That lack of scope—and subject specificity—makes itself apparent in a small detail: McGowan’s failure to refer to Lee’s films as “joints” at any point, a label which all films but a few documentaries have carried.
Lee's deeply felt landmark biopic of Malcolm X gets a handsome transfer from Warner Home Video.
Girl 6, the story of a girl and her stint in the phone sex biz, is a sloppy and problematic film, no diggity.
In which Lee mind-wrestles with a feminist screenwriter and everyone loses.
It taught Lee to trust his personality as an auteur enough that he wouldn’t feel compelled to back it up with his personality as an actor.
The rare biopic that all but explicitly acknowledges its director's sense of identification with its subject.