Comedy / Drama / Music

IMDb Rating 6.5 10 9,814


Downloaded times
May 28, 2020



Chris Rock as Mays Gilliam
Michael Rapaport as Kevin McCall
Mira Sorvino as Rachel Russel 2 episodes, 2006
720p.BLU 1080p.BLU
1.22 GB
English 2.0
23.976 fps
135 min
P/S N/A / N/A
2.51 GB
English 2.0
23.976 fps
135 min
P/S N/A / N/A

Movie Reviews

Reviewed by JonTMarin 10 / 10 / 10

Great satire, very misunderstood

The film "Bamboozled" has caught a lot of heat for it's portrayal of blackface (an issue that wasn't really talked about until the release of "Bamboozled") Writer Pierre Delacroix (Damon Wayans) sees his pitches for TV shows being rejected one after another. He is upset with his job and his boss Thomas Dunwitty (Mike Rappaport) He is under contract, he cannot quit because he will be sued. So he decides to get himself fired. He plans on reviving blackface and hopes that it'll be so controversial that CNS will be under fire and he'll get fired. He recruits two street performers Manray (Savion Glover) and Womack (Tommy Davidson) and pitches the show to his boss. The show gets green lighted, but unfortunately it becomes a big hit and destroys his whole plan. Spike got some heat for this (mainly because he criticized previous films for the way blacks are shown, then he made a film with blackface) But what people don't understand is that this is a satire. The images of rappers and "Timmi Hillnigger" are all poking fun at today's society. "Bamboozled" is clever and one of Spike's most explosive films next to "Do the Right Thing" and "Malcolm X". This film has Tommy Davidson performing in blackface, in a very funny routine. I wanted to laugh but at the same time it made me think. This sketch was making me laugh at every stereotype about my people that I hated. That was the smart thing about "Bamboozled", it caught you in the act of doing something and made you think. "Bamboozled" is a well thought, mentally challenging film that'll change your life. Bamboozled- rated R **** out of ****

Reviewed by nocabout 6 / 10 / 10

Finally, the Truth has been revealed... in White and Blackface!

I approached this film with trepidation due to the mixed reviews(in particular, the flat-out negative review of Ebert at the Movies). Knowing Lee's penchant for controversy, but knowing also his unflinching honesty and passion about his position, I decided to give this film a chance. I consider myself an educated, articulate, middle-class black-american. And I was wary of Lee's supposed satire which centers on the creation of Minstrel show for the new millenium. By the time I credits rolled, I was applauding. In this film, Lee takes no prisoners, he neither excuses the white establishment for its entrenched and hard-to-expose racism nor does he excuse the blacks and other non-whites who become the literal agents of this process. This story of two young black men's rise to financial and commercial glory through demeaning themselves, their talent and by example the group of people from which they hail, is an allegory. Rather than getting stuck in a discussion of this film's form, viewers should consider what it means about the world around them. The disturbing and unnerving finale, is a suitable response to our rising awareness of inner-city violence, hip-hop culture, the prison industrial complex, and the police state in which many blacks, poor or not, find themselves a part. Instead of offering us solutions this film offers us, as in many other of Lee's films, a wake up call. As in the body of Lee's work, the camera work gives a gritty cinema verite feel to the scenes, and the performances of Glover, Davidson, Pinkett, Wayans, and Rappaport are dead-on. The cast has a good chemistry and the dialogue will have have you howling with disbelief and laughter. An incredibly important film, for any consumer, and by definition, any creator of popular culture who may be responsible for the perpetuation and dissemination of DAMAGING and DEGRADING stereotypes. Thank you, Mr. Lee.

Reviewed by Hancock_the_Superb 6 / 10 / 10

Lee sets up a great film, then misses the mark

TV writer Pierre Delacroix (Damon Wayans) is tired of having his TV concepts rejected by the studio. Accused by his ultra-"hip" white boss Dunwitty (Michael Rappaport) of not being "black" enough, an enraged Pierre comes up with an outlandish idea: a modern-day minstrel show, complete with black-face, musical revue numbers, racial epithets, and the most ridiculous stereotypes imaginable. He enlists the aide of his reluctant secretary Sloane (Jada Pinkett Smith) and two street dancers Manray and Womack (Savion Glover and Tommy Davidson) desperate for a buck. Pierre is flabbergasted when the network accepts the show, and then becomes a pop culture phenomenon. But not everyone enjoys the racial epithets the show provides, and the Maumaus, a group of wannabe gangstas/rappers, decide to take matters into their own hands - with tragic results. Spike Lee's "Bamboozled" is certainly an ambitious film. It is an unremittingly vicious satire of the portrayal of blacks in popular media, a topic all too open to attack from Lee's inflammatory eye. However, having set up a potentially great and scathing satire, Bamboozled ultimately fails by being just too broad and over-the-top in its target. Lee is certainly right in attacking media portrayal of African-Americans. And for the early sections, it works. The most effective is the portrayal of pop culture - namely gangsta rap and hip-hop. The Maumaus are ridiculous posers who don't even notice that one of their number is white. The TV ads for Blow Cola and Timmi Hiln!gger showcase the artificiality and toxic nature of gangsta culture. Women are hos, bitches, and sluts; the men are cool because they do drugs and kill people. Lee's double-edged sword goes after the white media (embodied by the embarrassingly patronizing boss Dunwitty) for perpetuating such images, but also the blacks who embrace it. Very few societal targets, regardless of race or position, escape Lee's critical eye. The film's use of clips from minstrel shows of the past, as well as cartoons and other caricature portrayals, as well as the commentary of Sloane, to make the point reverberate. All of this is brilliantly done, and the witty dialog and character interactions of the first half indicate that Lee has winner on his hands. But the film ultimately fails due to the methods it employs. Seriously... is there a sentient human being alive who thinks that there would be a TV audience for a MINSTREL SHOW? Black face is such an inherently, blatantly offensive concept that it's impossible to take it seriously. For lack of a better word, it's overkill. And by showing it again and again, Lee rather overdoes (and undermines) his point. We get it; this show is racist and humiliating. Wouldn't Lee have better made his point by keeping the focus on the contemporary equivalent, or at least gone about it in a more subtle manner? Of course, "Bamboozled" is a satire, so hyperbole is expected. But, there are limits to this, particularly within the media of film. Be too outlandish and over-the-top, and the point is lost. Jonathan Swift's "A Modest Proposal" works because it is a written essay, where the venom beneath Swift's seemingly earnest tone is almost undetectable. In "Bamboozled", however, we see starkly outrageous images of minstrel shows about black-faced, watermelon-eating, chicken-stealing blacks (and the black-faced fans who love and emulate them). And that image in and of itself blots out the point Lee is trying to make with such images. We don't remember that the media is demeaning towards blacks; we remember the minstrel show. The movie is also damaged by its cop-out ending, which uses violence as an easy solution to the problems it has set up. One could argue that Lee was attempting to show the detrimental effects Delacroix's show had on society. Thanks, but I'm not buying that. Whatever justice that argument has is killed by the ham-fisted, rushed way the climax is executed. The acting is uniformly solid. Damon Wayans, an actor I usually dislike, makes Pierre an intriguing character. Pierre's descent into hell - ultimately embracing the stereotypes he presents through his work - is fascinating. Jada Pinkett-Smith gives a quietly effective performance as the film's conscience, although her actions at the end seem ridiculously out-of-character. Savion Glover and Tommy Davidson are both extremely likable as two characters who slowly realize what they're doing is wrong. Michael Rappaport's hopeless studio VP is hysterical, and provides some of the film's best moments. In short, "Bamboozled" is an extremely ambitious film that starts out great, then becomes so outlandish and over-the-top its point is obscured. Regardless, one should note it is very much a point worth making. 6/10

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