MCN Columnists
Douglas Pratt

By Douglas Pratt Pratt@moviecitynews.com

DVD Geek: Red Hook Summer

Once Spike Lee made Malcolm X, he seemed to lose all of his relevance as a filmmaker, thus reinforcing the adage about being careful what you wish for.  But he really has only himself to blame.  His first films were genuinely edgy, exciting, and revelatory.  Other than his documentaries, his later films have all been flailing around in the dark, trying to find any kind of edge at all.  His 2012 feature, Red Hook Summer, available from Image Entertainment on Blu-ray, is heartbreakingly bad, because it almost isn’t.  If he had thought the story through a little bit more, if he had cast slightly better actors in a couple of key roles (although several others are excellent), and if he would permanently latch back onto the flamboyant style that is only seen in all-too-brief flashes, he might have had a genuinely gripping and dazzling movie.  Instead, it is a confused and uncomfortable one.  It begins as a promising kid’s story, about a young Atlanta boy who, for reasons that really demand more of an explanation than is given, has to spend his summer with his grandfather in Brooklyn.  The boy has not been brought up in the church, but his grandfather is the pastor of a small congregation, and the boy is dragged along to all of the church functions, which he doesn’t mind after he meets the daughter of one of the parishioners.  There is then a surprising and fairly horrific revelation, which upends the boy’s stay.  At its best, the film captures the free-spirited enthusiasm of its youthful characters while also exploring the differences in spirituality each older character has come to value.  Running 121 minutes, it could use a little trimming (Lee needs somebody he trusts to stand up to him and enforce discipline more than has been happening), but more significantly, it needs more consideration.  It feels like a rough draft or out-of-town tryout.  It has potential, but it requires more effort than was exerted, polishing its flaws and streamlining its dynamics.

 

The letterboxing has an aspect ratio of about 1.85:1, and while there is at times a viable, makeshift feel to the colors, they pop out wonderfully on the BD when the lighting is right and Lee is striving for that effect.  The DTS sound has an excellent directional mix that contributes significantly to a viewer’s engagement with the entertainment.  There are English and Spanish subtitles, a trailer, a music video and 27 minutes of passable behind-the-scenes footage.

 

Lee also supplies a commentary track, though he somewhat runs out of steam for a while in the second hour, and spends most of his time discussing the characters, the cast and the story.  He does address the plot’s most significant anomaly, and admits that it is the question he gets asked most often about the film, citing his reasoning for going ahead with the concept.  Since he is talking about the mutability of human nature, he is technically correct in his validation of the character’s actions, but good drama requires an emotional momentum that the viewer can comprehend, and Lee’s choices fail that test.

 

2 Responses to “DVD Geek: Red Hook Summer”

  1. GDA says:

    I’m in near-total agreement. I come out maybe slightly on the more positive side for “Red Hook Summer” because I’d still rather see a filmmaker take more risks for the sake of an imperfect picture than sit through any five more “successful” movies while they coast along the mid- to lower range of ambition.

    I’m really curious to watch the Blu, too, because in the theater where I saw it the music seemed awfully intrusive in many scenes; songs with lyrics cranked up so loudly they actually interfered with the dialogue–and I’m hoping that was peculiar to the venue somehow and not a fault of the film.

  2. bsanders says:

    I agree with the reviewer. There some good things in the film but it bogged down by bad acting by the two young leads and an underdevelop script. Like what was the reason for the mother to sent her son to her father when they (the father)had a falling out. Why would she sent her son into a dangerous situation. I was at a lost with this movie,and people say She Hate Me was bad, Red Hook was worst. I usually can find something good in his films but this one I couldn’t I don’t know what Spike Lee was thinking. I hope Oldboy put back on track.

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The Ultimate DVD Geek

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“When Bay keeps these absurd plot-gears spinning, he’s displaying his skill as a slick, professional entertainer. But then there are the images of motion—I hesitate to say, of things in motion, because it’s not clear how many things there are in the movie, instead of mere digital simulations of things. It doesn’t matter. What matters is that there’s a car chase through London, seen from the level of tires, that could have gone on for an hour, um, tirelessly. What matters is that the defenestrated Cade saves himself by leaping from drone to drone in midair like a frog skipping among lotus pads; that he and Vivian slide along the colossal, polished expanses of sharply tilting age-old fields of metal like luge Olympians. What matters is that, when this heroic duo find themselves thrust out into the void of inner space from a collapsing planet, it has a terrifyingly vast emptiness that Bay doesn’t dare hold for more than an instant lest he become the nightmare-master. What matters is that the enormous thing hurtling toward Earth is composed in a fanatical detail that would repay slow-motion viewing with near-geological patience. Bay has an authentic sense of the gigantic; beside the playful enormity of his Transformerized universe, the ostensibly heroic dimensions of Ridley Scott’s and Christopher Nolan’s massive visions seem like petulant vanities.”
~ Michael Bay Gives Richard Brody A Tingle

How do you see film evolving in this age of Netflix?

I thought the swing would be quicker and more violent. There have been two landmark moments in the history of French film. First in 1946, with the creation of the CNC under the aegis of Malraux. He saved French cinema by establishing the advance on receipts and support fund mechanisms. We’re all children of this political invention. Americans think that the State gives money to French films, but they’re wrong. Through this system, films fund themselves!

The other great turning point came by the hand of Jack Lang in the 1980s, after the creation of Canal+. While television was getting ready to become the nemesis of film, he created the decoder, and a specific broadcasting space between film and television, using new investments for film. That once again saved French film.

These political decisions are important. We’re once again facing big change. If our political masters don’t take control of the situation and new stakeholders like Netflix, Google and Amazon, we’re headed for disaster. We need to create obligations for Internet service providers. They can’t always be against film. They used to allow piracy, but now that they’ve become producers themselves, they’re starting to see things in a different light. This is a moment of transition, a strong political act needs to be put forward. And it can’t just be at national level, it has to happen at European level.

Filmmaker Cédric Klapisch