I don’t know if I’ve ever felt more hit by a metaphorical truck than the opening and closing sequences of this film. Whatever you may read about beforehand, trust me when I say that you are not prepared for it. This biographical crime drama competed for the prestigious Palme d’Or at the 2018 Cannes Film Festival. Although it didn’t win the big prize, the film ultimately took home the Grand Prix, which is essentially second-place in the competition. It was later released by Focus Features in theaters on August 10th, 2018, grossing over $43 million at the box office against a modest budget of $15 million. Co-written and directed by Spike Lee, the spec screenplay Charlie Wachtel and David Rabinwoltz was originally written around 2015 after stumbling across the titular memoir. After many months of unsuccessful pitches to Hollywood studios, the project came to the attention of Get Out producers Jordan Peele and Jason Blum, who immediately wanted to get it made. Peele handpicked Lee to direct the picture, and production practically accelerated last year after the Charlottesville Unite the Right ally in mid-August. Based on an insane true story, John David Washington (Son of Lee’s long-time collaborator Denzel) stars as Ron Stallworth, the first black man to become a detective in the Colorado Springs Police Department in 1979. Following an inconsequential stint infiltrating a speaking event by Kwame Ture, he comes across an ad in the local newspaper asking for support for a new chapter of the Ku Klux Klan. On a whim, he calls the number and puts on the guise of a white supremacist, and actually earns their trust. He then assigns a white Jewish partner named Flip Zimmerman, played by Adam Driver, to play the part in person as they advance further and further into the organization. I’ve read a great number of reviews for this film saying that it’s Spike Lee’s “best film in decades” or “his return to form.” Truth be told, I have only seen a handful of his films, and a couple clips from his Netflix series She’s Gotta Have It, so I can’t make either claim. I was very excited, however, to see this film mainly because of the director’s reputation and the absurdity behind the true story. It seemed impossible for something that started out as a hilarious skit by Dave Chappelle to have happened in real life. Yet time and again, truth can always be stranger than fiction. Which is why I can confidently say that BlacKkKlansman is my favorite Spike Lee joint thus far, and one of the best films of the year. There are a number of different aspects that work hand-in-hand in the film, many of which you wouldn’t expect to at first. Namely, how Lee is able to balance the very light with the very heavy. There are a number of hilarious moments, mainly which highlight the inherent stupidity of organizations such as the Ku Klux Klan. But there are other scenes that extremely intense or dark, such as a scene where a character played by Harry Belafonte tells a sickening story of brutality. There’s also a very unconventional pastiche prologue that just didn’t quite click with me. John David Washington is on his way to being a star like his father, and his lead performance here proves as much. He’s extremely charismatic and intelligent, but not ignorant to the institutional prejudice he faces; he’s often wondering if he can make positive changes to what’s seemingly a broken system. By his side are Adam Driver and Michael Buscemi as his white partners on the investigation. While both have reservations- particularly with Flip’s sudden acceptance of his Jewish character -they are perfectly willing to go along with Stallworth’s plan to end the bigotry. Other notable players include Laurie Harrier as a fiery Black Student Union president, Cory Hawkins as the infamous Kwame Ture, and Jasper Pääkkönen as the most radical Klansman. But the scene-stealer to me is Topher Grace’s icy cold portrayal of David Duke, former Grand Wizard of the Klan. It saddens me to say that he feels born to play the role, and it’s his best one yet. The conversations he has with Ron over the phone provide some great insight into his ideology. After all, he managed to make bigotry somehow more mainstream and sophisticated in modern day society. Meanwhile, Lee shows off most of his stylistic trademarks through some wonderful technical flourishes. Chayse Irvin is an inspired choice for the cinematographer, as he also photographed Beyonce’s Lemonade in 2016. We see a number of dolly shots, showing characters practically floating from one destination to another, creating a dreamlike feeling to the story. There are also a handful of shots that either carry out from curious dutch angles or from Steadicam drifts. Either way, it’s all captured on a glorious 35 mm lens. It meshes extremely well with Barry Alexander Brown’s quick and decisive editing skills, reportedly his fastest job in decades. Many of the phone conversations are given a split-screen treatment so that we can see reactions from both ends. It also manages to keep the story flowing in a clean three-act manner, which is apparently a rarity for the director. Jazz musician Terence Blanchard returns for his 15th collaboration with Lee to compose the musical score. It’s a real doozy, mixing a number of unique instruments to make a cool sound. With a central riff on the electric guitar and gradually building flutes and strings, it sounds almost as if it belongs in a major spy picture. It’s also curious how it mixes the percussion. One minute it’s a smooth beat on the drumset, the next it’s playing out on a marching snare as if we’re marching off to the war many characters prophesize. Regardless, the main theme sticks in your head and is the backbone for many tracks. Not to mention the sweet selection of 70’s dance songs, which help seel it’s homage to blaxploitation films of the era. And as I’m sure many of you have heard, the ending sequence right before the credits roll comes out of nowhere. I don’t necessarily see it as a spoiler, so I’ll just tell you: BlacKkKlansman ends with actual footage from the Charlottesville rally, and the reactions of officials afterward. Jarring, powerful, confrontational, and completely sincere. My jaw was on the floor and no one in my theater left with a single word said. BlacKkKlansman is a dynamic play on multiple genres with a sharp bite. It’s an extremely entertaining buddy cop story with a broad appeal, but also unafraid to run its audience over with a ginormous truck. Spike Lee not only crafts a thought-provoking and all-too-relevant meditation on brutality and perseverance, we’re left to question just how much has changed in the nearly 40 years since then. But it is worth noting that having that conversation isn’t only okay, it’s important.