It’s disappointing that Spike Lee, someone clearly possessing considerable filmmaking skill, isn’t producing work that connects effectively with audiences today because of problems unrelated to the movies themselves. I understand that achieving excellence in any area often requires sacrifices, and it seems like, for all he's achieved in film, there's a kind of deficit—I don’t mean this as an insult—in areas such as public relations or projecting his image; these shortcomings unfortunately affect his films. It's a real shame, because the movie itself was very good. His approach to filmmaking brings to mind the Heisenberg principle and leads me to: first, hope that Lee finds more contentment in life so he can present himself better and not let his personality alienate viewers like myself; and second, question whether being happier and more affable would somehow diminish his work, similar to what’s explored in ‘A Beautiful Mind.’ These kinds of questions often keep me awake at night unless I have something calming like red wine, milk, or chamomile tea. 'Clockers' resonated with me. Keitel was exceptionally strong during this period, alongside films such as 'Bad Lieutenant', 'Reservoir Dogs', 'Pulp Fiction,' and 'Smoke.' It was truly a remarkable time to appreciate his acting.

Source on TMDB