As a steadfast fan of Near Dark and Blue Steel, I have tenaciously resisted the mainstream shift in Bigelow’s career represented by The Hurt Locker and Zero Dark Thirty. . . . But what I took to be the political evasions of those films . . . become, by displacement, the central subject of the powerful Detroit, which is really about the State’s terror regime in a condition of urban, race war. Not a ‘return to form’, but a new and exciting form for Bigelow to have attained here.
December 22, 2017