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As so much of wide-released American film subsides into a smiling stultification, Lee remains as forthright and critical as ever; it’s appropriate that our era of living under a New York real-estate huckster gets one of its most powerful responses from an elbows-out, indefatigable Brooklynite.

Reclaiming cultural touchstones has been a career motif for Lee, who first crossed swords with The Birth of a Nation in his 1980 student film, but here he manages to wrest the very grammar of filmmaking from Griffith in the film’s bravura climactic montage.

Lee made the didactic BlacKkKlansman to move audiences, which he succeeds in doing despite the feeling that the film has been stitched together from everywhere.

There’s a provocative subtext on “passing” that seems startlingly prescient in the context of resurgent white nationalism. Indeed, more inspired by than based upon former G-man Ron Stallworth’s ’70s-set memoir, BlacKKKlansman is arguably Hollywood’s strongest anti-Trump movie to date.

Lee is in high political gear, connecting yesterday to today, interspersing the action with scenes of almost slapstick humor. Gleaming with rage, it's one of Lee's best films, and that's saying something.

In a handful of breathtaking minutes of sheer mastery and exhilarating cinema, “BlacKkKlansman” opens with a cascade of glorious, original and profound scenes that immediately and boldly reorient not only the experience of our history, but also the history of our cinema.

For much of this startling story, set in Colorado Springs in the early 1970s, Lee expertly takes you into a shocking American past that harrowingly leads right back to its agonized present.

This is not as much an aesthetic critique of the masterful craftwork of this film as it is a political critique of the content of and timing of the film. . . . A story not being “true” is not necessarily a problem for me- I have no interest in telling them myself at this time- but this is being pushed as a true story and it is precisely its untrue elements that make a cop a hero against racism.

Among Lee's non-documentary work (his docs have been consistently excellent), this one's right up there with Do the Right Thing and 25th Hour--a singular master at the height of his powers, combining all the things he does best to push his art forward in a really exciting, and thoroughly vital, way.

It's a punchy, pamphleteering work, delivered in the trappings of a popular genre movie: namely, a deep-cover detective film. As propaganda, it delivers a clear and concise condemnation. Its rhetorical force, however, diminishes its effectiveness as genre.

Lee has made a movie of bold and brilliant paradox. “BlacKkKlansman” is one of his most politically passionate films, a vision of social pathology and moral devastation that is also, often, bouncy, riffy, and Top Forty catchy; for all its revelations of racist rot at the core of American society, Lee also offers a clear, specific, and wondrous, if wary, view of change that’s possible.

A furious, funny, blunt and brilliant confrontation with the truth. It’s an alarm clock ringing in the midst of a historical nightmare, and also a symphony, the rare piece of political popular art that works in all three dimensions.