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Revisiting Spike Lee's *Forgotten Films* #1 - "She Hate Me"

by Tambay A. Obenson
May 29, 2012 11:22 AM
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She Hate Me

I call them Spike Lee's *forgotten* films, not because we don't remember them, but rather because, when discussion of Spike's film (specifically fan favorites) are had, these are the titles that rarely get mention. 

Films like Do The Right Thing, Malcolm X, Jungle Fever, She's Gotta Have It, and others are usually at the top of the list. They're also his most familiar films. Ask the average audience member what Spike Lee films they've seen, or know of, and one of these titles will probably be mentioned 9 out of 10 times - especially Do The Right Thing and Malcolm X

But Spike has about 25 feature films in his oeuvre, including TV movies, and documentaries. How many of those have you seen?

This series will revisit those Spike Lee films that, for any number of reasons, just aren't talked about as much as the aforementioned few. Whether it's because they were poorly received by audiences and critics alike, or there just hasn't been as much awareness of them, maybe due to a lack of accessibility/availability. For example, how many of you have seen Sucker Free City - a TV movie/pilot that never made it to TV, as the series it was intended to be (Anthony Mackie starred in it by the way, which led to both he and Spike working on She Hate Me immediately afterward); Showtime never picked it up as a series; so HBO passing on Da Brick earlier this year wasn't the first time a Spike Lee project was killed by a cable TV network after the pilot.

The first film in this series is maybe the one work in Spike's library that many who saw it, would probably like to forget - 2004's She Hate Me.

So... here we go.

A LOT going on in this flick that left me utterly confused and frustrated when I saw it 8 years ago, and still does today; and with such a stellar cast; this list of actors, on paper, on any other project, would/should instantly draw your attention; even the late Ossie Davis’ turn as a judge in really a thankless role. Also Chiwetel Ejiofor as Frank Wills (the black security guard who alerted police to a possible break-in at the Watergate complex in Washington), in what was one of his earliest Stateside projects. 

The rest: Anthony Mackie, Kerry Washington, Lonette McKee, Jim Brown, Woody Harrelson, Ellen BarkinBrian DennehyJohn Turturro, Isiah Whitlock.

There are 3 or 4 different stories in She Hate Me, that could very well have been their own individual films – an attack against corporate greed/corruption; a man with his back seemingly against the wall, forced into making a decision that challenges his morals; the difficulties same sex couples face in having/adopting children; the story of a lesbian couple in which one half of the pair still fluidly moves between worlds (hetero and homo), and the challenges that set-up presents to their relationship; a family holding itself together by a thread (the strained relationship between Mackie's Jack Armstrong's mother and father specifically); a mob boss wanting grandchildren of his own, coming to terms with his daughter being a lesbian.

Anything else?

I read several reviews of those few critics who gave the film a thumbs-up, to ensure that my reception/understanding of it was well informed, from all sides.

However, in reading those reviews, most of them didn’t necessarily love the film as much as they applauded its ambition. There’s a difference, I think. None of them particularly heaped praise on it, as much as they loved the risks Spike took with the film, especially when compared to the homogeneity and lack of ambition and originality we’ve seen in studio films of the last 10 to 15 years or so. Others, like Roger Ebert, didn’t seem to entirely understand the film, but tried to make sense of it, giving Spike the benefit of the doubt, as a veteran filmmaker, who surely knew exactly what he was doing, even if we all didn’t.

But an ambitious, obfuscating, risk-taking film isn’t necessarily a good one, is it?

The film was certainly of its time – very topical, a few years after the Enron corruption scandal that saw the lives of many in the 99% destroyed; it starts out like a corporate corruption thriller – 3 years after Enron. I completely understood Spike’s intent with that particular thread, as our hero, the do-gooder who wants to do the right thing, indeed does the right thing; and like the story of Frank Wills (the black security guard who initially alerted police to a possible break-in at the Watergate complex, only to see his life destroyed for doing the right thing, dying penniless years later); Wills' story serves as a kind of history lesson we are (or rather Mackie’s Jack Armstrong is) supposed to learn from, if only so that he doesn’t end up like Wills did.

There was a potentially riveting drama there – the kind we rarely see, specifically with a black lead; the all-white corrupt corporate leaders, and (we could say, for once) the black hero who could certainly have gone along with The Man's plan, but who chose ethics over greed. And if Spike had chosen to stay on that corporate corruption course, instead of the several segues he takes later, I think this could have been a far more focused, and more interesting and entertaining film.

The setup could've been: Mackie’s Jack Armstrong uncovers some internal illegalities within the firm he’s a higher-up in, and risks plenty by exposing those illegalities; he’s made a scapegoat, fired from his job, his bank accounts frozen, nobody will hire him because the old employer has poisoned the waters; the SEC is on his back, his old employers want him silent, he's broke, desperate, and backed up against a wall; a familiar setup, usually leading to our hero intent on clearing his name (doing so covertly, and often with the aid of a sexy sidekick whom he falls in love with), and exposing the corruption that’s eating away at the insides of corporate offices around the country, with the little guy often left irreparably damaged, while the 1% responsible get off much easier than most would prefer.

That would've been a more interesting, focused story to tell, and I think Spike showed that he could handle that kind of crime drama with his next scripted feature film, Inside Man, 2 years later.

What you probably wouldn’t/didn't expect is an introduction to another narrative thread that involves a business proposal from his queer ex-girlfriend, that would see him earn $10,000 paid by each lesbian who wants his sperm – the old fashion way of course.

What straight man wouldn’t consider that offer? $10,000 a pop; especially if the lesbians looked like Kerry Washington, Dania Ramirez, Monica Bellucci, Michole Briana White, Sarita Choudhury from Mississippi Masala, and others. Where does a brotha sign up?

The film seems to want to comment on the exploitation or eroticization of women in media – film specifically – by switching the “object” of our gaze to the man, who’s technically the whore here, as we see more shots of Mackie naked (from the rear at least) than any of the women.

I’m just not sure that message of the male as objectified, is well-delivered, and so it doesn’t quite register. Not with me anyway.

I was too distracted by the shots of Kerry Washington’s bare butt cheeks as she struts into the frame, in a g-string and high heels, like a Victoria Secret model on the runway, right before her initial get-me-pregnant session with Mackie’s Armstrong; also, watching Washington and Ramirez get it on, on 2 or more occasions – once with Mackie present, observing; the second, really, for the audience. Although both have the same effect. It all felt gratuitous and exploitative.

I mention all that to say that the most confusing part of the film for me was indeed the lesbian impregnation drama that makes up the bulk of the film’s almost 2 ½ hour running time. I already said that I understood what Spike’s intent was with the other significant story thread – the attack against corporate greed and corruption, etc, etc, etc.

But he lost me once Armstrong opened his apartment door, to find a sultry, determined, confident Kerry Washington (showing early signs of Olivia Pope here) march her way in, with her equally dishy lover, and make him an offer he couldn’t refuse.

Spike has said that his intent in She Hate Me was to demonstrate on film where the politics of the boardroom and the bedroom meet. But even that statement doesn’t entirely explain the film to me as it is, the numerous problems I found within it, and why he especially chose this particular story of lesbians wanting to be impregnated by this black male stud, as the battleground on which to tackle the issue of greed, morality, and ethics, and to do it so absurdly, that one can’t take it at all seriously.

It’s supposed to be satire, but I’m not sure what exactly that particular thread sheds light on, or exposes about us; and one is left to consider one of the most popular criticisms of the film - that it's essentially a dick thing, with regards to the lesbian storyline - a heterosexual man's fantasy, and also what I saw as both a reinforcing of heterosexuality as what is "normal," and everything else as unnatural; but, interestingly, the film also seems to simultaneously challenge those so-called traditional beliefs about sex, gender, and orientation.

And I suppose if you recieve that aspect of the film as just that - a mockery or ridiculing of how some straight men perceive lesbians, then maybe it works on that level; assuming that was Spike's intent.

Some related questions/comments that came to me as I watched, and that speak to that hetero male dream/fantasy:

- Why do they all (the lesbians) have to have sex with Jack? They all seem to have reasons for not wanting to get pregnant via artificial insemination, or adopt.

- Was there any concern by any of them about the potential for the spread of venereal disease, as each of them, successively has unprotected sex with Jack Armstrong?

- And how the hell does one dude have sex with all those women - in some sequences, 6 or 7 of them, individually, in one night - and is able to maintain an erection, bringing each woman (each lesbian) to a seemingly pleasurable, screaming orgasm, ejaculating each time, and, oh yeah, getting just about all of them pregnant the first time? Even with the help of Viagara, that's quite a feat for any man; and I suppose Spike is speaking to the stereotype of the black man's almost superhuman sexual ability and virility, there.

- The lesbians initially gripe about the amount of money they’re paying for his “services” and demand that they first see what exactly they’re paying for (although, I thought what they were paying for was his sperm, not his body and/or the size of his tool); and in that scene, Jack strips naked, revealing his various parts, and one woman yells “Sold," as another says, “Damn where do I sign,” after he's asked to turn around and show his butt. These ARE lesbians, right? I suppose the point there was to make the man the eroticized object for once. I'm just not sure it works.

- Of course, we have to see almost every sequence with Jack and each woman, either about to get into, or already in the middle of the act - all played as comical.

- And also we had to see the encounter when Jack first discovers Fatima isn't entirely hetero, walking in on a naked Fatima having sex with another woman.

- And if that wasn’t enough, we're *treated* to a few sexy *rounds* between Kerry Washington and Dania Ramirez.

- Dania Ramirez’s character returns to Jack's place, frustrated that she hasn’t gotten pregnant via artificial insemination, and wants to do it the traditional way; and in her frustration, she tells him that she wishes she could do all she needed to do without a man, but, “we still need you… I still need you." All of that suggests what I think many found problematic with this particular thread in the film - in a nutshell, that there’s something incomplete about being a lesbian, because, they still need men; and not just their sperm; they need to experience all of a man (via the physical act of sex) for pleasure, to become pregnant, to give life; only through this “natural” act (negating any other experience as *natural* – including homosexuality).

- And then comes Monica Bellucci with her sob story, available and ready to strip down and do the deed with Jack; her father a mob boss played by John Turturro, wants grand kids. And just like the other lesbians, she also has her reasons for not wanting to get pregnant artificially. “This is the only way,” Bellucci says as she hands him the stack of money. Once again, suggesting that there’s only one way; only one *natural* experience – that being between a man and a woman.

- The stereotypical Italian depictions of that specific family. For whatever reason, Spike felt the need to insert this ultimately pointless Godfather-esque subplot, maybe just to give John Tutorro a role. And in the “mobster’s” house, there’s actually a poster of The Godfather, which led me to this question: do Italians really have these gigantic posters of The Godfather in their homes? Do they sit around and reenact scenes from the movie just for fun? It's all very comical, and obviously not to be taken seriously; at least that was my interpretation of it. The question is, to what end, and how does any of this connect with the main narrative? What is the main narrative?

- The montage of news footage after Jack's money-making venture is made public, in which various people express their feelings on Jack’s actions. The montage ends with a group of women (we assume lesbians) holding up signs in support of Jack, and chanting “Jack, Jack, he’s our man, if he can’t do us, no one can.

- And despite the fact that Fatima and her lover both initially tell Jack that he’d have absolutely nothing to do with the children they have, thanks to his sperm, in the end, the opposite happens. Again, reinforcing the idea of a *natural* experience, which means a man must be present to complete the family unit. They (both women) still NEED him.

- He’s like the ultimate man; it's one thing to impregnate many heterosexual women; it's another to do the same with homosexual women, as if he's such a dynamo that even lesbians are willing to, we could say, *turn* to be with him, not just sexually, but they also want him present in their lives after the fact. 

Throw in the SEC courtroom drama - a present-day Frank Wills narrative. Although, unlike Wills who found himself (in that fake flashback sequence) at the center of a clan-like rally, like a lynching, Jack manages to avoid his own “hi-tech lynching”; and so you take all the above in, and you say to yourself, my goodness, this guy just WINS! He gets it all - everything he wants comes to him in the end, all as the soundtrack swells, and a montage of scenes follow, including a shot of him sitting on a staircase, with all the women he impregnated and their babies, sitting beside and behind him, all smiling and happy, reinforcing his virility, what essentially defines his masculinity.

He's manhood, the fantasy, secured. 

All I could do was just laugh at the absurdity of it all; you watch all of this and you think, ok... you want to give Spike the benefit of the doubt, and so you say to yourself, obviously I'm not supposed to take any of this seriously, given just how ridiculous the ideas are, right? Including the SEC court hearings at the end of the film that felt like scenes straight out of Mr Smith Goes To Washington, and the shout-out to the real-life whistleblowers; it all makes you wonder what the heck all that has to do with the last 90+ minute male lesbian fantasy drama that unfolds, including its snappy title (She Hate Me), which one isn't entirely sure if it's Spike ridiculing the clichéd perception of lesbians as “man-haters,” or whether it's Spike's own perception of lesbians.

But regardless of which it is, the film introduces the idea but never quite challenges those perceptions - a problem that's common throughout the film. It takes on a range of issues, all organized around money and avarice, but is too ambitious, much to its detriment, leaving its ambition as really the only appreciation audiences are left to have of it, and thus in a state of confusion.

It's meant to be a farce, social satire; I'm just not sure it's entirely successful - not the way a film like Bamboozled was, which introduced itself as a satire from its opening frames, and was unrelenting in that fact. It stayed the course. It's message was very clear - maybe a tad heavy-handed, but we got it.

She Hate Me is more of a mixed bag.

Spike said that the underlying mission of the film was to expose America's failing morality; the boundless/questionable lengths many of us will go in order to get what we want - whether it's money, or family. And I understand that motivation, which does make sense within the context of the film; but I'm not sure why he chose this particular plot - the lesbian plot - as the battleground on which to expose these particular ills of society, and the perplexing ways in which he went about it.

It seems to both negate the *other,* labeling it as *unnatural,* (as I already explained above), as well as champion the fluidity of identity and sexuality, one of the film's pluses. Specifically, Kerry Washington's Fatima's refusal to identify as either lesbian or bi, representing a generation of queer women, comfortable with who they are, who recognize that identity and sexuality are more fluid than accepted labels and categories (we could say that it's a step forward from the one-dimensional depiction of a lesbian in Spike's feature film debut, She's Gotta Have It).

And also, the film's ending, while still supporting the male lesbian fantasy, seemingly showing a coming together of all 3 as a unit (Adam and Eve and Eve, as the closing credits song sings) as coparents, it still emphasizes that Fatima and Alex are very much a couple, but also presents a radical vision of a future where the heterosexual nuclear two-parent family is not the only model; suggesting that the most important thing is that the "family" be defined by the people involved, based on love, respect, and commitment.

It's almost as if the film itself is conflicted on these issues; It's not sure what it wants to be, suggesting that maybe Spike himself isn't sure about what he thinks of the ideas he introduces and themes he explores, and this was his way of working them all out - presenting questions, and hoping for answers from the discussions that would follow.

I don't know. But then you also wonder, does Spike know?

I'd like to believe that he certainly was fully aware of all the objections/criticisms that were to follow the release of the film, given just how structurally unbalanced it is, and the absurdity of the lesbian storyline. And assuming that to be the case, the next question you'd ask yourself is why would he then still go ahead and make the movie the way he did? Was this Spike at his most politically INcorrect? Taking on taboo subject matter and gloriously (whether successfully or not) flaunting it all. Or was he still peeved about the lack of support Bamboozled got at the box office, making it one of his least financially successful films - a film that was, you could say, a true work of satire, approaching its subject matter with a heavy hand - "a full frontal assault," as Roger Ebert put it; and because that approach didn't quite work (if box office is the determinant of success), Spike returned to satire, but this time using "indirection," leading to audience confusion, which upsets us, and which may have been Spike's intent all along - for us to feel the anger and frustration he felt at the time - post-Bamboozled, post-9/11, post-Enron; whatever malaise he was experiencing at the time.

And just when you think you've found something within the film to grab onto as its throughline, the film comes to an end, and then you listen to the song that plays in the closing credits, which only further muddles things up. Titled Adam 'n Eve 'n Eve, the tune contains sentences like, "I don't want to burn in hell... Adam 'n Eve 'n Eve is not what I believe, but I just wanna be there;" which I read as, what you're doing isn't right (again, negating the *other* as unnatural, even un-Godly), BUT, I fathered both of your children, and what I believe is right is that I be there for you and them; forget what you both want for yourselves; it's about what I want.

And in the end, he gets what he wants, reinforcing the fantasy/dream.

Jack, Jack, he’s our man, if he can’t do us, no one can.

So what did you see in She Hate Me?

Next week in this series, I'll revisit Girl 6.

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  • Dankwa Brooks | July 2, 2012 2:07 PMReply

    I liked the film, but I agree too many storylines. Don't remember the cinematography, but I wouldn't mind watching it again and I might check it it out then.

  • naima | June 9, 2012 3:56 PMReply

    loved it. tres camp. very luis bunuel. wanna bet it was a dream? sort of...

  • Monique A Williams | June 24, 2014 3:06 PM

    Totally agree.

  • Samuel | June 3, 2012 10:26 PMReply

    She Hate me was Spike's third try at romanticizing prostitution. Girl 6 was his first, He Got Game was him getting better at it with Milla Jovovich (tho as Milla said her character should have been on drugs, Spike said no), She Hate Me completely missed the mark. Anthony Mackie's character is sort of down on his luck, but he turns to using his body pretty early after losing is job. Maybe sell some of that art on the wall. Maybe he gets kicked him out of his apartment. He takes to fathering kids for lesbians as easy as guys used to get married to legal immigrants in the 80s. So if the lead isn't truly desperate, I couldn't understand him selling his body or sperm so early on.

    I say romanticizing prostitution, because like Pretty Woman, it's a glamorized version of selling your body. Why all the sex scenes, besides film needing visuals? As said above, they are lesbians! They need donors, not sex. Then the film spends most of it's time between sex scenes trying to show he's not a sexual superman. Worthless scenes of him taking Red Bull and having Q-Tip sperm not be up to par (the stereotype isn't all true). Him having sex with lesbians, pretty much lets us know he can part the Red Sea.

    Then it ends trying to show Anthony Mackie and his two lead girls as a different family. We are supposed to forget he accepted money for his sperm, like sperm bank. And the court recognized him the father of all of these babies. It turned into some kind of PC, bullshit. He can't be a father to all of those kids. It's turned it a complete fantasy.

    Nixon whistleblower stuff; a weak parallel. The real guy get stripped of everything and Anthony Mackie get to have sex with the lesbian community.

  • WOH | June 1, 2012 8:39 AMReply

    I saw Sucker Free City. If you didn't see it, try to see it. This was our introduction to actor Omari Hardwick. Most underrated Spike Lee films are Miracle at St. Ana and Get on the Bus. My favorite Spike Lee Joint is Malcolm X. Never saw She Hate Me. I will have to see this so I can weigh in.

  • Ilya | June 1, 2012 6:15 AMReply


    Tambay, if I didn't know I was me...I'd SWEAR I was you. You covered EVERY thought I had about this nightmare of a film...minus some choice expletives, of course. I'm a guy...and I was ENRAGED over the depiction of lesbians in the film, especially the Three's Company ending that would make Jack Tripper proud. I was embarrassed to be a man in the theater after that scene.
    I really didn't think it would EVER be possible for me to hate another film of his as much as this one...until Miracle at St. Anna came buck-jumpin' down de street.
    Now, I can't even enjoy my favorite movies from him because I can't wash the acrid taste of those two from my palate.
    Those two movies are what happens when fecal stains meet celluloid.

  • MJACKSON | May 31, 2012 3:23 PMReply

    SHE HATE ME as a forgotten Spike Film??? Really? This was his WORST film! Ive been following him since She's Gotta Have It and I wanted my money back after seeing this. It wouldve been a much better film if it focused more on corporate corruption. Anthony Mackie? Sorry, not leading man material nor believeable. Every "lesbian" in the film was HOT. This seemed like a fantasy come true for Spike. The really forgotten Spike Lee film, shamefully, was GET ON THE BUS and BAMBOOZLED.

  • Jordan | May 31, 2012 1:10 PMReply

    SERIOUSLY I saw SHE HATE ME when I was in the 8th grade as a aspiring filmmaker, and seriously watched it back to back. It blew me away, and floored me. One of my favorite Spike Lee joints.

  • urbanauteur | May 31, 2012 12:37 PMReply

    IMHO> a grossly misunderstood homage to the french new wave ala`Truffault/Godard/Eustache...look yaw, this filmmic collage/installation[which i think should have been the route to take-minus a few narrative strains] had all the perculiarities of a cinematic train wreck via Godard's Weekend but collapse under its own self-indulgence[too much hollywhite appeasement/commerciality]i serious think, spike HAd Something here, if he had of just let the script structure go straight NON LINEUR, i mean , it begs to be Bombastic!!, again he had a molotov cocktail for breakfast but ended up with a burnt omelet.

  • James Evans from the Cabrini-Green | May 30, 2012 12:03 PMReply

    Seriously, Tambay, really?? I have much respect for your writing but it seems like you had nothing better to do on Memorial Day weekend. To parlay with the lingo of the times, that movie sucked ass. It's "forgotten" for a reason. I know you dig you some Spike, but come ON, it's like you WANT to be dogged here. Spike has a real problem with women and this film is what happened. He pissed off white hollywood with "Jungle Fever" (and jungle fever press junkets), officially guaranteeing he'll never win an Oscar, and then he pissed off everybody else who was leftover with "She Hate Me". And then he pissed off everybody else left after that with "Miracle in St. Anna". Spike is B-list for a reason, the "anger" you feel when watching his "joints" is exactly what he wants you to feel, if only by default: he doesn't know how to properly, convincingly convey any other emotion within the dynamic of his framed image. But thanks for the eye-opening read, it was better than coffee!

  • Shawn Whitsell | May 29, 2012 9:56 PMReply

    I actually like "She Hate Me" but I know and understand why so many people hate it. The script is uneven and it gets kind of ridiculous. The cinematography was my favorite thing about the movie....oh and Kerry :-)

  • Ashton Morris | May 29, 2012 6:24 PMReply

    This movie was terribly written but it has a soft place in my heart. I love the cinematography in this movie. Like written in the article had the potential to be great just too many stories at once. Anthony Mackie says the movie was an experience and he learned a lot from working in this movie and he had a starring role at 24 which is an rarity in itself.

  • Kia | May 29, 2012 5:14 PMReply

    I Hate... She Hate Me. It feels as if Spike is getting back at some chick who dissed him when he was young because his depiction of most women in his films are overly sexist and archaic, with the exception of Crooklyn.

  • Macuffin | May 29, 2012 3:44 PMReply

    Dreadful film. Complete waste of time and resources. It's movies like this that make Hollywood dubious about working with Spike.

  • Man-Over-Bored | May 29, 2012 10:29 PM

    I co-sign MACUFFIN's review of this dreadful and (hopefully) forgettable little waste of celluloid called a Spike Lee Joint-- nuff said! Spike really embarrassed himself --and possibly damaged his reputation and career in the process -- on this one.

  • George | May 29, 2012 3:34 PMReply

    I really enjoyed Sucker Free City would of loved have a season 2 explore those character and that world. Alas it was a couple years off before Showtime show it had balls. When it pick up an edgy TV drama SleeperCell with a Black lead and Multi-Diverse cast.

  • bondgirl | May 29, 2012 2:31 PMReply

    I actually lost a little bit of respect for Spike after this film. It seemed way too gratuitous and beneath him. Hated it.

  • Micah | May 29, 2012 1:51 PMReply

    Nothing can unite S&A readers like our shared distain for this horrendous crime against cinema. This is in spite of many of us having a monumental admiration for Spike Lee.

  • Leon | May 29, 2012 6:37 PM

    "Monumental"? I wouldn't go that far . . .

  • Kenneth | May 29, 2012 1:29 PMReply

    While I'm definitely no fan of Spike, I think writer Michael Genet deserves most of the blame.

  • Donella | May 29, 2012 1:20 PMReply

    "There are 3 or 4 different stories" Very common for Spike's movies and can become exhausting for the viewer.

  • B | May 29, 2012 12:57 PMReply

    She Hate Me was an awful movie. Honestly, if I'd never watched in Spike movies and only saw She Hate Me, I would never have wanted to see any of his other films. It was an offensive, insulting, stupid waste of film. Additionally, Kerry just can't act. She's like a soap opera actress - too much quivering lip and whatnot. I'm sorry. I don't know how she keeps getting roles. I tried to give her a chance, but when I saw her in Night Catches Us - a perfectly well-written film and yet she still was unconvincing - I was through. I think Girl 6 is one of Spike's better forgotten films.

  • George | May 29, 2012 3:27 PM

    I think your confusing her with Megan Good. I would say she had limited range but she has grown since this movie. Watch her work on Scandal.

  • Neziah | May 29, 2012 12:14 PMReply

    Girl 6 is the one I find pretty underrated, but this film was a big mess, although I have to admit I was slightly entertained by it, which I suppose is better than a boring mess.

  • Nadine | May 29, 2012 12:09 PMReply

    Honestly.... and I mean honestly... one of the worst movies ever made. I appreciate Spike, but I don't think he remembers his string of disasters that we "just don't talk about". This... "Clockers"... "He Got Game"(probably the only thing worst than "She Hate Me"... "Girl 6"... eh? So I always find it disturbing to see him feeling entitled to "Hollywood" support after movies like "Inside Man" (which was okay...and okay ONLY because Spike did it - which made me more charitable). I still appreciate his being an artist and his masterpieces as well, but this movie...?!?!? Yikes... was sooooo bad. Crazy thorough rehashing....

  • Jug | May 29, 2012 1:54 PM

    Wanted to drive to Spike's house & smack his ass for two hours I can't get back. Putrid.

  • CareyCarey | May 29, 2012 12:38 PM

    Oh boy, I'm stuck in the middle of the two "N's", Nadine & Neziah. So which way will I go... huuuummm. Well, first... this was a very long post and Tambay didn't leave much wiggle room. Anyway, speaking of wiggle room, I have to snuggle up on Neziah. "Clockers" and "He Got Game" have special places in my heart. I can go on and on about the both of them, but not today. However, it's really blasphemous to include them in any "worst of" list (what was wrong with them?). Now... "She Hate Me"!? Well, I'll need another 2 pages to stick my foot off in it's a$$.

  • Neziah | May 29, 2012 12:19 PM

    Actually, plenty of people, including myself, consider "Clockers" and "He Got Game" to be among his best work. I think there's at least two Spike Lee films for every type of person out there. I personally can relate a lot more to a film like "He Got Game" than "Do the Right Thing" and "Jungle Fever" anyday.

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