Beystiman It's fun, it's light, [but] it has a hard time when its tries to get heavy.

Sameer Callahan It really made me laugh, but for some moments I was tearing up because I could relate so much.

Portia Hilton Blistering performances.

Guillelmina The film's masterful storytelling did its job. The message was clear. No need to overdo.

videorama-759-859391 Again talented young Lee, has brought to the screen, a powerful, poignant, if at times powerfully, 'pull no punches' violent film to the screen, with hell of an impact. In one sense it's a masterpiece of potent scenes and great scriptwriting, with acting to boot, but it also plays off as thriller, the viewer left in two minds. A clocker is a term for a drug dealers, who works furtively, under the table. We all know em', we all seen em', though I'm sounding more Americanized there. A young clocker has been shot, and may'be the wrong brother has been imprisoned. Again, enter trimly dressed, cool Keitel, a cop, again with a heart, who knows deep in his own heart it's the younger brother, Strike (Mekhi Pfeiffer) a clocker. The one who's been imprisoned is a Mr Do Right, holds a steady job, and is ever so polite to his customers, while also being a good mediator if the brother play up in his café. Keitel, on a unrelenting quest, keeps haranguing Pfeifer, breaking him down, until the surprising finale, where the real truth comes out, where it's like a big joke has been played on us, all along. Clockers is compulsive viewing, all the way, about reality, of growing in the disadvantaged New York Projects, where we hope in the end, Strike, will finally get out of all this bull...t and finally getting his life on track. The over confronting, bloody opening shots, is from real footage of black victims, as the opening credits comes randomly sliding across the screen. Even this sequence impressed me. Good solid drama, well worth it's two plus hours in viewing. Your eyes won't leave the screen.

Boba_Fett1138 There is no denying it that this is a good and well made movie but at the same time I also still had loads of problems with it! The way I see it, this is being a pretty good portrayal of live on the streets in the '90's. It picks a mostly realistic approach but still I just can't really 'feel' this movie. I never felt involved with any of the characters in it or to any of the dramatic events and developments. It doesn't make this movie bad but it does indeed make this movie a bit of a one dimensional experience.And remember, this is an 1995 movie. So everything that was considered to be hip and 'thug life' might seem a bit ridicules and less cool in today's perspective. The whole attitude and way of talking and the way everyone dresses makes this movie really a product of its time. In that regard this movie also really reminded me of "Kids", which coincidentally or not, got made in the same year as this movie. It makes this movie less relevant to watch now days but really, it's nothing I was holding against the movie.I would had most definitely preferred it if this movie was using a more straightforward style of storytelling. The movie as it is seems to be wanting to focus on far too many different characters and tries to do and tell too much. It also really has its own style to it, when it comes down to its storytelling, which was nice and helped to give this movie an unique feeling but at the same time it also made the movie unnecessary hard and not all that pleasant to follow at times.Another thing I also disliked about this movie was its pick of music. The movie mad some bad music choices, in which the music often would swell and become melodramatic at moments that really were uncalled for. It absolutely distracted and most of the time didn't suit what was happening on the screen at the time.But really, I though this movie still had some hints of a great movie in it as well. One thing was its already earlier mentioned unique and distinctive style. Spike Lee always has had an unique and distinctive style of his own and he manages to put a lot of that in this movie successfully. There are some interesting moments in this movie, from a more technical and movie-making perspective. There was some good camera-work for instance and also very little wrong with the movie its editing and pacing.The movie its story in essence also really seemed to be a solid one but I do feel that they perhaps should had picked some different perspectives to keep- and make things a bit more interesting and effective. Wouldn't this movie for instance had been better and more interesting if it told things more from the Harvey Keitel's character perspective? Who knows and it's not like the movie bad or interesting as it is right now but while watching this movie it constantly gave me the feeling it had more potential and things could had been done better.I don't know, perhaps the movie was also being a bit stuck between being a gangster movie and a more realistic one. It never felt like a true gangster flick and it never felt like a true realistic movie neither. Producer Martin Scorsese perhaps should had stepped in a bit more often, since he definitely is a kind of director who can more successfully blend realism with tough and tense gangster/crime movies.Not trying to sound too negative. The movie is good enough as it is but it doesn't ever reaches its full potential.7/10 http://bobafett1138.blogspot.com/

jamesxgamble This is one of my all-time favourite films. Director Spike Lee adapts the Richard Price Novel, set in New Jersey, to his hometown and favourite movie backdrop: Brooklyn. It is often said that films never live up to the books on which they are based, but in this case I think the movie out performs the novel. This is because the book can be slow moving at times, and the action is separated by long passages of writing. However, the film chops all of these slow parts out, and the result is a film that keeps you engaged from start to finish. Spike Lee uses music perfectly to compliment the tone and mood of each scene, be it hip-hop in the urban playground, the acoustic interludes of Seal and Des'ree, or minor key, intense jazz to accompany drug use in doorways and nooks, and the final scene's soundtrack is absolutely inspired.Delroy Lindo plays his king-pin character with such comfort, at times it is hard to imagine that he isn't that person in reality! Harvey Keitel and John Turturro work well as the detective double-team, conflicting over whether to take the easy close-by-arrest, or the moral crusade to find the truth behind the case at the heart of the film. Mekhi Phifer is impressive in many of his scenes as the central character, who keeps you guessing to the end on whether he deserves your sympathy or not. For me, Lindo's performance is the standout turn.The cinematography is luscious, and the colours and compositions make this film a visual feast. But more importantly, the natural dialogue of the film and the delivery of nearly every line really reinforce the fact that you are watching a film about real situations. Overall, I give this film my maximum rating of 9.5 stars. If you like this film, you'll love The Wire Season One, and you also might want to check out another overlooked film, Jason's Lyric.

newman_d_007 Clockers represents a balanced and gripping look at ghetto life in the projects. Although centring on "Strike" one of the eponymous "Clockers" the film examines the ravages of drugs from a cross-section of society. Mothers, brothers, policemen, children and corner boys are all given their say. The script is careful to portray no one as entirely evil, with even the chameleon Rodney given a chance to present his own case for victim status.The entire cast give committed performances, particularly a standout turn by Isaah Washington's humblingly decent Victor. Mekhi Phifer's conflicted Strike is also utterly watchable as he meanders from disaster to disaster, trapped between his so called friends, employers and the police.Spike Lee's direction is on point as ever and although the ghetto is never beautiful, Lee's cinematography makes sure that it is always interesting. Lee uses colour and a wide variety of shots to texture the story he is trying to tell. Whether it is the brash reds and oranges of the mountains and countryside to emphasize "Strike"'s escape from the greyness of the ghetto, or Lee's trademark floating head shot, the film never lets up in its innovation."Clockers" is a classic Spike Lee Joint, imprinting itself on to the viewers' consciousness long after the end credits roll. An important work on an important subject.