OMG, my favorite part, as well. Adam Driver's dead pan turn in the chair and comment, "Did I just hear you say your real name?" to JDW's facial expression and "Oh, motherfucker," when he realized his rookie mistake.
I know that there is sarcasm laced throughout this movie, but I'm having a hard time with my DirecTV listing this as a COMEDY. Seriously?
I also have a love-hate relationship with Spike Lee movies. I love Crooklyn, mainly for the 70's setting, music, and remembering the clothes and pop culture of my childhood matching it so well. Unfortunately, in a few too many of his movies, the "racist white asshole," tends to be a stereotypical, wife beater wearing, uneducated, heavily accented, dumb ass Guido. If my people are not being portrayed in movies as mobsters, they're being portrayed as racist morons. I was relieved that the character of the crooked cop, Landers, last name didn't end in a vowel for once.
To me, this was Spike's best work. And JDW and Driver were excellent, both deserving of every nomination that they were given. It's too bad that the Oscar's snubbed Washington. He deserved a nomination.
That's a Spike Lee trick. The same camera work was used in Crooklyn toward the end, when Troy and Joseph go to get Joseph's money back from the two glue sniffers on the stoop (one of which was Spike, himself). Troy is holding a bat over her head as the camera brings them toward the huffers.
I just realized something. There was a Spike Lee trick that was missing from this movie. He tends to insert himself into a role, mostly minor, in a lot of his movies. This time, he did not. I'm actually glad. I think the gimmick would have distracted from the movie's message.