Thought this movie would've been better. Pretty boring not much action or anything to keep you interested.

Just bleak, hard hitting stuff. Strike is made a scapegoat by everyone just as he tries to turn around. They don’t care about him, the point isn’t to help him or anyone. It’s to wrap up cases, it’s to soothe a police officer’s pride, it’s to fuel a war that was never meant to be won. Kietel is excellent as an officer seemingly playing to the old honorable archetype but in truth is a man who wants to prove his intellect to himself, who takes the job as a personal slight, who realizes this about himself but never takes the step to actually confront it. Keith David is so made for a Spike Lee film I’m amazed this is his only one. Lee’s directorial style, brimming with emotion, colliding with a gritty hood drama results in something mesmerizing. A little slow and drifting in the middle, it’s still an enthralling watch.

The pinnacle is Kietel walking Tyrone through his statement, Lee’s classic monologue stylings just hammering home how insidious and almost reality warping this method is. What the coo says goes, and in this case it’s only lucky happenstance this kid knows another cop. Its weaponized for him instead of just being weaponized against a dead black man, but the film paints it as anything but triumphant or heroic. Nothing in this film is.

Spike Lee is an unfortunate instance of a very talented filmmaker who's
obvious talent in craftsmanship doesn't come across in contemporary
mainstream cinema because of issues having nothing to do with cinema
itself. I realize that in becoming great at anything in one's life,
other things have to suffer, and with him it seems, at least to me,
that for everything he has undoubtedly accomplished in the filmic
realm, it's created a type of 'idiot savant' (it's simply an existing
term--I certainly don't mean it pejoratively)--that is, in social
skills, at least pertaining to self-marketing, or getting across one's
persona in the field, he is lacking--and it negatively impacts his
cinema. And that's a dirty rotten shame, because this was a fine film.

He and his excellent approach to cinema remind me of the Heisenberg
principle and make me: a) wish Lee could find more happiness in his
life, so that he can come across better, and thus have his personality
not negatively influence cinephiles like me; and b) wonder, like in 'A
Beautiful Mind', if he was happier and more pleasant, if it would
negatively impact his filmmaking? Philosophical questions such as this tend to keep me up at night, unless I have some red wine, milk or chamomile tea to wear me out and soothe me.

'Clockers' worked for me. Keitel was really on a roll when he worked in this, with 'Bad Lieutenant', 'Reservoir Dogs', 'Pulp Fiction' and 'Smoke' all around this time. It was certainly a great vintage for him, and a fine time to sample his acting.

This is a criminally underrated gem, a urban movie about drug dealers that feels nothin like your typical gangsta movie, it doesn't have constant rap playing the whole way through, but a poignant classical soundtrack from Blanchard, Albeit still great 90's hip hop in it. The emotion and color of the sets are tangible. I wouldn't really call this a Spike Lee joint, because Scorsese produced it, it has a much more professional and serious feel than Spikes previous corny work. The 90's Brooklyn hip hop street reality feel is there but this film hits a much deeper note in the soul, skip the mainstream trailer, it might be the reason this failed in the mainstream, when it sours with true underground heads.