I'm not sure a trim would make it perfect, but it would benefit it greatly. It is infuriating, gripping and totally necessary, with some gruesome reanactments and riveting acting, but apart from the motel action, it seems to be always trying to find its footing, with varying results. John Krasinski was a terrible distraction and it took me out of the picture at the moment it all was supposed to get focused.
It is important to me that we remember these victims did not want these events dramatised, so what Bigelow and Boal call reconstruction we might call violation. "Moral failure" indeed, it robs these characters of any soul in the great misfire that is this 'docufiction' affront Bigelow + Greengrass won't let die. To what end does Detroit exist? To remind us what we know by looking at the news?
Keep your head down and pray it will be over soon. It will... or not... Kathryn Bigelow montre à nouveau son talent en transposant sa réalisation nerveuse caméra à l'épaule adoptée depuis Démineurs sur une autre zone de guerre au coeur des émeutes raciales.
Digital. The films that Bigelow began to make since the overrated Hurt Locker adopt the style that the director simply, and in a reductive way, called "journalistic" (repeating the mistake of calling documentary style to a formless handy camera) , which in the worst cases result in something indistinct. In this case, however, the magnificence of the staging recalls Strange Days complex chorality, and the film won me.
The Detroits riots of 68 tie in with the Ferguson riots, and they make me think about 'Get Out', 'Selma' and 'I'm Not Your Negro' all films seen in the last 3 months, are part of the same narrative. What African-Americans (after the Native-Americans) have suffered (and still do) is a silent social holocaust. Will Poulter is as bad a villain as Amon Goeth (The sadistic Nazi played by Fiennes). Algee Smith IS the film▽
Those sweaty evil cops reminding me of cyborgs would seem comically one note if they weren't conjuring up images of today's society. The middle is so powerful with their Nazi-like resonances and so well directed and John Boyega is the counterpoint to this evil and just when I thought he was going to be a Fritz Lang-y scapegoat it goes on way too long to become journalism again.
There can be no denying Bigelow's craftsmanship, or the sterling efforts of her terrific ensemble cast -- but the 'torture-porn' criticisms aren't completely unfounded. You'll leave furious, disheartened and angry; of course, that may be the point. But, the gratuitous, exploitative nature of "Detroit," as well as its defeatist attitude, keep it from being the seminal picture it could've (and should've) been.
I am going to concede at the outset that many concerns that have been raised re: telling this particular story this particular way are legitimate. Like the majority of the problems w/ DETROIT this is a problem of modus operandi. As filmmaking in and of itself, this strikes me as unquestionably the greatest of Bigelow's three docu-minded quasi-reportage movies. And what can I say? Tricky beast, but it spoke to me.