Writing in the Reader in 1991, Jonathan Rosenbaum compared Spike Lee’s Jungle Fever to “a kind of ‘living newspaper,’ where front-page stories exist in proximity to one another without necessarily linking up, and where it’s left to the audience to make some of the vital connections (or not, as the case may be).” This description fairly summarizes much of Lee’s work, for better and for worse. On the one hand, his movies are almost always timely and ambitious; on the other, his usual insistence on confronting as much of the zeitgeist as possible can make them feel overweening and rushed. Continue reading>>