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Red Hook Summer
Red Hook Summer
Red Hook Summer
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Red Hook Summer
Theatrical release poster
Directed bySpike Lee
Written by
Produced bySpike Lee
Starring
CinematographyKerwin DeVonish
Edited byHye Mee Na
Music byBruce Hornsby (score)
Judith Hill (songs)
Production
company
Distributed byVariance Films
Release dates
  • January 2012 (2012-01) (Sundance)
  • August 10, 2012 (2012-08-10)
Running time
124 minutes
CountryUnited States
LanguageEnglish
Box office$338,803[1]

Red Hook Summer is a 2012 American drama film co-written and directed by Spike Lee. It is Lee's sixth film in his "Chronicles of Brooklyn" series following She's Gotta Have It, Do the Right Thing, Crooklyn, Clockers, and He Got Game.[2]

Plot

[edit]

Flik Royale is a pampered 13-year-old boy from Atlanta who is sent to live with his preacher grandfather, Da Good Bishop Enoch Rouse, in Red Hook, Brooklyn.[3] Flik struggles to connect with his religious grandfather, and clashes with him over religion, technology, and other subjects. He develops a friendship with a girl named Chazz and encounters Box, a gangster who used to attend Enoch's church.

In the midst of a sermon, a strange man strolls into the back of the church and accuses Bishop Enoch of molesting him 15 years earlier in Georgia. Enoch admits to the abuse, and says that it was subsequently covered up by his church, which paid the boy's family hush money and let Enoch go free to start a new life in Brooklyn.[4] The news causes members of his new congregation to turn against him and for Box and his men to beat him up.

Flik is sent home to his mother, and says goodbye to Chazz.

Cast

[edit]

Production

[edit]

Principal photography lasted three weeks, "on a small budget, guerrilla-style, like Lee's first feature film."[6]

Red Hook Summer marked the first time that Lee appeared in one of his films since Summer of Sam (1999).

Release

[edit]

A 135-minute version of Red Hook Summer premiered at the 2012 Sundance Film Festival;[7] The film was released on August 10, 2012, in select theaters of the New York City area[8] and was released in Los Angeles and other parts of the United States on August 24, 2012.[9] The film reached 41 theaters at its peak.[1]

The film was released on home video on December 21, 2012.[10]

Reception

[edit]

On review aggregator Rotten Tomatoes, the film holds an approval rating of 58% based on 66 reviews, with an average rating of 5.46/10. The website's critics consensus reads: "Red Hook Summer is just as bold and energetic as Spike Lee's best work, but its story is undermined by a jarring plot twist in the final act."[11] On Metacritic, the film has a weighted average score of 48 out of 100, based on 25 critics, indicating "average or mixed reviews".[12]

Peter Debruge of Variety said "It's fiery, passionate stuff, at times inelegantly presented, but impossible to ignore."[13]

Roger Ebert gave the film 2½ out of four stars saying it "plays as if the director is making it up as he goes along. That's not entirely a bad thing, although some will be thrown off-balance by an abrupt plot development halfway through that appears entirely out of the blue and is so shocking that the movie never really recovers. Here is Lee at his most spontaneous and sincere, but he could have used another screenplay draft."[6]

Lee's commentary

[edit]

In an audio commentary that accompanies the DVD,[14] Lee calls the film "another chapter in what I call my chronicles of...the Republic of Brooklyn, New York" (She's Gotta Have It, Do the Right Thing, Crooklyn, Clockers, He Got Game, half of Jungle Fever). It portrays the Red Hook Projects, where his co-producer and co-screenwriter, James McBride, grew up. The "Lil' Peace of Heaven Baptist Church of Red Hook" is actually the New Brown Memorial Baptist Church, 609 Clinton Street, which was born in McBride's parents' kitchen.[15] McBride grew up in that church.

It was all shot on location, within a 10-block radius, over 18 days, three 6-day weeks, "under the radar". In addition to the church, the real building at 79 Lorraine St. is used; the movie shows the address over the entrance. "People didn't know we were making a movie until filming started." Lee financed it out of his pocket; he had just bought a new camera.

None of the children had been in a movie before; he did not want professional child actors. He visited his old junior high school looking for actors, and the drama teacher was on the movie set "to keep the students focused". Lee's New York University graduate students also participated in the production.

Music is an important part of the movie. There are 11 songs by Judith Hill, an original score by Bruce Hornsby,[16] and a real church organist on the Church's Hammond organ.

Lee points out some small local themes in the movie:

  • "Asthma is one of the issues we deal with in this film," exacerbated by the air pollution brought by the cruise liners that call at Red Hook. (Lee is asthmatic.)
  • Gentrification. Around the central projects there is gentrification on both sides, represented by the fresh cement in front of a house, which the two child leads deface.
  • Technology — Flic's constant use of his iPad 2 (some of what he shot on his iPad was used in the movie); communicating via Skype with his mother.
  • The very controversial Ikea store.
  • Red Hook is the only place from which the front of the Statue of Liberty can be seen (it faces its donor nation, France).

See also

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Red Hook Summer

View on Grokipedia
from Grokipedia
Red Hook Summer is a 2012 American independent drama film written, produced, and directed by as the sixth installment in his "Chronicles of Brooklyn" series. The film centers on Flik Royale, a 13-year-old boy from who arrives in the project in to spend the summer with his estranged grandfather, Reverend Enoch Wright, a deacon at a local church, while grappling with themes of , community resilience, and urban poverty. Starring newcomer Jules Brown in the lead role alongside as the grandfather, Toni Lysaith as Chazz, the deacon's granddaughter, and supporting performances from and others, the narrative unfolds through Flik's iPad-filmed perspective, emphasizing interpersonal dynamics in a changing neighborhood marked by economic hardship and religious devotion. Premiering at the , it received mixed critical reception for its sincere portrayal of Black life in but drew criticism for meandering pacing, uneven dialogue, and perceived preachiness, earning a 57% approval rating on . While not a commercial success or award contender, the film reflects Lee's commitment to low-budget, personal storytelling amid industry shifts, contrasting his earlier high-profile works and highlighting tensions in independent cinema production.

Synopsis

Plot summary

Flik Royale, a 13-year-old boy from a middle-class family in , arrives in the projects in to spend the summer with his grandfather, Bishop Enoch Rouse, a pastor at the small nondenominational Lil' of Faith Baptist Church. Flik, equipped with an HD digital , documents his experiences while grappling with the stark contrast between his comfortable urban life and the gritty, impoverished environment of Red Hook, including encounters with local youth and neighborhood hazards like a menacing dog. Resistant to his grandfather's strict religious routine, which includes daily Bible readings and church services emphasizing themes of sin, salvation, and community resilience, Flik initially clashes with Bishop Rouse's devout faith and the church's modest congregation. He forms a friendship with Chazz, a spirited local girl from the projects who attends the same church, and together they navigate summer activities such as attending services, exploring the area, and confronting personal doubts amid the backdrop of economic hardship and urban decay. As the summer progresses, Flik's secular is challenged by events at the church, including a pivotal revelation from Rouse's past that tests the boy's and prompts reflections on , , and in the face of . The narrative culminates in Flik's evolving understanding of his grandfather's life and the Red Hook community, marked by a blend of youthful and reluctant appreciation for spiritual and cultural roots.

Character arcs

Flik Royale, the film's young protagonist, arrives in Red Hook as a privileged, iPad-wielding atheist from Atlanta's , viewing his surroundings with detachment and resistance to his grandfather's religious impositions. Throughout the summer, Flik's exposure to the neighborhood's raw realities— including , community sermons, and a budding preteen romance with Chazz—prompts gradual engagement, shifting him from isolation toward tentative connections and a reevaluation of versus . This arc peaks in a climactic scene where Flik internalizes lessons on spiritual image-making, blending his artistic inclinations with inherited wisdom from elders. Bishop Enoch Rouse, Flik's estranged grandfather and pastor of the struggling Lil' Peace of Heaven Baptist Church, embodies unyielding religious fervor amid Red Hook's socioeconomic decay, delivering impassioned sermons on issues like joblessness and moral decline. His character deepens via a pivotal of past and personal trauma, exposing vulnerabilities that humanize his otherwise authoritative and strain his relationship with Flik. Yet Enoch's arc reinforces his role as a spiritual , transmitting resilience and faith to the next generation without fully resolving his internal conflicts. Chazz Morningstar, the spirited daughter of a church congregant, initially clashes with Flik through sassy, pushy interactions that highlight class and cultural divides, but evolves into a key influence on his adaptation. Her arc, though subordinate, manifests in fostering Flik's emotional openness via shared adventures and flirtations, underscoring themes of youthful camaraderie amid adversity, without marked personal transformation.

Cast and crew

Principal cast

The principal cast of Red Hook Summer (2012) features Jules Brown in the lead role of Flik Royale, a 13-year-old boy from sent to spend the summer with his grandparents in Brooklyn's Red Hook neighborhood. stars as Bishop Enoch Rouse, Flik's grandfather and a charismatic, faith-driven at the Lil' Peace of Heaven Baptist Church. Toni Lysaith portrays Chazz Morningstar, a tough local girl and churchgoer who forms a bond with Flik amid neighborhood tensions. plays Box, a figure involved in the community's dynamics, while appears as , a church supporting the bishop's ministry. himself cameos as Mookie, reprising his character from (1989), dressed in the original pizzeria uniform.
ActorRole
Jules BrownFlik Royale
Clarke PetersBishop Enoch Rouse
Toni LysaithChazz Morningstar
Nate ParkerBox
Thomas Jefferson ByrdDeacon Zee
Spike LeeMookie (cameo)

Production personnel

Red Hook Summer was directed, written, and produced by , operating under his production banner Filmworks. James McBride served as co-producer. The film's was led by Kerwin DeVonish, who captured the footage digitally using PMW-F3 cameras to evoke the neighborhood's vibrant, handheld aesthetic. Editing duties fell to Hye Mee Na, contributing to the narrative's rhythmic pacing amid its episodic structure. The score was composed by , incorporating piano-driven, hymn-like motifs that underscore themes of faith and community, while provided original songs enhancing the soundtrack's gospel influences. Sarah Frank handled production design, focusing on authentic Red Hook locales to ground the story in working-class realism. Additional support came from the , which backed the low-budget independent production.

Production

Development and pre-production

Red Hook Summer originated from Spike Lee's desire to produce a low-budget returning to his Brooklyn roots and the style of his early "Chronicles of Brooklyn" series. He collaborated with author James McBride on the screenplay, inspired by their discussions as fathers of teenagers and McBride's personal history growing up in the Red Hook housing projects, including the real-life church founded by his parents that served as a key location. The emphasized narrative constraints aligned with limited resources, avoiding expansive elements that would exceed a modest production scale. Lee self-financed the project via his production company, Filmworks, with McBride serving as co-producer; this approach allowed full creative control without studio interference but delayed distribution deals until after completion. planning incorporated cost-saving measures, such as recruiting students from 's film classes for approximately one-third of the crew roles. On January 20, 2012, Lee publicly announced the film's development status and targeted 2012 release via , positioning it as his first traditional "Spike Lee Joint" in years.

Filming and technical aspects

Principal photography for Red Hook Summer took place primarily in the , Brooklyn's largest project, during the summer of 2011. The production adopted a guerrilla-style approach, capturing the neighborhood's authentic urban environment to reflect the film's setting of a hot summer. Filming wrapped in 18 days, emphasizing Spike Lee's independent ethos outside traditional studio constraints. The film was shot digitally on the PMW-F3 camera, operated by cinematographer Kerwin DeVonish. This choice facilitated a vibrant, eye-popping color palette that immerses viewers in the story's visual texture, aligning with Lee's intent for a personal, low-budget aesthetic reminiscent of his early works. Post-production editing occurred at Lee's 40 Acres and a Mule facility in , further underscoring the project's self-reliant production model.

Themes and analysis

Portrayal of urban black life and class divisions

In Red Hook Summer, depicts urban black life primarily through the lens of the , a project in Brooklyn's Red Hook neighborhood, characterized by socioeconomic hardship, community interdependence, and environmental challenges such as elevated asthma rates linked to pollution from nearby cruise ship emissions. The film portrays residents navigating amid threats of , where influxes of young professionals and commercial developments like displace longstanding black working-class inhabitants, as voiced by the character Bishop Enoch Rouse. Daily life includes intergenerational solidarity centered on the Lil’ Peace of Heaven Baptist Church, where congregants find resilience through fervent sermons, juxtaposed against street-level elements like rappers, drug dealers, and youth gangs within the same projects. Class divisions within the black community emerge starkly through the protagonist, 13-year-old Silas "Flik" Royale, a middle-class boy from sent to spend the summer with his grandparents in Red Hook. Flik's background—marked by private prep school attendance, , , and reliance on an for filming—sets him apart from the local "have-nots," underscoring intra-community socioeconomic rifts more prominently than interracial tensions. His "whitewashed" mannerisms and speech, along with initial disdain for the neighborhood's grit, highlight alienation from the devout, resource-scarce environment of his grandfather's storefront church and the project youths like Chazz Morningstar, who embody streetwise adaptation to . These contrasts illustrate how privilege manifests in technology, education, and detachment from manual labor or communal faith, with Flik's symbolizing bourgeois insulation amid the projects' raw exposure to . The narrative uses Flik's evolving with Chazz and immersion in church activities to bridge these divides, revealing shared vulnerabilities like fear of local toughs, yet without erasing the underlying economic disparities that shape behavioral and cultural norms. Personal tragedies, such as a congregant's from AIDS, further ground the portrayal in the tangible costs of marginalization, emphasizing causal links between , crises, and community coping mechanisms rooted in religion rather than state intervention. Overall, Lee's depiction privileges empirical observation of black urban stratification, avoiding monolithic narratives by differentiating middle-class detachment from working-class endurance.

Religion, faith, and secular skepticism

In Red Hook Summer (2012), directed by Spike Lee, religion is depicted primarily through the lens of the African American Baptist church in Red Hook, Brooklyn, serving as a communal anchor amid urban decay and economic hardship. The protagonist's grandfather, Enoch Wright, portrayed by Clarke Peters, embodies steadfast Baptist faith as the church's deacon, organizing services filled with gospel singing, fervent sermons, and rituals that underscore communal resilience. These elements highlight the church's role in fostering hope and moral continuity for working-class black residents, with Enoch's evangelism extending to personal testimony of divine intervention in his life, including surviving a violent attack. Contrasting Enoch's is his grandson Flik Royale, a 13-year-old from played by Jules Brown, who represents secular among urban youth. Flik, described as a vegan atheist, openly resists , viewing it as irrelevant to contemporary realities like and personal autonomy, and prefers filming documentaries with his laptop to capture neighborhood life. This generational clash manifests in tense dialogues where Flik questions and Enoch counters with appeals to scripture and , illustrating a broader tension between inherited religious tradition and individualistic doubt influenced by and media. The film portrays not as monolithic but as vibrant yet challenged, with church scenes emphasizing emotional authenticity—such as impassioned choir performances and congregational participation—while acknowledging secular critiques through Flik's detachment. , drawing from his own Catholic background but sympathetic to Protestant expressions, uses these dynamics to argue for religion's enduring relevance in black communities, urging greater youth with church amid declining . Enoch's persistence in evangelizing Flik culminates in subtle shifts, suggesting 's potential to bridge without , though the resolution remains open-ended, reflecting real-world ambiguities in transmitting across divides.

Artistic style and narrative structure

Red Hook Summer employs a low-budget aesthetic, shot primarily on consumer-grade cameras including an wielded by the Flik Royale to his surroundings, imparting a raw, handheld intimacy that evokes amateur documentary footage blended with narrative drama. Cinematographer Enrique Vedra captures the Red Hook neighborhood with graceful, fluid movements highlighting sunlight on brick facades and everyday urban textures, occasionally incorporating quick cuts—such as in a sequence where Flik directly addresses the camera in multiple locales—to underscore thematic confrontations like toward . A lyrical montage, styled after Super-8 or via digital filters, interjects to celebrate the area's visual poetry, transitioning from faded home-movie effects to more polished sequences during pivotal sermons. The production, completed in 18 days within a confined radius of Red Hook housing projects, prioritizes spontaneity over technical polish, resulting in an experimental fusion of stylistic risks that some reviewers describe as daring yet uneven. Narratively, the film adopts a loose, ambling structure reminiscent of Spike Lee's early chronicles, centering on Flik's summer visit but meandering through slice-of-life vignettes, interpersonal dialogues, and extended sermons delivered by his grandfather, Rouse. The plot progresses languidly for much of its runtime, building through casual encounters and generational clashes, before accelerating into a shattering mid-film that shifts focus from Flik to , culminating in a tense, spiritually charged resolution blending and reconciliation. This erratic pacing incorporates abrupt genre pivots—from coming-of-age to —and stylized interruptions like fourth-wall breaks, creating a sketchbook-like feel that prioritizes thematic sermons and portraits over linear momentum, though critics note occasional clumsiness in centrality and plot focus. The structure revolves around 3-4 key sermons, using verbal ecstasy and organ accompaniment to drive emotional peaks, while the overall arc explores voice-over-image authenticity through Flik's evolving documentation of his environment.

Release

Premiere and festival screenings

Red Hook Summer had its world at the on January 22, 2012, in the Premieres section. The screening occurred in , marking director Spike Lee's debut at the festival. The film's presentation emphasized its independent production by 40 Acres and a Mule Filmworks, with a runtime of 137 minutes. No other major festival screenings were documented prior to its limited theatrical release. Private buyer screenings followed at the Cannes Film Festival in May 2012, but these were not public festival events.

Distribution and commercial performance

Red Hook Summer was distributed independently by Variance Films, a New York-based company, following its premiere at the Sundance Film Festival in January 2012. Spike Lee, who self-financed the production, opted for this partnership to maintain control over the release, announcing the deal in April 2012. The film received a limited theatrical rollout starting August 10, 2012, in New York City, with a platform expansion planned thereafter, but no major studio backing or wide international distribution materialized despite private screenings for foreign buyers at the Cannes Film Festival market in May 2012. Commercially, the film opened in four theaters, grossing $40,070 over its debut weekend ending August 12, 2012. Its total domestic reached $338,803 by the end of its run on November 22, 2012, with no reported international earnings, reflecting limited audience reach typical of low-budget independent releases. The modest performance aligned with its micro-budget production—estimated under $1 million, though exact figures remain undisclosed—and niche appeal, prioritizing artistic vision over broad commercial viability.

Reception

Critical reviews

Red Hook Summer received mixed reviews from critics, earning a 57% approval rating on based on 65 reviews, with the consensus noting that the film is "just as bold and energetic as Spike Lee's best work, but its story is undermined by a jarring ." On , it scored 48 out of 100 from 25 critics, classified as mixed or average, with 28% positive, 56% mixed, and 16% negative reviews. Critics praised the film's vibrant energy, strong performances, and authentic portrayal of Brooklyn's Red Hook community. awarded it 2.5 out of 4 stars, highlighting ' "outstanding" performance as Bishop Enoch Rouse, whose fiery sermons carry the film's message, and the sincere depiction of neighborhood struggles like 80% unemployment. Variety described it as a "vibrant coming-of-ager" and a "radically unique entry" in Spike Lee's oeuvre, commending richly conveyed characters that feel lifelong and the resonance of powerful music and hyper-saturated colors. of called it "brave and accomplished," praising its thrilling blend of gospel musical elements with spiritual conflict, exceptional acting—including Peters' magnetic sermons and Toni Lysaith's virtuosic verbal dance—and a final scene delivering an "exquisitely tender and cosmically profound resolution." However, many reviewers criticized the narrative structure as meandering and underdeveloped, particularly an abrupt midway that disrupts the story's momentum. Ebert noted the film "plays as if the director is making it up as he goes along," with drifting slices of life, weak screenplay gaps (such as unexplained motivations for the protagonist's visit), and the twist so shocking that "the movie never really recovers." The New York Times labeled it "messy, meandering, bluntly polemical," faulting unexplained plot elements like the boy's origins while acknowledging its "raw vitality" and affection for the church community. Variety echoed concerns over its "long, somewhat unwieldy" length and meandering pace, which might frustrate fans of more conventional , despite the fiery content. Brody observed a "lurching" plot amid a teeming cast, though he viewed it as reflective of the world's embrace and critique.

Audience and cultural impact

Red Hook Summer garnered limited commercial success, grossing $338,803 domestically after its on , 2012, with an opening weekend of $40,070 across a small number of screens. Audience reception proved underwhelming, evidenced by a 34% approval rating on from over 1,000 verified user ratings, averaging 2.7 out of 5. The film's appeal centered on niche viewers drawn to Spike Lee's independent, low-budget return to personal storytelling about African American life in , rather than broader mainstream audiences. Culturally, the film prompted reflections on the persistence of the as a communal anchor amid and secular influences, depicting church services as sites of profound spiritual and artistic expression. It portrayed tensions between entrenched traditions and emerging among , exemplified by the young protagonist's confronting his grandfather's devout ministry in Red Hook's housing projects. This framing offered an unvarnished view of Christianity's vibrancy and internal complexities within African American communities, including generational clashes over and practice. As part of Lee's "Chronicles of Brooklyn" series, it reinforced his focus on class divides and resilience in overlooked urban enclaves, though its modest reach curtailed wider discourse.

Retrospective assessments

In the years following its 2012 release, Red Hook Summer has been reevaluated by critics as a personal, low-budget return to Spike Lee's Brooklyn roots, emphasizing intimate community portraits over spectacle. , in a 2025 New Yorker selection of summertime films, described it as a self-financed project shot quickly and passionately on location, framing it as both a coming-of-age tale for protagonist Flik Royale and a reckoning with familial secrets and community abuses in Red Hook's housing projects. This view aligns with earlier appreciations of its non-professional casting, particularly ' portrayal of the grandfather-pastor Enoch Rouse, which anchors the film's exploration of faith amid . Some retrospectives highlight its stylistic messiness—handheld camerawork, extended sequences, and abrupt emotional pivots—as emblematic of Lee's unpolished vitality, though uneven child performances and a jarring climax have drawn persistent critique. A 2024 review noted the film's vivid depiction of summer heat and cultural clashes between Atlanta middle-class youth and Red Hook grit, crediting Lee's use of modern elements like iPads for grounding its themes of secular versus religious fervor. Similarly, a 2025 ranking of Lee's films positioned Red Hook Summer as a thematic companion to Do the Right Thing, valuing its evocation of neighborhood tensions and -driven energy despite narrative safeness in its first three-quarters. Overall, while not elevating the to Lee's status, these assessments underscore its enduring interest as a minor-key chronicle of Black working-class resilience, with moving musical interludes providing relief amid acknowledged structural flaws. Ebert's final of a Lee in , revisited in a feature, captured this ambivalence, praising improvisational spirit but noting its meandering quality, a sentiment echoed in later writings viewing it as fascinating even among Lee's weaker entries.

References

  1. https://www.newyorker.com/culture/richard-brody/spike-lees-red-hook-summer
  2. https://www.rogerebert.com/reviews/red-hook-summer-2012
  3. https://www.rottentomatoes.com/m/red_hook_summer
  4. https://www.vulture.com/2012/08/movie-review-red-hook-summer-spike-lee.html
  5. https://screenanarchy.com/2012/08/review-spike-lees-red-hook-summer.html
  6. https://www.latimes.com/entertainment/movies/la-xpm-2012-aug-23-la-et-mn-red-hook-summer-review-20120824-story.html
  7. https://www.hollywoodreporter.com/news/general-news/spike-lee-red-hook-summer-reviews-critics-360925/
  8. https://www.indiewire.com/criticism/culture/sundance-review-why-red-hook-summer-is-both-spike-lees-weakest-and-most-sincere-work-in-years-49577/
  9. https://www.imdb.com/title/tt1989593/
  10. https://www.commonsensemedia.org/movie-reviews/red-hook-summer
  11. https://www.movieguide.org/reviews/movies/red-hook-summer.html
  12. https://filmfisher.com/title-item/red-hook-summer/
  13. https://www.themoviedb.org/movie/84328-red-hook-summer
  14. https://www.bet.com/article/yyr616/spike-lee-announces-cast-for-red-hook-summer
  15. https://www.screendaily.com/red-hook-summer/5036821.article
  16. https://www.blackfilm.com/read/red-hook-summer/
  17. https://shotonwhat.com/red-hook-summer-2012
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  19. https://www.thefilmcollaborative.org/films/redhooksummer
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  21. https://entertainment.time.com/2012/08/10/spike-lee-talks-red-hook-summer-and-the-4-million-stories-he-has-left-to-tell/
  22. https://www.washingtonpost.com/lifestyle/style/spike-lee-talks-about-red-hook-summer/2012/08/22/ff4d8c24-ec78-11e1-a80b-9f898562d010_story.html
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  24. https://www.bloomberg.com/news/articles/2012-06-28/spike-lee-on-self-financing-red-hook-summer
  25. https://variety.com/2012/film/markets-festivals/red-hook-summer-1117946894/
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  27. https://www.gowanuslounge.com/spike-lee-puts-spotlight-on-red-hooks/
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  29. http://notherbrother.blogspot.com/2012/08/the-cinematography-of-red-hook-summer.html
  30. https://www.nydailynews.com/2012/08/08/spike-lee-returns-to-his-brooklyn-roots-by-shooting-his-new-pic-red-hook-summer-outside-the-hollywood-system/
  31. https://www.nytimes.com/2012/08/10/movies/movie-review-red-hook-summer-directed-by-spike-lee.html
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  33. https://www.ioncinema.com/reviews/red-hook-summer-review-2
  34. https://www.npr.org/2012/08/09/158207649/faith-clashes-with-youth-over-a-red-hook-summer
  35. https://reporter.lcms.org/2012/filmmaker-spike-lee-focuses-on-faith-in-red-hook-summer/
  36. https://religionnews.com/2012/01/25/commentary-spike-lee-does-religion/
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  42. https://collider.com/red-hook-summer-release-date/
  43. https://www.huffpost.com/entry/spike-lees-red-hook-summe_n_1453978
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  50. https://www.popmatters.com/spike-lee-red-hook-summer
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  56. https://www.rogerebert.com/features/roger-ebert-on-the-films-of-spike-lee
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