Commentaires des utilisateurs

Spike Lee's telling of the sweltering summer of 1977 in New York, the year the Son of Sam murders gripped the city, is effective in transporting us to the era, especially with music references that span disco, pop, rock, and punk. It's also very well cast, with Mira Sorvino especially turning in a great performance, and John Leguizamo, Adrien Brody, and Jennifer Esposito all strong as well.

Lee's tale has the actually serial killer in the background, an interesting idea that allowed him to focus on the evils of the citizens in the neighborhood: little bits of racism and homophobia, a good dose of misogyny and the double standard in the attitude and philandering of a married guy (Leguizamo), and most effectively, the turning loose of the mob to both loot during the blackouts, and to target individuals unfairly deemed suspects in the killings, like the guy from the neighborhood who wants to be a punk rocker (Brody).

Unfortunately, Lee got a little overindulgent in focusing on these people, and aside from creating characters that sometimes seemed like shallow clichés, the script veered too often into sexual antics. The married couple going from his numerous affairs to her trying to please him through dressing up, asking for sexual advice, going to an orgy, etc felt like a little much. The friend who aside from wanting to be a punk rocker also dances provocatively and services men in a gay nightclub did too. You could say this is a hot mess of a film, and at 142 minutes, it went on too long.

With that said, I was always engaged, and found Lee's memory of this period (he was 20 in 1977) to have a certain intimacy, one with a refreshing darkness that contrasts the buoyant songs of the day, any semblance of sentimentality reserved only for his beloved New York Yankees. Speaking of which, I loved the lines speculating that the killer might be Reggie Jackson - the Son of Sam, Uncle Sam, New York Yankee wearing #44, the caliber of the handgun used.

The Summer Of Sam is the story of just one group of people and what they went through during the Summer of 1977 in New York during the "Son of Sam murders". If you are expecting a film the is solely about the David Berkowitz and the son of sam murders you will be dissapointed because while this does tell that story all the way through the film it is more about a just one set of people and how it affected them. The acting is very good especially from John Leguizano (vinny) and the gorgious Mira Sorvino (Dionna) and although sometimes the film drags a little they make this fresh and worthwile sticking through the 137 minutes. The soundtrack is fantastic as is the direction from Spike Lee and it is nice to see him doing a subject that is different from his usual African American topics. A good movie . 8 out of 10.

Spike Lee goes berserk with SUMMER OF SAM, a twisted revisiting of the Son of Sam killings, New York, 1977. Lee steps away from his usual message pictures depicting the differences between blacks and whites and plunges us into the small Italian neighborhood within the largest city in the United States that serial killer David Berkowitz terrorized for months. The "Son of Sam" himself (played by Michael Badalucco) is placed in the back seat and Lee presents a community and an era for that matter in complete chaos.

SUMMER OF SAM has its good points and its bad points. We get to know this locale very well whether we like it or not. The characters who populate the neighborhood are funny, sad, and stupid all at the same time. You get a feel for the smells and the language of that time in that place. 1977 was the year of Disco's peak, the uprising of British punk rock (represented well by the Adrien Brody character "Ritchie"), and the Yankees were on top of the baseball world. These characters are truly nuts in their vigilante approach to finding the killer. Hell, Reggie Jackson (#44) may be the .44 caliber killer.

Aside from seeing into a sometimes gripping and stupefying world of violence and flash, the film does go overboard many times. Lee continuously rams the sex aspect of the period into our minds and Berkowitz is not seen or known enough. I did not expect a Berkowitz bio at all, however a more focused look at the killer would have proved more effective. The relationship between "Vinny" and "Dionna" (John Leguizamo and Mira Sirvino) is well-done, but over-told. True, "Vinny" is the movie's central character, but he has barely a redeeming quality and is a hard-headed product of his environment.

The cinematography and overall sound of SUMMER OF SAM is awesome. It looks grimy when it should and the use of The Who on the soundtrack is emotionally rousing, especially during the inevitable climax. I liked the picture mostly for cinematic reasons than for historical or emotional ones. The fictional neighborhood pieces are not as good as the small glimpses of Berkowitz, who does indeed chat with dogs. It did remind me in many ways of Lee's DO THE RIGHT THING, but this film has a larger canvas to paint. It works despite the shortcomings.

RATING: ***

Spike Lee's film revolves not so much upon the Son of Sam serial killer himself, but on the effect his killing spree has upon the people of New York City. It's a fairly interesting film. Lee's portrayal of certain character types shows obvious bias and/or ignorance, just as he so often unjustly criticizes people about being racist, showing that he is clearly far from a level headed person. Nonetheless, he has made a few good films, and one really good film in my view, Malcolm X. While Summer of Sam is far from a great film, it is worth a watch, especially if you're interested in serial killers or the effect they have on their environments. 6.5/10.

I know I may be one of the three people to say this (Roger Ebert being another of the few), but I think "Summer of Sam" is a great movie! First off, I'm a Spike Lee fan and I do feel that this is one of his best films. I think the problem most people had with the movie was that it wasn't the standard serial killer thriller they were expecting. If that's what you're expecting, you will be disappointed. Instead, "S.O.S." is a character study that focuses on the paranoia that spread amongst New Yorkers in the summer of the late seventies, when everyone was suspecting one another of being the Son of Sam. It was like a modern-day version of the Salem Witch Hunt. If you were as much as an eccentric, you were a suspect (like in the case of Adrien Brody's character in this movie). I like movies that focus on characters, and take time to develop them to a point where a feel a deep connection to each of them. Spike is one of those directors who favors character development over plot devices, and I think that's what makes most of his films work. The characters and dialogue are written in a very realistic fashion. It helps that Spike cast mostly authentic New York actors (i.e.: Adrien Brody, Jennifer Esposito, Mike Starr, Michael Rispoli). First of all, they don't have to fake their accents. Secondly, New Yorkers just have a certain vibe that cannot be fabricated. It also helps that the actors all have a great chemistry with one another. The cast is excellent all-around, with not one bad apple in the bunch. I think John Leguizamo gives the best performance of his career. For a comedic actor, he can surely pull off a straight role with flying colors. Part of the reason why is because he doesn't try too hard to play the drama, and when there's a scene that gives him a comic opportunity, he takes advantage. It's nice to see that Brody became famous, after winning an Oscar for "The Pianist" (as a side note, he's the youngest ever actor to win a Best Actor Oscar). If you're anxious to check out one of his good earlier performances, he does a superb job in this movie. Some people have criticized the use of F-bombs throughout the film--and yes, there are many. If you're easily offended by bad language, this will be like sitting through a death camp. But I didn't feel the language was in any way gratuitous. We're dealing with working-class Italian-Americans from the Bronx, who are involved in things like drugs and prostitution! Obviously, they're not going to be saying things like "gosh darn it!" This is not like "South Park" where there's just profanity for the sake of profanity. It adds to the film's realism. Finally, I loved the film's lighting style. Some of the shots are rough and grainy, but it helps intensify the gritty tone of the film. If you're one of those people who likes slow-moving character studies with great acting, you might share my feelings about "Summer of Sam." Obviously, if you're part of the summer blockbuster crowd who favors explosions and gross-out gags, this will put you to sleep. The movie runs at approximately 2 hours and 20 minutes, yet I never once felt bored. I'm not one of those people with a minute attention span, but any movie that can sustain my interest for 2 hours and 20 minutes deserves much acclaim. I have nothing wrong with long movies, as long as they're not overlong. After all, bad movies are never too short and good movies are never too long. When a movie is this great, you don't want it to end abruptly; you want it to keep going. (10 out of 10)

P.S.: The seventies soundtrack is magnificent!

I really enjoyed this movie. The Son of Sam killings are just a backdrop to a slice-of-life story in New York City in the summer of 1977. I believe that Spike Lee wanted to tell a story about the seventies - the excesses of sex, drugs and the desperation of the times. He chose a summer that stood out in the minds of the people who lived through it because of the record heat, the murders and the blackout. The Son of Sam killer was in one sense a strongly contrasting back drop and in another sense an extreme sign of the times. David Berkowitz was out of control and driven by invisible demons, but that could be said of the main character Vinnie. The difference between the two could almost be reduced to a matter of degree. I was struck by the part of the story where a group of friends thought the killer was one of their own because he was into punk rock and same-sex sex for money. Their misunderstanding of the killer seemed startling in light of what we know about serial killers today, but was dead on for the time. Spike Lee reminds us with this movie how much damage is done when we allow ourselves to be driven by our ignorance and fear. He makes us uncomfortable, of course, but the lesson rings so true. As far as the direction went, I thought that it was classic Spike Lee with a little taken from some other popular young directors, but if someone imitates something good and does it well, I don't complain. My favorite scene is where the punk rocker character Richie does a porno dance to The Who. The soundtrack is also pretty good, by the way. I gave the movie a 9 out of 10.

While this wasn't Spike Lee's best film, it was certainly his most unusual. Instead of depicting the life of the common black man, he decided to focus on the travails of one hot summer in Brooklyn. All of the lifestyles the people lived mixed and matched nicely, and the performances were rather believable. I was rather surprised Spike Lee's signature was under the directorial credit in this film, considering the only black man in the film was Reggie Jackson. But then again, he proved he could depict the lives of other cultures as well as he could his own. Not perfect by any respect, but an interesting tale about paranoia.

This is by far one of the worst movies I have ever seen. It's suppose to be about David Berkowitz (Son Of Sam) and it is about a pathetic man who cheats on his wife a million times. If you're going to make a movie about a prolific serial killer, make it about that. Not some messed up marriage and a few moments of seeing Son Of Sam shoot people with a gun. If I could rate this movie a 0/10 I would, but that's not an option.

This film is quality. I've loved it for nearly 20 years. It's got to be one of the most underrated films of all time.

A true freak show of a film. I've never seen such a confusing Spike Lee joint. Are we supposed to laugh? Did he just make this to troll us? Was he laughing the whole time? It's like a parody of Goodfellas with the style of something like The Butterfly Effect. Nearly every character feels like a parody of a New York personality rather than being a believable one, but I'm pretty sure this isn't supposed to be a comedy, right? And, Adrien Brody's case...I can't believe this was one of his first prominent roles. Just absurd. Everything about it feels so off, and so impossible to take seriously. But, this is the wonder of it all - this is what makes Summer of Sam such an anomaly, and what makes it a very entertaining viewing.

Some parts of effective...like the murder scenes, but you'll go right from some innocent couple getting their heads blown off to some ridiculous montage of "punk rocker" Adrien Brody rocking out to...The Who (woof) in his bedroom with his liberty spikes. I mean, this is no Green Room. Half of the dialogue is pretty goof-troop, but it's always entertaining.

It was a long time ago that I added this movie to my to-watch list and honestly I think it may have primarily been just to see more Mira Sorvino. Her character is one of the most believable and locked in and also she is stunningly beautiful so that never hurts. John Leguizamo does a great job of playing a fully despicable lead, but at 2 hours and 20 minutes, it's a long ride with a fool who you just want to see receive what he deserves - his performance is good enough that it almost feels out of place amidst the rest of this cheese. With many of these cast members who are typically great, it's almost as if Spike Lee directed them to act corny on purpose.

Regardless of all its confusing faults, Summer of Sam never slows down and stays amusing from scene to scene for all 140 minutes. My girlfriend and I mostly enjoyed making fun of it, but I could see it going both ways for people. "You look like a piece of mozarell!"

The film is a collection of cliche's on just about anything out there. It has no focus whatsoever, no goals, no real message. Symbolism is pushed over the top and stereotyping is abundant and outrageous. This movie can't resist the temptation of making drama where non exists. Every small exchange of words turns immediately into a lengthy, unjustified dialog that is so typical of an acting class rehearsal. Where there is no substance to this exchange, the actors (regardless of how good they are normally) can't help but compensate with exaggerated emotion, aka "raising the stakes". Over acting, to put it simply. The directing is of no help here. Nothing can save this non-story. It is forced, faked and boring to tears. Inaccuracies in portaraying punk rock with The Who, piercings and flashy 90's outfits. Characters wander without a role, detail and motive. Locations are arbitrary. This is Boogie Nights cum The Good Fellas cum Saturday Night Fever, with meaning and art ripped out.

Good DP. I'll give it that.

Some films have flaws. This film is Lee's flaw. He sold out, like the rest of them. Became irrelevant. He has nothing of interest to say anymore.

I have no desire to see anything again from this guy (whom I'll refrain from naming from now on).

Summer of Sam was berated on its US release by New Yorkers and relatives of the victims of serial killer David Berkowitz alike. In the summer of 1977, paranoia eclipsed disco fever as the so-called .44 Killer murdered six and injured seven, all while keeping in contact with columnist Jimmy Breslin (whose comments bookend this movie). Not the kind of events to revisit in these days of the easily offended, and seeing Lee's claustrophobic take on Berkowitz in his deranged apartment is almost enough deter you from visiting the Big Apple.

The focus of the movie is an insular community of Italian-Americans. Mistrust rules the roost: the only thing close-knit about them is an occasional cheesy tank-top. Fear and conformity underpin the set-pieces upon which Lee thrives, from cops meeting a Mafia chief (Ben Gazarra) to a half-hearted Studio 54-style orgy. John Leguizamo thrives when passing himself off as John Travolta, but his marriage is a hollow sham. His quest for redemption hinges on saving punk friend Ritchie (Adrien Brody) from both himself and the lynchmob they grew up with.

Summer of Sam has invited comparisons with Do the Right Thing, on account of its portrayal of the simmering tensions building up to horrendous violence. Yet the lifestyles on show throughout make it closer to Scorsese's Mean Streets, albeit balanced by several strong female leads, notably Mira Sorvino. At 142 minutes it has stretched the attention span of some viewers and reviewers, but as the closing credits roll Lee has got us to care about the characters as each boils over. Ditching the irksome music video/sitcom visuals - even at a Late-term Abortions gig, with Ritchie on guitar - this is Spike Lee's most mature joint to date.

Graham Barnfield

This wasn't what I expected. The son of Sam killer really is just a back drop for this story and it is an interesting look at communities in the late 70s. My one glaring problem with this movie? The try hard version of the punk rick scene. I was too young to be around it at that time, but I think Spike Lee just took a really stereotypical view of them (an almost insulting to be honest). For a director who seems to love detail it was disappointing

It's a shame this movie came out when it did, during a time when it was as politically incorrect as it could get to have violence in a movie (think post-Colorado shootings). If this movie were released a year sooner or later it wouldn't have been as ignored and hated as it is. This is really a good movie, if you aren't expecting a crime-thriller, but an interesting look at the summer of 77 in New York. The use of music is outstanding in this movie, the atmosphere is incredible, the editing is flawless, and it makes my top ten of 99. Not for the faint of heart (ie. conservatives who go insane when they see sex or violence on the screen). There is nothing 'a priori' wrong with having sex or violence in a movie. If you don't like that kind of stuff, what the #$%$ did you see this movie for?

I think this movie actually improved over time because of the nostalgic aspects of it. This look at NYC during the Summer of 1977, when the city was plagued by the events of the serial killings by David Berkowitz and the Summer of Sam. This movie ascribes to the version that Berwowitz was the sole killer, but that is not relevant. The essence of Spike Lee movies is to capture the feel of New York, and he does it well. The characters are strong. John Leguizamo and Mira Sorvino are very good in this. The dialogue is funny and sharp. Adrien Brody foes a good job representing the Punk pushback against disco. A lot of quasi-politics and a lot of a good sense of how the SOS gripped people in the city. There is a personal feel to this one.

With films like 'Inside Man' and the upcoming 'Selling Time', it appears as though Spike Lee is departing from his gritty streetwise films on racial prejudice, and into the pleasant commercial world of Hollywood. He stills touches upon the odd racial issue today, as is his trademark, but they seem more like mandatory inclusions than anything else, being left unexplored and unimportant. This is not saying Summer of Sam is a lecture on racism or anything (in fact, it steers away from the topic), but it fits the gritty crime-infested streets style that Lee used to do so well.

Summer of Sam brutally zooms in on an Italian-American South Bronx neighbourhood in the summer of 1977 -- the hottest summer ever, a real killer. Lee does not shy away from sex, drugs, raunchy dialogue or violence in his portrayal of the events which are based on reality of the summer nights when Sam murdered women on the streets. As the Bronx inhabitants grow anxious and suspicious of the murders, Summer of Sam focuses its story on Vinny (John Lequizamo), his marriage with Dionna (Mira Sorvino) and his friends and we see how the killings affect their lives, while plating the "Son of Sam" himself in the backseat to make room for these dynamic characters.

I can admit that there is no strong point or focus in this film, but I don't think it's entirely necessary. It's a portrayal, and a realistic one at that -- it is also a portrayal of an era, the 1970s and this is most apparent in the flashy 54-styled nightclubs that Vinny and Dionna go to. It occasionally drags on, but this is good because it emphasizes the terrible heat and anxiousness of the city, making it almost nightmarish. It is so realistic that you can almost feel the heat and dirt on your clothes as if you were right there in steaming hot New York City. I therefore feel that a great deal of praise is due to a film that succeeds in being haunting without actually dealing with the murders head-on.

8/10

Spike Lee is a good director. In the past, he has been great. (See "Malcolm X" and "Do the Right Thing.") However, now he seems to think that gratuitous sex makes captivating viewing. He saturates the film in sex that made me blush. Believe me I am no prude. "Eyes Wide Shut" was one of my favorites of 1999, and "Boogie Nights" is great. The difference is, those films used sex as a tool, not as filler.

So, after reading the glowing reviews, and going on the legendary reputation of the director, i decided to rent Summer of Sam'. Whoops. What exactly was the plot? Has Mr Lee ever heard of the concept of characterisation? Why does John Leguiziamo (something like that!) bother to act. His character (the main character of the entire movie) is wholly unlikeable and leaves the viewer just itching for him to become a sam victim. With a frankly boring plot a several needless sex scenes, the film becomes almost a Hollywood porno. Forgive me if this is not what i expected. The only thing that stopped me from killing myself was the quite wonderful Mira Sorvino, but the strongest actor in the whole film is degraded to just a bit part, just a furnishing on the side whilst Mr Leguiziamo tries to be as unlikeable as possible.

Aaaah. I can breathe again now. Thank you for listening, and please all of you critics out there, CLIMB OUT OF SPIKE LEE'S BACKSIDE!!!

Originally, the term, Chauvinist, derived from the articulate Frenchman, Chauvin, who thought French culture was unquestionably superior to virtually all other cultures in the world. Today,the term, Chauvinist, is construed as something pejorative with regards to eschewing feminism, aka the "Male Chauvinist Pig". When implementing Chauvinism by its real definition,New York is the number one city (Dallas being a distant second) that would be classified as the most Chauvanistic city in the world! This adamant belief, which is garnered by many New Yorkers, (Including the people in this movie) evokes a quintessential candor with everyone about how New York is the only real city in the world. Snobbery amongst New Yorkers is not about country club elitism, rather, it deals with a cosmopolitan superiority which pertains to the actual concept of a city, and, its aggregate potential that purports how intensely urban a city like New York, and only New York, can actually be! Ironically enough, the New Yorker's bravado is predicated on how New York City is one big citadel for imperfection, and intransigent life lessons. There is just something acutely enlightening, and genuinely humorous about meeting an individual who truly believes that he is the best at something. New Yorkers of this ilk have the exuberance, not to mention, the b**ls (time to insert a euphemism) to cogently believe that they are, indeed, the greatest city in the world. What does this long dissertation have to do with the movie "Summer of Sam"? Only this, all of the characters in this movie were New Yorkers who all possess this Promethian New York City attitude.This movie deals with a lot of Italian Americans living in New York. I am Italian in descent, and, I have noticed that New York Italians differentiate themselves from all other Italian Americans in that they are for more ingrained with the old world Italian ideals. The film, "Moonstruck" established such a theory as their foundation for their movie's dynamic. Focusing now on the movie "Summer of Sam", the whole plot was very high strung. The reaffirmation of the "Saturday Night Fever" mentality gave the movie audience a crystal clear concept of the prevailing mindset for all the significant characters in this film. Set in New York, back in 1977, Elvis passed away,"Studio 54" became a nightclub sensation, Jimmy Carter was President, disco was king, gas was rationed, inflation was double digits, and that summer in New York City, in 1977, was one of the most hot and sweltering summers in the city's history. These young men were not just hot from the oppressive summer days, but also, from "really liking" Farah Fawcett Majors. While culture clashes disseminated an old stand-by motley crew of lost souls from the Bronx, the "Son of Sam" was at large to terrorize everyone just totally sh**less(time to insert another euphemism). The violence, the agitation,and the paradoxical love/hate relationship with New York City, all were executed flawlessly with this film! I found it interesting how someone would not slug you if you bumped into him and uttered profanity at him, but, he would deck you for being a Red Sox fan... Only the Yankees... Remember! The movie "Summer of Sam" covered the phenomenal event whereby Reggie Jackson hit three home runs in one game to win the 1977 World Series for the New York Yankees. This is painstakingly ironic that I just saw this movie, as I recently witnessed the World Series this year, 2011, in which, Albert Puljous hit three home runs in one World Series game against Texas. Only three players in the history of baseball have accomplished something so paramount: Babe Ruth, Reggie Jackson, (As this movie points out) and, the 2011 World Series, Albert Puljous (For the champion St Louis Cardinals). Baseball in New York City has perennially been an identifiably pandemic obsession for New Yorkers to thrive on! Spike Lee directs this film, and, he is a wealth of talent (Including his performance in "Do The Right Thing"). The acting in this movie has a sensational authenticity to it.John Leguizamo was particularly convincing with his role in this movie, as the John Travolta incarnate case. Adrien Brody displayed an effective innocence as the emerging spawn of Punk Rock pop culture. Finally, the strong performance by Bebe Neuwirth(Formerly "Lilith" of "Cheers") was very impressive! The use of cuss words in this film, overwhelms you, as the "F" word is used 324 times! Invariably, if a film is truly a good one, more often than not, it sensitizes you with some sort of indelible concept.. In my case, the New York Chauvanism, as depicted with such a fervent intensity in the movie "Summer of Sam", was emphatically and indisputably, the concept which achieved such a feat. It is realistically indicative of our honestly innate human nature to be intrigued with someone who is convinced that his city is undeniably, the overall, number one, best city in the entire world, period! Americans still love a winner, in that case, they should love this movie! Without a doubt; "There are eight million stories in the naked city,and this (Wonderfully creative masterpiece of a movie) was one of them!"

This is a very good if flawed movie. It's more about capturing the ambience and feeling of a specific set of people during a specific time in a specific location. I've heard mixed or negative reviews of the acting in the film, but two performances stand out: Adrien Brody kicks ass as a neighborhood kid turned punk/hustler/musician, and Mira Sorvino is AWESOME as a neglected, faithful, "traditional" wife who is married to an abject loser (Leguiziamo). This movie has one of the most potent sex scenes (NOT the orgy!) that I have seen; it ranks with the 5-second orgasm from "Fast Times"... it makes its message perfectly.

This movie is the worst I've seen since "Virus" (and that was pretty bad). It's 2 hours and 15 minutes, but never decides what it wants to be about. The Son of Sam? Well, for most of the movie, "Mr. 44" doesn't have anything to do with anything. Occasionally he'll shoot a few people, read a note to the cops, or yell at the dog outside of his window to shut up, but he's not really a major issue in most of it. John Leguizamo plays an Italian (?!) hairdresser (?!) who must choose between his libido and his wife in the middle of the panic. Meanwhile, his neighborhood idiots (err...friends) begin accusing Richie, a Euro-punk, of being the Son of Sam, and pointless violence and profanity ensues (I think violence and profanity can be used effectively, but not in this flick). Every other character is just as unconvincing and shallow, and the movie never really decides where it wants to go. There are even some "funny" parts (the one I have in mind involves the dog...you'll see), but those are just absurd and add to the feeling that this is a movie about no one and nothing. Don't bother with this one.

This is one of Spike Lee's greatest films. To start, the acting is incredible. Leguizamo and Sorvino, as well as the other actors, give amazing performances grounded in emotion and realism. The story is enthralling, and incredibly original. It pits the people of New York City in the seventies against their fears, desires and each other. Also Ellen Kuras's cinematography is beautiful. It employs an expressionistic use of color, giving the film a very unique and very different look, creating stark contrasts between hues. Any fan of Spike Lee's who hasn't yet seen this film must, and anyone else who hasn't should. It is brilliant, simply brilliant.