Clockers

1995

Action / Crime / Drama / Mystery

96
Rotten Tomatoes Critics - Certified Fresh 67%
Rotten Tomatoes Audience - Upright 75%
IMDb Rating 6.9 10 18364

Synopsis


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Director

Cast

Spike Lee as Chucky
Harvey Keitel as Det. Rocco Klein
Keith David as André the Giant
John Turturro as Det. Larry Mazilli
720p.BLU 1080p.BLU
922.26 MB
1280*720
English
R
23.976 fps
2hr 8 min
P/S 2 / 8
1.95 GB
1920*1080
English
R
23.976 fps
2hr 8 min
P/S 1 / 1

Movie Reviews

Reviewed by johnnyboyz 7 / 10

Smart and entertaining with lots going on emotionally and subjectively.

I tend to enjoy films like Clockers; films that open up ideas about several things at once; films that make you think about the world in which they're set, the people in which inhabit them and the choices they must face – some of which are unfortunate through being mandatory. Spike Lee is no fool and a lot of his early work on recent viewings seem to revolve around someone stuck in a situation that is a mere result of their emotional drive and the world they are living in: She's Gotta Have it; Jungle Fever and Clockers are good examples of protagonists committing an action they really shouldn't have (and probably didn't want to but buckled under either temptation or peer pressure) and now must face the consequences. But these consequences will affect more than merely the hero.

Lee does not hang around in presenting or perhaps delivering his subject matter as a whole. The thing that amazes me with Lee is that he can write so many different types of characters: low grade African-Americans, educated and seemingly decent African-Americans; white cops; women of different ethnicity and a few others. In Clockers, the opening scene which integrates with the credits is of a somewhat crude and humiliating public autopsy during which a couple of white cops examine a dead black man in front of a watching black crowd. Two of these detectives are Rocco Klein (Keitel) and Larry Mazilli (Turturro) but the scene acts as one final act of humiliation to an already dead black man as they search his carcase for clues and bullet holes.

But the film has more than one current flowing throughout it. Strike (Phifer) plays a neighbourhood African-American who speaks and acts just like all his drug dealing friends, even hanging with them when they act out their drug selling routine to customers in a staged manner. But Strike is different and Lee wants us to create an alternate profile of the man by giving him milkshakes to drinks and trains to collect, set up in his apartment, maintain and run. The others laugh at this hobby but Strike maintains most of them too have hobbies: collecting welfare cheques. But this is the greatness of a character like Strike; we are led to believe he is a bad influence through the dialogue of a police man named Andre the Giant (David) but this is perhaps just another cop's point of view and opinion on another African American kid.

Andre believes Strike to be a bad influence on Tyrone (Love) but what Andre fails to notice is that there are higher, more criminal minds badly influencing Strike and that is more of a problem than Strike talking to Tyrone. The film is about a seemingly nice and somewhat moral 'gangstar' who is put in a situation where murder is the only way out, and we go through the narrative with the emphasis on this moral gangstar that he is actually a cold blooded killer in an excellent and very effective piece of atmosphere. But this is a slow burner and it slowly burns away at our opinion because there is a scene in Strike's apartment when he talks to Tyrone all about drugs and guns, apparently Tyrone should stay away from taking drugs but selling them will bring him a nice chunk of change; however guns are something that Tyrone should seriously consider getting into. To top this scene off, Tyrone is told that mathematics is also a very good thing. Already, Lee is trying to manipulate and force us to change out minds as to weather we like Strike. Is he a killer? Does he know drugs should be completely avoided? Why does he suggest Tyrone get a gun one day? Or is it just a misguided fool repeating what he once heard and saying what he thinks is right. Interesting how later on Tyrone repeats train information to another person after sort of adopting a 'Strike' figure.

But the film has some more strong points. Rodney Little (Lindo) thinks that just because he has had a shotgun in the mouth and was manipulated into murder, he can do it to others. Little himself asks Strike "How are you so smart and so stupid?" in a scene that actually has someone echo Strike's personality to his face. Little's background in presented in a nasty and somewhat disturbing fashion via flashback to the days when he was younger with Errol Barnes (Byrd), the resident 'hood psychopath-come-criminal who seems to have some distorted views to do with religion. With all this in the melting plot, it's no wonder the film does a good job in maintain interest and quality delivery. Lee does not fail to focus on his subject matter like he does in Summer of Sam when tackling the psychological development of a serial killer and a love triangle at the same time became messy. Instead, he does not get sidetracked with any unnecessary sub-plots and keeps the delivery sharp, realistic and intriguing when the final act comes to an end.

Reviewed by robert-macc 10 / 10

One movie that gets the origin of "bro" right

Spike Lee is an example of one we need more of in Hollywood. He is a smart director. Let me start with direct pluses before I get into the juice of this movie. In one scene, where cops are interrogating the clockers in the beginning, the origin of "bro" is gotten right. A Norman (since "Thump" comes from Middle English which is Norman) named Thumper says "bro" in a rather warm way to Strike, and it's not saying it's the same as "brotha." Cause one of the cops who does say "brotha" is saying it in a derisive tone, while holding a suspect's chin very brutally. Yup "bro" is Italian slang according to this. Kudos to all three for getting it right :D Important, because we get to see the reaction by the black people (not many whites in this movie as, except for Klein who never says the word at all).

Now, the important stuff. This movie is hard-hitting. It tells of the life of clockers (drug dealers who deal in the housing projects in Brooklyn). But most importantly there is a tone of misery and in some cases, suicide. You can really feel the hopelessness of some in this movie (Rodney for instance tells Strike, "Maybe you won't have to take it much longer," which shows he'll put him out of his misery or at least that's how it's implied). It's so hopeless, it makes me wanna cry. But Strike is a symbol of hope in the midst of a hopeless environment. And so is his bro, Victor. I'm a Rivera by the way :D. If you want something happy, skip this one. But if you can handle the hopelessness of this movie, give it a try. It's a good movie. However less dreary than most movies of this genre such as "Fresh" which is more darker. This movie is a human drama about the lives of young blacks and Hispanics (cause one of the drug dealers is Hispanic, and a "bro"-sayer :D ) who deal drugs because they have no fathers. It's a thoughtful story and Spike really put his time into it. Some moments will make you laugh (like the opening scene -- a funny argument about "rappers who are hard"); some will make you jump (it's something to do with Rodney and Strike) and the last 20 minutes will make you cry (including the credits). This was a tour-de-force. Spike Lee and Martin Scorsese are true masters of cinema. But believe me this is more depressing than "GoodFellas."

Reviewed by Predrag 8 / 10

"You are sellin' your own people death!"

I think this is one of Spike Lee's best films - it deftly balances a compelling murder mystery with a wider portrait of the people, both innocent and less so, whose lives are warped by their community's decay in ways both obvious and subtle. The movie juggles a cast of a round dozen characters seemingly effortlessly, and with enough skill and density that you feel like you know them far better than their actual screen time would warrant. The cast is first-rate, the acting is excellent, the direction keeps the story moving at an exciting clip, and the music is a perfect balance of hip-hop beats with a more traditional score.

Clockers keeps your attention with remarkable shots of the projects, excellent background music that rarely interferes with your ability to hear what's being spoken, and convincing acting that portrays the projects and the problem of drug crime exactly they way they exist in real life. Indeed, the film opens with actual photos of persons who were gunned down in drug wars along with murals on walls hoping that the departed rest in peace. Moreover, Clockers is not for children; nor is this film for the squeamish. There's a good deal of violence and blood; but the realism raises Clockers up to a five star high level of motion picture. Clockers also provides us with excellent social commentary about the remarkably harsh and brutal world of drug dealing.

Overall rating: 8 out of 10.

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