Detroit: Is Kathryn Bigelow a master of 'timebomb cinema'?
Director's harrowing docudrama is terrifyingly relevant
Detroit, an explosive drama based on the 1967 race riots in the US, has been called powerful, unmissable and "the film we need right now" – but not everyone is convinced.
Kathryn Bigelow, the Academy Award winning director of The Hurt Locker and Zero Dark Thirty, tackles a shocking episode of civil unrest that rocked Detroit in the summer of 1967.
Set during the 12th Street uprising, the film takes a wide-angle view of the explosive violence, arson and looting that followed a police raid on an African-American speakeasy, before zooming in on the events that unfolded when police were sent to the Algiers Motel in search of an alleged sniper. When the task force fail to find their suspect, they subject the mostly black guests to a horrifying ordeal of racial violence.
Subscribe to The Week
Escape your echo chamber. Get the facts behind the news, plus analysis from multiple perspectives.
Sign up for The Week's Free Newsletters
From our morning news briefing to a weekly Good News Newsletter, get the best of The Week delivered directly to your inbox.
From our morning news briefing to a weekly Good News Newsletter, get the best of The Week delivered directly to your inbox.
Detroit stars John Boyega (Star Wars: The Force Awakens), Jason Mitchell (Straight Outta Compton), Anthony Mackie (The Hurt Locker) and Will Poulter (The Maze Runner).
Simon Crook in Empire praises Bigelow as "a master of timebomb cinema" and its "tick-tocking rhythms", and says Detroit "detonates from the opening reel". It's a "gruelling, nightmarish, ferociously vivid riot epic", adds the critic, who dubs the film "unflinching, unmissable and terrifyingly pertinent."
Owen Gleiberman in Variety says that Bigelow's film dramatises "an incident of police terrorism at the heart of the 1967 Detroit riot" to create a drama that is "as powerful as it is timely". By digging into the toxic heart of the story, the critic adds, she is able to provide moviegoers, both black and white, with a dramatic experience that is "nothing short of a catharsis", and hopefully, "healing".
Stephanie Zacherek in Time is less impressed. The critic suggests "effective filmmaking isn't always the same as good filmmaking, and that subjecting an audience to this "unrelenting grimness" isn't the best way to convey the weight of injustice. She also criticises the lack of subtlety and "moustache-twirling cartoonishness" of the police characters.
"Detroit is the type of movie we need right now," says Zacherek. But she admits "there's no shame in wishing that it were a better one".
Christopher Orr in the Atlantic is also disappointed. Detroit is a "powerful, harrowing film", he says, adding "insofar as it seeks to place viewers in the shoes of its helpless, terrified victims of police brutality, it succeeds to an almost unbearable degree".
But Orr criticises the "narrow ambition" of a gifted filmmaker whose previous, more nuanced, films such as The Hurt Locker "conveyed not merely the conflict between characters but also that within them".
Detroit, by contrast, says Orr, is "purely a story of villains and victims, a horror movie made all the more horrible by the fact that it is true".
Detroit opens in UK cinemas on 25 August.
Sign up for Today's Best Articles in your inbox
A free daily email with the biggest news stories of the day – and the best features from TheWeek.com
-
4 ways to give back this holiday season
The Explainer If your budget is feeling squeezed, remember that money is not the only way you can be generous around the holidays
By Becca Stanek, The Week US Published
-
4 tips for hosting an ecofriendly Thanksgiving
The Week Recommends Coming together for the holidays typically produces a ton of waste, but with proper preparation, you can have an environmentally friendly gathering.
By Theara Coleman, The Week US Published
-
Jussie Smollet conviction overturned on appeal
Speed Read The Illinois Supreme Court overturned the actor's conviction on charges of staging a racist and homophobic attack against himself in 2019
By Peter Weber, The Week US Published
-
The Count of Monte Cristo review: 'indecently spectacular' adaptation
The Week Recommends Dumas's classic 19th-century novel is once again given new life in this 'fast-moving' film
By The Week UK Published
-
Death of England: Closing Time review – 'bold, brash reflection on racism'
The Week Recommends The final part of this trilogy deftly explores rising political tensions across the country
By The Week UK Published
-
Sing Sing review: prison drama bursts with 'charm, energy and optimism'
The Week Recommends Colman Domingo plays a real-life prisoner in a performance likely to be an Oscars shoo-in
By The Week UK Published
-
Kaos review: comic retelling of Greek mythology starring Jeff Goldblum
The Week Recommends The new series captures audiences as it 'never takes itself too seriously'
By The Week UK Published
-
Blink Twice review: a 'stylish and savage' black comedy thriller
The Week Recommends Channing Tatum and Naomi Ackie stun in this film on the hedonistic rich directed by Zoë Kravitz
By The Week UK Published
-
Shifters review: 'beautiful' new romantic comedy offers 'bittersweet tenderness'
The Week Recommends The 'inventive, emotionally astute writing' leaves audiences gripped throughout
By The Week UK Published
-
How to do F1: British Grand Prix 2025
The Week Recommends One of the biggest events of the motorsports calendar is back and better than ever
By Rebekah Evans, The Week UK Published
-
Twisters review: 'warm-blooded' film explores dangerous weather
The Week Recommends The film, focusing on 'tornado wranglers', stars Daisy Edgar-Jones and Glen Powell
By The Week UK Published