The more the story, such as it is, progresses, it's clear Lee is mad as hell and isn't going to take it anymore, but has absolutely no idea what to do with all of that anger. Characters don't grow or change, instead flipping and flopping their respective "wokeness" as the scenes see fit. Events unfold, but with little appreciation for story mechanics, replaced with seemingly random asides laid end to end, interspersed with heartstrings-tugging allusions to real-world tragedy. Greek theater is possessed of a timeless quality that makes it capable of being contorted into a modern retelling, but "Chi-Raq" is so singularly driven by of-the-moment fervor that it barely functions as a film. Name-checking Freddie Gray and Dylann Roof make the film's IRL concerns absolutely transparent, but at times, these reminders of a nation's pain distract from the colorful, surreal world Lee's created. It more closely resembles a real-time scroll of your Facebook news feed, with Uncle Spike sharing poorly filtered Instagram memes and please click to see more rants about the Black Lives Matter movement and income inequality.