Product Details

• Actors: John Leguizamo, Adrien Brody, Mira Sorvino, Jennifer Esposito, Michael Rispoli
• Directors: Spike Lee
• Writers: Spike Lee, Michael Imperioli, Victor Colicchio
• Producers: Spike Lee, Jeri Carroll-Colicchio, Jon Kilik, Michael Imperioli
• Format: AC-3, Closed-captioned, Color, Dolby, DVD, Letterboxed, Widescreen, NTSC
• Language: English (Dolby Digital 5.1)
• Subtitles: English
• Region: Region 1 (U.S. and Canada only. Read more about DVD formats.)
  
• Aspect Ratio: 1.85:1
• Number of discs: 1
• Rated: R (Restricted)
• Studio: Walt Disney Video
• DVD Release Date: December 21, 1999
• Run Time: 142 minutes
• Average Customer Review: 3.1 out of 5 stars  See all reviews (155 customer reviews)
• ASIN: B00002RAO2
• Amazon Best Sellers Rank: #18,060 in Movies & TV (See Top 100 in Movies & TV)
• For more information about "Summer of Sam" visit the Internet Movie Database (IMDb)

Editorial Reviews

Amazon.com

It's important to note that Spike Lee's drama is not titled Son of Sam. Summer of Sam doesn't chronicle the killer as much as the times: the blistering hot summer of 1977 when the Big Apple's psyche was taken hostage by the lone gunman. We spot the killer (Michael Badalucco) in his mad ramblings, but the film centers on two friends from the Bronx: Vinny and Ritchie (John Leguizamo, Adrien Brody). Vinny and his wife, Dionna (Mira Sorvino), bury a bad marriage (he cheats at a drop of a hat) in the disco halls of the area. Ritchie returns to the neighborhood sporting punk hair, punk clothes, and a British accent that immediately infuriates the neighborhood boys oozing far too much testosterone. Cops, local mob leaders, and the guys on the street all have ideas who the killer is; neighborhood loners to Reggie Jackson (in the midst of World Series heroism) are on their misguided lists of suspects. When the film looks at how the citizens faced the fearful times, Lee scores with his energetic camerawork and pop soundtrack. Yet the film is banal in its domestic dramatics. The film takes large detours into Vinny's home sex life (stagnant) and Ritchie's extracurricular activities. One of the marriage arguments--though real and well acted--is so long and cliché-ridden you wonder if someone fell asleep in the editing booth. Add the point-blank killings and nonstop vulgarity and you have Lee's most unpleasant film. --Doug Thomas

Product Description

All of the events of the infamous new york city summer of 77 are seen mostly through the eyes of vinny a philandering bronx hairdresser. Until that summer vinny sees himself as king of the old neighborhood hes a disco king drives a nice car has the respect of his old buddies and a beautiful wife. Studio: Buena Vista Home Video Release Date: 10/07/1999 Starring: John Leguizamo Adrien Brody Run time: 142 minutes Rating: R Director: Spike Lee

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Customer Reviews

Most Helpful Customer Reviews

56 of 61 people found the following review helpful:

4.0 out of 5 stars A critically underappreciated film, January 27, 2002

By 

Eric Wahl (Bozeman, MT, USA) - See all my reviews

This review is from: Summer of Sam (DVD)

Given the press reviews that came out upon this movie's release and a number of the reviews here, I'm going to buck the trend and suggest to you that Summer of Sam is actually one of Spike Lee's very best films. Perhaps it was marketed ineffectively, but Lee clearly never intended this movie to be about The Killer. Rather, Summer of Sam is about paranoia, conflicting ideas of community, and trusting one's self against and through an intense period of: the heat, economic downturn, sexual adventurousness, and drugs that were the late 1970's. The Son of Sam's killing spree in NYC in 1977 triggered a fear and panic in the city that often made people who knew each other for years suddenly suspicious of one another. At the time of its release this movie was roundly criticized for Lee's portrayal of Italian men as "stereotypical 'Guidos,'" but I would ask those folks who make such claims to consider this: if we say that a stereotype is a fixed, unvarying conception of a person, then why aren't all the Italian men in this film exactly the same in their actions and manners? Were there no Italian men in NYC'77 who were quite like the three "Guidos" in Summer of Sam? And do you honsetly believe that Spike Lee intends for these three men to represent ALL Italian men? Of course not. And do we see examples of Italian men in Summer of Sam who are not "Guidos"? Several. The characters are rendered masterfully, I think, and John Leguizamo gives an amazingly rich and layered performance as a man who cheats on his wife BECAUSE his curious religious convictions convince him his sexual desires are too perverse to ask of her. When he comes perilously close to two of Sam's victims, Leguizamo's character undergoes an intense but ultimately doomed period of guilt and self-doubt that he tries to address but cannot--his desire to be good to his wife is very real, yet this desire is overpowered by his sexual desires. In this vein the movie becomes an investigation of how people, "good" and "bad," address their own desires--for sex, for status, for security. And the paranoia created by he Son of Sam's killings creates strange bedfellows indeed: the "Guidos" protect an effeminate gay local because he is a good customer in their drug trade, but they harrass a guy they grew up around because he starts spiking his hair and listening to punk music; the local mafia boss bankrolls a neighborhood block party so people can have a good time in relative safety . . . because he's also provided the "Guidos" with baseball bats to protect everyone. This movie is far more complex than most reviewers seem to indicate. An excellent score and soundtrack that never overwhelms the action, and a gifted cast that delivers memorable performances, many of which should have been award-worthy (Leguizamo, certainly, but also the poignant and determined Mira Sorvino character, Adrien Brody's nearly-doomed punk rock dreamer, and the alarmingly unheralded Jennifer Esposito as the local tramp who really wants to change who falls in love with the punk rocker). The film's climax, in which the wrong man is attacked and beaten by the "Guidos" (having been lured out of his house by his own conflicted friend) plays simultaneously with the capture and arrest of the real killer, and it is so masterfully rendered I don't think I'll ever forget it. Bookended by commentary from notorious/ubiquitous/beloved NYC columnist Jimmy Breslin, Summer of Sam, as Lee surely did intend, is far more than a movie about seeming stereotypes and disco music during a scary time in the city. It deserves a closer look by anyone interested in Lee's singular grasp of human dynamics and desires. It would be a shame for people to write this movie off as a misfire, for it is no such thing.

15 of 17 people found the following review helpful:

5.0 out of 5 stars Summer Of Sam, January 16, 2000

By 

[e-mail] (London, England) - See all my reviews

This review is from: Summer of Sam (DVD)

New York, Summer 1977 and, in addition to one of the hottest heat waves the city has ever experienced, David Berkowitz - The Son of Sam - prowls the neighbourhoods for over a year killing indescrimately. However, although Berkowitz' activities form the central backdrop to the story, the film is far more interesting, presenting as it does more of a snapshot of neighbourhood life at the time. Director Spike Lee is an acknowledged master of the genre (whose work is akin to that of Britain's Mike Leigh) and he utilises the usual elements to reinforce his points. A montage of genuine footage and news reports interject with the story of John Leguizamo's (Vinny) adulterous marriage to Mira Sorvino and his best friend Adrien Brody (Richie, complete with awful English accent early in the film). Richie is a bi-sexual-by-convenience punk rocker who is totally misunderstood and eventually outcast by the low-life neighbourhood wise-guys, ultimately becoming their target as the most likely Son of Sam suspect. Vinny's divided loyalties to both the local bone-heads in regard his friend Richie and the consequences of his numerous affairs once uncovered by his wife nicely heighten the personal tension felt by the whole community. And the understandable paranoia is all here: the rush for brunettes to turn blonde overnight (Berkowitx seemed to favour the murder of dark haired individuals), the local cops forming an unholy alliance with the neighbourhood Godfather for help in the case, the heat wave and ensuing blackout that led to widespread looting, fingers being pointed by everyone at anyone for the most tenuous of reasons. A smouldering melting-pot then of story-telling, nostalgia and, indeed, fear. Berkowitz' crimes are summarised by sledgehammer inserts which, although brief, do truly shock and Lee takes time out to give a brief insight into the madness that spurned him on, right down to the infamous black dog he purported as telling him to "kill, kill, kill"! With a film score utilising Club hits of the day (disco, disco, disco!), the obligatory punk workout and even some tracks from The Who (who we could take issue with as being proclaimed "The Fathers of Punk" but as Lee wasn't in the UK when Punk was born we can let this slide, just this once), there's some nice touches with cameo slots given over to the Studio 54 and Platos Retreat scenes. All in all, this is another solid accomplishment from Lee that not only does justice to a number of entwining stories but is also an accomplished piece of nostalgia. Way above average, this definitely deserves two hours of your attention. The Mad Ferret, London, England

5 of 5 people found the following review helpful:

4.0 out of 5 stars Fady Ghaly's reviews, September 22, 2001

By 

Fady Ghaly (Calgary, Alberta) - See all my reviews

This review is from: Summer of Sam (DVD)

This is by far Spike Lees grimmest film yet, which departs from his predominantly African-American themes and depicts the Italian side of New York City. While it was also his greatestI thinkits bleak tone is something that may draw plenty of viewers back, for this isnt at all the sort of film youd presume would walk out of the theaters from with a smile on your face.
Summer of Sam is an intensely gritty and angry epic that takes you back to New Yorks infamous summer of 1977. Lees aspiring film does more than re-create the events that unfolded throughout that period of time; in addition to being an entertaining time capsule with an effervescent seventies soundtrack that knows just how to set the mood (and ever so in influential, for I could not even begin to speculate of just how many other films used such tunes), it also deals graphically with the concept of the mob mentality.
The key characters, these bunch of despondent and allegedly shady people Lee created were not at all something he shied away from using as being stereotypes. Instead, he uses them to shatter conventional perceptions of racial and ethnic characteristics to show the beautyand deteriorationof human nature.
The character that stood as being most appealing to me would have to be Ritchie (Adrien Brody), a local kid who has enigmatically progressed a look of a punk and a British accent, which later as Son of Sams plague of terror had a great impact among the citizens of New York, perplexed everyone for they assumed he was that mass murderer merely by his cultural background and rap that apparently offended many. Lee's greatest films thrum with a wound-up vitality, and Summer of Sam resonates with lewdness, solicitudes and remorse. It does not regard the murdereras many would assume it doesbut rather his victimsnot those he slayed, but those whose overstimulated resourcefulness bloomed into a lynch mob mentality. There is a portion near the conclusion of the film that displays a side of human nature as loathsome as it is common: the fever to find someone to blame and the need to blame someone who is differentRitchie being one who is different. Ritchie being one to find the whole disco scene as being unpalatable, which represents him as a misfit. A misfit who would then have to be whom else but the Son of Sam?
The film also takes large detours into Vinnys sexual life, played by John Leguizamo, who vividly captures the apprehension his character undergoes as he strives to be lawful to the alleged woman of his dreams. But it seems that the more he strives to be faithful to her, the more women he ends up sleeping with, and yet each time his appetite indulges these long-legged, big-breasted women who almost seem to supplicate for his sexual skills, the more malevolence he has upon himself for being the man that he is, which proves true as he actually begins to assume that God is working against him, until ultimately such a deceitful lifestyle has a great affect onto him and its all downhill from there, as it was for everyone else.
Leguizamos performance was in my opinion the finest since Al Pacinos in The Godfather III, although unfortunately its merely my opinion, for I think all the heart and soul he put into this project was completely disregarded. Truehis presence in the film claimed him to fame, but that was merely his presence, for his performance wasnt allegedly worthy of an award, which I think is a persuasion of pure ignorance. Fair is a word the academy obviously doesnt go by, for it seems that they seek of those who are the most flamboyant.
I see the new Latin artist as a pioneer, opening up doors for others to follow. And when they don't open, we crowbar our way in. We are taking our culture and suturing it to America. Like gum on the bottom of a shoe, we are not going to disappear. Unlike other people who totally assimilated, we are more interested in co-assimilation...America may not realize it yet, but Latin prototypes are being created right now, and not just by me. They are these mambo kings and salsa queens, Aztec lords and Inca princesses, every Hernandez and Fernandez, whom this country will one day come to understand and respect, says John Leguizamo. And all Id have to say to that iswell, Im with you all the way.