee takes a pot shot at Tommy Hilfigger's alleged marketing directed at blacks with another brand whose name I can't write or my review will be banned. You'll be shocked, but in a revealing sort of way.
Rating: 
Summary: First off, the only "raw truth" here
Review: is that networks will broadcast pretty much anything that will bring in ratings. Look at the total idiocy of many of the reality and semi-reality shows out there. That's it. That's the "big" statement here. Beyond that, this film was pretty much a bungled attempt of Spike to be controversial, with a few nuggets of truth mixed in. The only thing Bamboozled manages to stir up is , first, confusion (as in what the hell is going on here? Or, "Why did that just happen?") and second, near-boredom as you wait for it to end. No, I'm not stupid, and yes, I definitely "get" the film.... or at least what Spike was trying to get across to sell tickets... that many folks are closet racists, that the concept behind the minstrel show is still very much alive, that there's ignorance in all races. That's completely apparent early on, then hammered into the ground over and over ... when you can figure out what's going on, that is.
Unfortunately for Spike, the film crashed at the box office, as have pretty much everything he's made since "4 Little Girls."
You can look and create all the "symbolism" here you want, but in the end, the film's "statement" isn't enought to sustain it, plain and simple.
Rating:
Summary: Not racist, but real
Review: I understand completely what message Spike Lee conveyed in this film, and for the most part, I agree with it. He brings up the uncomfortable subject of negative images of blacks in the public eye, past and present, and just how the media seeks to capitalize on it. The film centers on the uptight, upwardly-mobile Damon Wayans character, Pierre Delacroix, who is a successful black television executive that has completely lost touch with his roots. He creates an outrageously offensive and stereotypical TV minstrel show with actors, dancers and musicians all in blackface as a joke, in order to break his contract with the network he works for. The show is supposed to initially mock the negative images of blacks, but to his surprize, it turns out to be a massive hit. From then on, Pierre totally sells out and doesn't seem to have any remorse about exploiting the sad history of blacks in America. In fact, he thinks it's rather amusing...he basically puts out the message that we need to "get over" these things, these images, and take a humorous look at them, and move on. (Imagine telling the Jews to "get over" the Holocaust, take a humorous look at it and move on.) Pierre's getting paid and all is good in his world...until he gets a wake up call later in the film.
Back in the day, "Amos and Andy", Stepin Fetchit, Buckwheat, and racist films like D.W. Griffith's "Birth of a Nation" perpetuated American blacks in the worst possible way. In fact, the last few minutes of the film shows scenes from these films and these characters, and this is powerful in itself. Those images have been permanently burned into the minds of people all over the world, and we are still feeling the effects today. There are folks in the world whose only view of the behaviors and images of black people come through what they see in the media, and what they see does NOT represent black folk as a whole!
What Spike is saying in "Bamboozled" is that the negative imagery of those characters are not just limited to those performers of yesteryear, but it has carried over to this generation as well -- specifically, some of those entertainers in today's hip-hop community, who are nothing more than modern-day minstrel performers because they are perpetuating blacks in their most negative light, and unfortunately this is what sells -- this is what is marketable. In addition to saying we all love watermelon and fried chicken and we are an oversexed race who loves to sing and dance, and we are all slow-witted and lazy - now to add to these stereotypes are that we are all obsessed with crime, substance abuse and material things. Worse of all is that a lot of these performers don't even realize how detrimental the images are. Those who do are a lot like the Pierre character: they simply don't care. It's all about making a buck to them.
I enjoyed all the actors' performances. Damon as Pierre was okay, but I could have done without him trying TOO hard to sound like a man who is obviously educated -- or someone who "talks white", as some would say. Jada Pinkett Smith is more down to earth and is a welcome counterbalance to Damon's role. Michael Rapaport's character as the head honcho at the network that Pierre works for is annoying, but amazingly effective. He's the so-called cool white guy who is thinks he is "down" with the black community and feels he can say anything about blacks and get a "ghetto pass", but he reveals himself to be just as racist as any member of the KKK. Savion Glover and Tommy Davidson (in a surprisingly good dramatic role) are equally convincing in their roles as the blackface-wearing stars of Pierre's show. Towards the end of the film, they wake up and smell the coffee and begin to realize the negativity of what they are doing.
I feel that Spike Lee can still make relevant films about race, and this film certainly is one of them. But it seemed to me that he really did not know how to end the movie, and it starts to unravel during the last half hour or so. So he went for a bloody and violent finish, which really made no sense. Why go there? For me, "Bamboozled" could be called a great movie if it weren't for that. But overall, I respect Spike for taking on a subject like this. Yes, it's harsh. But it's not racist -- it's reality, and I guess that what makes so many people uncomfortable.
Rating:
Summary: A Spike Lee tragedy full of symbolism and metaphor
Review: I have recently decided to finally expose myself to the work of Spike Lee, putting his entire body of work at the top of my DVD rental list, and Bamboozled was the first one to arrive. I must say that I can not wait for the rest of them to come in. The only negative aspect of this film is something that several others have pointed out...the voice of Damon Wayans' character. Through the film it did begin to grate on me as I heard it, seeming too forced and unreal. However, Wayans did a solid job of portraying a man who, having made a horrible mistake of judgement, slips into denial and ends up rationalizing the error to himself until he believes he actually did the right thing. The supporting cast was also very strong, Savion Glover is a very talented tap dancer, and Tommy Davidson shows that he is more than just a comedic actor. Michael Rappaport pulled off what was a very dangerous role, as it is so easy to play the role of a white man trying to be black and turn it into a cliche of ignorance. Instead, he was very believable and very tasteless and rude, a flawless performance.
As for Spike Lee? I thoroughly enjoyed his direction. The graininess and edginess of the quality of the cinematography is a beautiful character of his work. It has a distinct style that can be identified as his work immediately. He wrote a very powerful story, showing several sides of the struggle of the black man trying to be successful in this day and age. Sometimes, it seems that the only way to succeed is to sell out in one way or another. In the end, the deaths are metaphorical, symbolizing the cultural death of those who sell out, that they are eventually ostracized from both the white and the black sides of society. The story is a Shakespeare-style tragedy, rife with internal conflicts, a main character with a fatal flaw, and an ending with permanent finality. There really is not a hero, nor is there a villian, as none of the characters are one-dimensional. Their conflicts are never black and white, no pun intended. They are complex problems created from the characters' choices and their circumstances. It is easy to see how their mistakes are made. We can believe that we would not have made the same choices if we were in their position, but that is easy to say from the outside looking in.
In this film, Lee told the tale of several real and human characters, presenting a struggle that he sees every day. He withheld judgement of these people, and did not force his opinion on the viewer, allowing the viewer to decide who was right and who was wrong. I look forward to seeing the rest of his work.
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