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	<title>Salon.com > Red Hook Summer</title>
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		<title>Spike Lee: The fix is in</title>
		<link>http://www.salon.com/2012/08/07/spike_lee_racism_is_interwoven_with_the_fabric_of_america/</link>
		<comments>http://www.salon.com/2012/08/07/spike_lee_racism_is_interwoven_with_the_fabric_of_america/#comments</comments>
		<pubDate>Tue, 07 Aug 2012 22:40:00 +0000</pubDate>
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				<category><![CDATA[Entertainment]]></category>
		<category><![CDATA[Politics]]></category>
		<category><![CDATA[All Salon]]></category>
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		<category><![CDATA[Barack Obama]]></category>
		<category><![CDATA[2012 Elections]]></category>
		<category><![CDATA[Spike Lee]]></category>
		<category><![CDATA[Red Hook Summer]]></category>

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		<description><![CDATA[The director tells Salon new voter-registration rules are designed to keep President Obama from a second term]]></description>
			<content:encoded><![CDATA[<p>Shot in three weeks in and around an isolated pocket of housing projects in southwestern Brooklyn, <a href="http://www.redhooksummer.com/">“Red Hook Summer”</a> might be the quickest, cheapest and most street-level production of Spike Lee’s career, or at least since his 1986 debut film, “She’s Gotta Have It.” As I wrote after seeing the picture at <a href="http://www.salon.com/2012/01/23/spike_lee_takes_sundance_by_storm_with_red_hook_summer/">Sundance,</a> it’s a messy experiment, driven by a restless spirit of invention. I could nitpick around the edges of “Red Hook Summer” all day long: The soundtrack by Bruce Hornsby feels oddly intrusive at inappropriate moments, and there’s an unexpected narrative left turn at about the three-quarter pole that will leave many viewers uncertain how to feel about this story and its characters.</p><p><a href="http://www.salon.com/2012/08/07/spike_lee_racism_is_interwoven_with_the_fabric_of_america/">Continue Reading...</a></p>]]></content:encoded>
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