Detroit (no spoilers) « Movie City News. It’s an odd summer. It’s almost impossible to see Detroit after seeing Dunkirk without noticing the very different ways the two films turn the similar trick of reflecting on a huge story by narrowing down to one story, or a few stories that are connected by a single character. Both films are set in the midst of a war. Yet, the movie set in the non- literal war of race and poverty in the United States is far more violent and painful than the movie set on a beach filled with 3. Nazis. And speaking of the real- life villains, Dunkirk never names or shows the Nazis behind the barricades of the town of Dunkirk while Detroit makes the young racist policeman as significant a character in the film as any other. Kathryn Bigelow delivers a documentary- style production, rough and handheld and sneaking glimpses through doorways and around corners, forever on edge, seeking out, at first, the party, and later, the constant threat that never allows anyone in the film to relax.
Detroit, 2017. Directed by Kathryn Bigelow. Starring John Boyega, Will Poulter, Anthony Mackie, Jack Reynor, Hannah Murray, Algee Smith, Jacob Latimore, Jason. It’s an odd summer. It’s almost impossible to see Detroit after seeing Dunkirk without noticing the very different ways the two films turn the similar trick of.
Christopher Nolan, of course, puts on a master directorial clinic at huge scale, perfectly framed cinematic beauty, even when soldiers are under fire. Another thing the two films share, though in quite different ways, is that Dunkirk is not really a war film and Detroit is not really a riot film. Detroit, while steeped deeply in race, is not specifically about race. Obviously, the film takes place at a moment of serious racial stress and division and a white cop is rampaging against black people, in part because he sees them as a lesser form of life.
And other people support this evil because of their racism. But one of the excellent things is that while non- blacks cannot fully feel the black experience of America, anyone can understand and identify with the experience of this group of victims under the control of that small number of law enforcement officers gone rogue. The threat of state authority is alive and unwell in countries all over this planet, enforced against and abused by people of all races, religions, genders and ethnicities. But primarily, Detroit is a movie about the abuse of police power and how we, then and now, respond to that behavior. There are good white people in this film.
But the true horror of Detroit is how abusive behavior can metastasize into something that gets worse and worse over a short period of time. Detroit is about Detroit 1. Ferguson. And it is about the Australian woman who was shot through the window of a cruiser by a scared cop after she called in to report a rape.
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It about people who voted for Trump because they feel their idea of the world is being infringed upon by societal changes. It is about white people who watch or hear racism and say nothing. It’s Macbeth. It’s The Act of Killing. It touches on the worst of human instincts, primarily the instincts of those with power and the fear of losing that power.
And in some ways, Detroit is the bloody, uncomfortable, demanding, intimate, painful reflection of Dunkirk. In the dozen or so “main” characters of Detroit, you may find yourself and your posture in one or two or almost all of these people. You may – though you can never admit it in public – even identify with some of the positions of the bad cops for a moment (though the next horrible choice they make will likely snap you out of it instantly). A quick unexpected conversation with another writer had him telling me that I was saying that “he just didn’t get it.” But that isn’t fair. Watch Full Kong Skull Island (2017) 2002. His dissatisfaction with the film. Detroit demands self- reflection.
And while some people will not care for it for other reasons, I would guess that a lack of interest in self- reflection will be a big factor for those who dismiss it easily. Bigelow and regular collaborator Mark Boal lay down about 3. This is when you may still think this is a movie directly about the July 1.
Detroit riot. Be patient and breathe it in. These events are everything you put in the pan with your Thanksgiving turkey, stuffing and basting juices included, that brings it flavor. Then you get to the movie. I would suggest you not read anything about it (at this point) before seeing the movie. But you take a city on edge, a bunch of law enforcement groups that are not effectively coordinated, and a bunch of young people who are a bit wild, but who are basically staying away from the trouble of the riots, and a few others, and with the BANG of a starter’s pistol, the hot snowball of rage and fear starts rolling downhill, gathering speed as all the individuals struggle to get out of the way.
I am not going to get into story, because that is your work and pleasure as a moviegoer. But there are many layers to this story of victims, victimizers, collateral damage and the jaded. There is racism, sexism, pacifism that borders on appeasement, opportunism, religion, lust, hate, paranoia, confusion, and so much more. I haven’t had chance to see Detroit a second time, but my guess is that I won’t really have consumed what this movie offers in a full way until I have seen it three or four times. Often, it is like trying to think about something objectively after being punched in the face. There are so many blows landed that until some of the big painful moments are cataloged in your brain so you aren’t rocked in your seat, moments of this movie will be missing from your experience.
Performances are uniformly excellent. It is truly an ensemble film. Will Poulter would be the lead, if there is one. Algee Smith is the character that rises out of the ensemble through the film. But there are wonderful turns everywhere you look.
There is no celebrity hierarchy. Hannah Murray, who you will recognize from a TV show (I will let you figure out which one), gives a really unexpected turn here as her character charges from one emotion to another. Honestly, the only actor I was unhappy to see was John Krasinski because it is a small- ish part, late in the film, and he feels like more of a celebrity showing up. He does well with it, but unlike other actors, he sticks out. Detroit is a film of size and substance and I don’t want to commit to it being the best film of the major studio size releases this year to date, but I kinda do.
I want to see it again before I go there. Honestly, I don’t know how I will feel the next time. Or the time after that.
But I do know that I will feel. And feel deeply. And it will make me think about the world and my place in it and how I see others. This will make some writers very uncomfortable. What more could we ask of a film?