User Reviews

Red Hook Summer definitely fits within Spike Lee's oeuvre, recalling the child's POV-style of storytelling used in Crooklyn and the vivid color palette employed (albeit more effectively) in Do the Right Thing. As other reviewers have no doubt already pointed out, Clarke Peters gives a superb performance, though nobody has yet mentioned Thomas Jefferson Byrd's performance, which I thought was at least on-par with his previous work if not surpassing it. Byrd's drunken prophecies shine transparent with hypocrisy, which is a major theme explored on a deeper level once the film's exterior is peeled back in the final act.

Speaking of which, the final act is undoubtedly the highlight. I can't go into too much detail or I will spoil the story's impact. This sequence carries a lot of the film's weight, but viewers won't know it until it comes. The sermons are also powerful, both on the pulpit and off. It's just all too unfortunate that the lackluster acting of the two primary child stars takes away from an otherwise engaging story. And although I am a fan of much of Lee's work, I will never understand his music choices---oftentimes cheesy songs interfere with what would have been phenomenal left to natural sound... think the father-son reconciliation in the woods in Get on the Bus or some of the moments in Clockers. This is probably a matter of taste, but I can't get over it. I guess I just like the other elements of his style so much that I wish he could do better with the soundtrack (NOT the score---his scores are usually good).

I guess my main point is that Red Hook Summer is worth seeing, despite the extremely low ratings I've seen in various online locales. It's just not Lee's best by any means, but not a failure either. It's just kind of... muddied.

Red Hook Summer, was funny, thought provoking, tugged at your emotions, and made you think...Classic Spike! You felt a sense of nostalgia with the return of characters Mookie (Do the Right Thing) and Nola Darling (now Mother Darling - She's Gotta Have It). The use of colors was wonderful, as usual Spike and his director of photography has a way of bringing the viewer right into the scene both visually and emotionally. I felt like I was living in Red Hook. The third act of the film was one of the most powerful scenes I have viewed in a looooong time...particularly with films of color. The symbolism Spike used just gave me goose bumps. That makes me want to see this film at least another 3 times, just to study the genius of this filmmaker. The overall music used in this film by Judith Hill and Bruce Hornsby was light and warm - a perfect contrast to the set of the film taking place in the projects of Red Hook - where there's much "death" - I suppose that is the irony of life. There was of course a turn at the end, and the music became more hard hitting during the last scenes of the film - the combination of the visuals and the music REALLY brought me emotionally into the "disturbing situation", brought tears to my eyes. 10 stars! And "that's the truth, ruth!"

A middle-class boy from Atlanta is forced to spend the summer with his deeply religious grandfather in a poor housing project in Red Hook, Brooklyn.

Spike Lee wrote and directed this boring tale. This rambling tale gets very tiresome. Did Spike Lee turn anti-religion? The story turns even uglier with a twist that comes out of nowhere. I'm uncertain about what is happening to Spike Lee. After great successes in the 90s and the 2000s, is he on the road to big time experimentation? What is going on? I don't get it. This movie is a mess. Maybe it's some kind of personal project. But even then, I'd expect more skills than he's showing here.

Just awful.

Every shopworn ghetto cliché packed in.

Woody Allen's movies were crap in the beginning, but then they got better. Lee's movies where wonderful in the beginning, but then they got crappier and crappier.

When you first see this old Bible-toting fool you cringe and say to yourself, "Oh, God," don't tell me the movie is about him." And why a movie about some dumb kid? Why does Lee think dumb kids and old Bible- toting fools are something to make a movie about?

This all goes back to a certain psychology that's infected the black community for ages -- our fascination with failure and stupidity.

The first question that pops up is how can a mother be so stupid as to place a child with a grandfather who's obviously a failure and fool? The building the old fool lives in reeks with urine; everyone above 13 pushes drugs. The mother and kid are from Middle-class Atlanta. Why on earth does she take him out of middle-class Atlanta for a summer in drug and crime infected Red Hook?

This reflects Lee's increasing disorientation about things. I mean, what kind of grandfather takes 14 or 15 year to see his grandkid? Such a dumb premise.

I watched 10 minutes of it and wanted the $5 I spent on the bootleg copy back.

Gone are the days when Spike Lee "wants to shove blackness down the throats of white audiences" (the vein in which black filmmakers are viewed when they tell the truth in colors other than rose). Though his films are not seen,promoted or viewed with the same verve as his earlier work--like Malcolm X and Do The Right Thing--this has more to do with Hollywood politics more than a falling off in skill. In fact, Spike's finest work, in the eyes of this critic, have been his latest works including The 25th Hour, Chiraq.Old Boy and Miracle at St. Anna.

Red Hook Summer fits comfortably into that pack, Like the aforementioned films, it is more emotion-focused rather than characterized by keen cinematography. It is thought-provoking, rather than a release of anger, as his critics typically accuse him of.

The story centers on a teenage boy (Flik) and his relationship with his preacher grandfather,who hides a horrible secret. The subplot features his interaction with a young female friend--a "thing" centered more on curiosity than romance, and Flik's navigation of an unfamiliar hood far tougher than the one he comes from..

It is a compelling coming of age tale, featuring a wonderful performance by Toni Lysaith as Chazz, a girl unafraid to speak her mind and who is the only one who "gets" Flik. There is none of the syrupy, blossoming love that hamstrings so many other films, just exploration of the burgeoning friendship between two people, who in that simple process discover something different.

I caught this via On Demand and was glad I took a chance on it. Spike deserves better than he gets, and having to fund films via kick starter is definitely sand kicked in the face of one of the great filmmakers, black or white, of this generation.

This isn't Spike Lee's greatest film but by the end it has become one of his most intriguing. The children's performances are poor, but so are their characters; Lee doesn't have the kind of empathy needed to write for or direct child actors (and this is true of Crooklyn too). The film is also largely plot less, but as the film progresses it becomes clear that a traditional plot would undermine the film's themes. Red Hook Summer is about faith and human growth, subjects that aren't neat or linear.

By no means a perfect film, Red Hook Summer deserves more attention than it has received.

Don't even pay attention to the rating on this movie. It was good. Some might say the movie is not worth watching after the first few minutes, but I would challenge them to watch the movie a bit longer. This movie was very well written, it was classic Spike Lee style (but written better than some of his old movies), and it even had a surprise twist (which I won't divulge). This movie is not like one of those gospel stage plays or even some of the movies that you would find on Netflix. This is much better. A person needs to really give this movie the 2 hours it deserves and have a good time. It may make you cry (when the secret comes out), but this movie is not a waster. It certainly deserved a better rating than it received. Please give it a chance, and you will not be disappointed.

Lee has some more words to say in the 'universe' of the Brooklyn of She's Gotta Have it - where Nola Darling is now Mother Darling, a devout member of the church - and Do the Right Thing - where Mookie is now Mr. Mookie, still delivering pizzas for Sal's so that he's "Gotta get paid". Why he's delivering pizzas for Sal's doesn't matter (I guess, check out a Q&A to get a hilarious explanation for that, but I digress); what matters for Lee is that now there's another dimension which is the spiritual, and that a human being doesn't necessarily have to believe in God to find some kind of spirit that has been not really around him before. Yes, even if it's a thirteen year old who is already still dealing with the passing of his father in Afghanistan.

Red Hook Summer could be considered 'minor' in his body of work, but within the dimensions he sets up for himself he manages to pull off something he hasn't done in a while, at least by a script he originally wrote himself (co-written with James McBride): it's by turns fearless and funny. How's it fearless? Lee takes the story into what we expect will be a usual route - boy plopped in new surroundings, boy grows a bit, boy sees some things differently - and then the rug is pulled out from under him and everyone else. How is it funny? In the way the previous Brooklyn films were funny, with some bizarre-but-light characters (the drunk here is like a cousin of Ossie Davis' Da Mayor), and the natural dialog which Lee mostly still has an ear for from the streets he came from.

Clark Peters is absolutely unstoppable here with how powerful he is. What Lee does for Peters is give him a character to have depth and dimension, and pathos, so that even when he's at first and later presented in the In-His-Ways Bible-Man that he is to his grandson, Peters conviction in the part takes it a long way. In an odd way it's like Michael Parks in Red State, only here it's with less of the overt evil. The Bishop is a good man, or at least tries to be in the face of the tough times in Red Hook, and when he hits the pulpit it's much easier to get the crowd going than it is to reach out to stubborn Silas/Flik, who can't stop looking "through his box" as he calls the I-pad 2.

Indeed Peters is so good that when Lee goes for some stylistic flourishes (some intended, and some, like the crosses appearing in his eyes in a startling close-up in one shot, not), Peters' face and cinematic charisma makes it go even further, to the point where by the time a major conflict arises in the third act, the audience has to contend with looking at him and everything else with another point of view. This leads up to a four or five minute tracking shot that is among the best Lee's done in his career (you'll know it when you see it, simple but true in its execution).

The first problem Lee has here is that he cast two unknown people, Jules Brown and Toni Lysaith, in roles that require a lot of them as children. Unlike in Crooklyn, where Lee was able to get some strong, naturalistic acting from his kids, here the non-professionals (plucked, as Lee said at a Q&A, from a local middle school) are either flat in their delivery, and usually with dialog that is either just decent or stilted, or just bad.

Like, Is-This-By-a-Professional-Filmmaker bad; mostly it's that when Lee has to give them dramatic stuff to do - when the kids have to act like kids, it's not too bad when they have to hit their one notes - that it is just embarrassing to watch. The other problem is music, which is more of a mixed bag: some of the music, like the original compositions by Bruce Hornsby, are memorably engaging and a couple of times (i.e. the tracking shot I mentioned earlier) music is used to incredibly moving use in the context of the scene... other times, it felt like Lee just put music to a scene that either didn't need it, or mucked around with a dramatic tone he was going for in the dialog and performances.

While I don't think Red Hook Summer is THE Return of Spike Lee as has been potentially proclaimed in advance by just the nature of the location and its independent street-cred (like She's Gotta Have It it was shot in a little over a dozen days for way under a million dollars), it's not at all a failure either. It has some vitality, poignancy, and the points that Lee puts in for characters to say as perhaps his mouth-piece on some recent issues (racism, gentrification, faith) feel more natural than I would've expected. It's still Spike Lee so it's Loud and Proud and is not really subtle. But then, if it's still got energy and a funk to it, maybe not-really-subtle isn't too bad.

...Clarke Peters (Freemon from HBO's "The Wire") should get an Oscar nomination for this. His performance is at once over-the-top and understated as a Brooklyn pastor who seemingly is a righteous pillar of a community that continues to wane under material violence and generational malaise. However this 'man-of-black-jesus' is hiding a terrifying secret that lifts what is at first another half-cliché movie about coming-of-age into unexpected darker and deeper territory. It makes "Red Hook Summer" into a risky, uncomfortable film and a film quite necessary in this day and age when institutions will blanket even the sickest of monsters to save their own public rep (I won't get more specific, but the contemporary story I'm alluding to concerns a man who's last name rhymes with 'Sam Clusky'). Aside from Peters, the film is worth watching for the loving touches Spike Lee brings to the setting. The music (by Bruce Hornsby), design and photography perfectly capture Brooklyn in the summertime in the same way "Crooklyn" did. Although Lee's approach, which here resembles Cassavettes at times, will upset some due to the obvious shot-on-the-fly-digital look and the after-mentioned below-par performances of the child actors.

I can see why Spike Lee keeps succeeding in the face of so much critical negativity. This movie may not reflect your life, your upbringing or circumstances, it does however reflect an otherwise hidden existence that Spike Lee brought to life. Well done. Worth watching.

I give this film an 8 out of 10 only because of it's obviously miniscule budget, a few more takes on some of the scenes and we would have yet another great 'Spike Lee Joint'. Gotta let you know, Spike Lee is my favorite director, has been since the death of Stanley Kubrick, and, although neither here or there, they both made/make superior films whose appreciation oftentimes came way too late! The film begins a bit preachy in its dialog, contemporary religious and social and political pontifications, and I am OK with that, it's what Spike has always done. The slice of life tale of a young boy spending a summer with an extremely religious grandfather he's just met, and the unexpected denouement is very good storytelling and very worthy of Spike Lee. I really wanna spoil the story, but, please, see it for yourself.

Spike Lee's Red Hook Summer is a picture on par with his first major release, Do the Right Thing, from 1989, which rewarded him with mainstream attention and acclaim from critics and audiences who felt like they were punched in the face with the fist of raw honesty. Throughout his career, Lee has been dedicated to making films with black characters who collectively evade shallow stereotyping and on-set racism, but ones with true humanity and emotions seemingly bleeding from their cold, unhinged bodies.

If you haven't been properly acquainted with one film by Lee, Red Hook Summer is an efficient place to start, but one should wisely begin the adventure at Do the Right Thing, where his true vision and aptitude for writing and directing come into play. This is the closest thing we'll get to a sequel to that masterpiece and I'll take it with no quibbles. If anything. this is a return to form for Lee, who for years was centered on urban dramas with specific characters and a specific agenda. With this picture, he allows the capabilities and the talents of his actors, young and old, to grab the material and freely run with it, creating a fulfilling, spontaneous atmosphere showing not listlessness but an agenda determined to hit on several emotions and character studies. It may be a tad uneven, but it's a film that is so pleasantly written, wonderfully acted, and expertly placed and choreographed that one forgives these flaws and doesn't really notice them long after.

The story is slender, focusing on a young teenager named Flik, wonderfully portrayed by first-timer Jules Brown, who is forced to spend the summer with his grandfather named Enoch Rouse (Clarke Peters), a renowned bishop at the local church in Brooklyn, famous for his fiery sermons and eventful lectures on the word of God and Jesus. Coming from Atlanta, Flik is a kid who took a lot of his privileges for granted, mostly his private school which raised him better than many others he surrounds himself with in Brooklyn, his friends, his relationships, and his iPad 2, which he flashes around like a kid with a McDonald's happy meal toy. Going to Brooklyn with the limited street knowledge he possesses, he is in for a rude awakening but also a faithful (no pun intended) learning experience.

Flik soon learns that living with his grandfather will require a change from his strictly vegan diet, a change in work ethic, and most importantly, a change in the way he views spirituality. Flik is forced to attend his grandfather's sermons, whether he agrees with them or not, but soon realizes that him and the popular New York gang "the Bloods" are the only ones who reject religious beliefs when a church sits practically right next to their housing district.

Just a forewarning; this is not a story of a boy's discovery of the importance of faith and spirituality, but how one boy deals with the dependence on faith and spirituality in the world around him. How he deals with an abrupt change in ethics when forced to live with his grandfather who just found out he exists. And how he begins to respect and admire walking on the different side of the road; something I've preached about since the beginning of my odyssey reviewing films. What Flik is going through as a character is being exposed to a different lifestyle he was willfully ignorant of. He was confined to his small, spoonfed culture in Atlanta, Georgia, and I can't blame his inherent lack of tolerance towards another way of life. What matters is he goes on to accept it and perhaps even admire it.

Flik too befriends a young girl named Chazz Morningstar (Toni Lysaith), an openly feisty woman who questions faith just like her newfound best friend, but seemingly follows it with very loose direction and or guidance. Her homelife is rough, like many youths in the public housing district, her morals jumbled, and her outlook grim and shallow.

There is a twist in the picture, which the film has sort of become infamous for, as it is introduced abruptly and without a clear purpose. This seems to happen with spontaneous films, and being that Lee appears to have thrown a chockablock of ideas into a huge pot to see what works and what doesn't, it's understandably so that one thing doesn't flow well or fails to remain consistent with the remainder of the picture. The shocking thing is how there's only really one uneven element in the entire two hour excursion.

Just like Lee's debut Do the Right Thing, the film has the bright, vibrant, and luscious cinematography, with eye-popping primary colors, and a seamy, humidity-soaked atmosphere relevant to Brooklyn's summer climate. Mix this in with a plethora of great performances (the highlight being Clarke Peters' multi-layered bishop), a finely tuned script, sensitive and alert direction, and a fantastic score, and you have the work of under-appreciated perfection that is Red Hook Summer. Now stir.

NOTE: Spike Lee's character Mookie, the aimless pizza man from Do the Right Thing, makes a few brief cameo appearances, sure to churn a well-warranted smile from someone who appreciates "Spike Lee joints" and cross-film references.

Starring: Clarke Peters, Jules Brown, and Toni Lysaith. Directed by: Spike Lee.

I normally hate every crappy movie that Spike Lee comes into contact with so I thought this one would be horrendous with me zoning out as well, but it was good. This film is about poor inner city people's blind faith in God and that life will still hit you in ways you could not imagine being religious or not. It also shows that even if you hide behind religion you can still be shown for what you truly are on the inside. Like everyone else is saying, the final act really brings it all together. I will admit some of the actors are not the absolute best, but some shine on their own so it isn't a big deal. Spike Lee is a racist so he won't use diversity in his films he will only hire African American actors so he didn't have as large of pool to choose from. The little girl's mother isn't very talented, but the little girl and boy did a great job and so did the grandfather.