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Detroit
Year:
2017
Country:
USA
Genre:
Crime, Drama, Thriller, History
IMDB rating:
7.6
Director:
Kathryn Bigelow
Anthony Mackie as Greene
Ben O'Toole as Flynn
Algee Smith as Larry
Jack Reynor as Demens
John Boyega as Dismukes
Kaitlyn Dever as Karen
Hannah Murray as Julie
Will Poulter as Krauss
John Krasinski as Attorney Auerbach
Storyline: A police raid in Detroit in 1967 results in one of the largest RACE riots in United States history. The story is centred around the Algiers Motel incident, which occurred in Detroit, Michigan on July 25, 1967, during the racially charged 12th Street Riot. It involves the death of three black men and the brutal beatings of nine other people: seven black men and two white women.
Type Resolution File Size Codec Bitrate Format
1080p 1920x1040 px 11193 Mb h264 10942 Kbps mkv Download
HQ DVD-rip 720x388 px 1069 Mb h264 1045 Kbps mkv Download
Reviews
An hour too long.
'Detroit' is the latest from award-winning director Kathryn Bigelow. As the poster indicates she's helmed such films as 'Hurt Locker' and 'Zero Dark Thirty'. Which are pretty solid war flicks. So, naturally, this film had my interest. An Oscar-winning director taking on a film about the Detroit riots in the 60's? Count me in. However, this film is her sloppiest effort yet. If I was to go into this film unaware of who was behind the camera I would be shocked to learn that she has an Oscar to her name. This mainly stems from the structure and characters of the film. Because there really isn't any. But before I go to into that, I should say right off the bat that this is not about the Detroit riots.

This is an isolated event that happened during the riots. Which is the most frustrating part of this movie. There is a solid, sharp, tension filled 90-minute film in this 150-minute exercise. This should have just been about the Algiers Hotel and what happened in it. Get rid of all the Detroit riot stuff, get rid of the fake character development, and focus on this hotel incident.

Instead, it shoves in a near pointless opening act and a completely useless closing act. It opens showing the riots are in full swing. People are throwing cocktails, looting buildings, and setting fire to anything they can get their hands on. It conveys this with a bizarre back and forth cutting between the film and real footage. What's the point of that? If you're going to make a film, make a film. If you're going to make a documentary make a documentary.

Cutting back and forth between real footage and "dramatized" action just makes for an incredibly confusing start to a film that is ultimately not even about this. So why include it at all? This is the very definition of filler and it's completely baffling. However, the confusion comes to a head in the films final act. There are roughly thirty minutes of character arcs that literally don't serve any purpose to the film.

What's the point of learning that one of the black guys turned as racist as the cops that beat him? Why should we care about these characters that are hardly fleshed out? What's the literal point of pretending that anyone actually cares about these flat, boring plot devices? If this film opened and closed with the events that happen in the Algier Hotel you don't even need to try and give the characters arcs.

Instead of giving this jumbled, sporadic view of the events focus on one character. Make John Boyega the main character and only show us what he see's. It's literally that easy to fix. Cut out all the unnecessary fat. Instead of making this about five people make it about one. If you do, the event suddenly feels more personal and tense. If all you know is what the main character does then there would be palpable tension because you wouldn't know who to trust either.

Aside from these complaints, I can say that this film isn't bad. The 90 minutes in the Algier hotel are all great. The camera work, costumes, and acting is all pretty much great in this situation. If I were to simply judge the film based on this portion I would be coming across far more positive, but since there's another hour to this film I can't help but feel underwhelmed. The film isn't what it promises to be and has in an unnecessary amount of filler that makes a lot this film boring or uneven. It's not a film that I can call bad but I still don't like it.
2017-08-19
For anyone who's been waiting to see the True Facts about Detroit's 1967 Riot . . .
. . . DETROIT is NOT your movie. However, if you want to see the finest example yet of the dangerous Alt.Left Propaganda Machine (about which Leader Trump warned us during his Trump Tower News Conference yesterday, 8/15/17), DETROIT is your ticket. There's about a 50-50 chance that Director Kathryn Bigelow's False Flick will inspire the Third Major Detroit Riot in 75 Years this summer. A well-known national corporation recently assigned me (due to my Rep for fearlessness) a trouble-shooting task involving me driving down literally every inch of paved street contained within this so-called city's 39 square miles. Soon my catalytic converter was sawed off my vehicle while parked on Seven Mile Road in BROAD DAYLIGHT! When I stopped for gas nearby a little later that afternoon, a loitering thug (who looked like one of the lead cast members of DETROIT) threatened to kill me as I tried to Pre-pay while he was urinating on the OUTSIDE of the station's front wall! That was just Day One. (I'll probably write a book about the rest of this assignment soon.) Arson and looting remain the Primary Occupations of many if not most Detroiters, and Detroit's local Metro Times newspaper documents a populace continuing to seethe with the Seeds of Violent Insurrection being stirred up by Alt.Left screeds like DETROIT. Director Bigelow inexplicably tries to Fan the Flames of Civil Unrest by cherry-picking a few historical facts and Detroit Landmarks to sprinkle into her made-in-Boston concoction of Disinformation. (Obviously, SHE thought that HER personal safety would be compromised IF she kept her cast and crew among the Ruins of Today's Real Life Detroit, losing THEIR catalytic converters and being threatened with THEIR own deaths by thugs urinating on the fronts of businesses in broad daylight!)

The opening minutes of DETROIT are chock full of factual errors, giving perceptive viewers a clear warning that whatever follows is a collection of Fake News and Misinformation diligently massaged by Director Bigelow and her Hench People to rouse up, bamboozle, and exploit the Young, the Prejudiced, and the Ill-informed. For instance, Bigelow indicates that a Detroit Tigers home baseball game is taking place on Day Three of the Riot (that game was actually postponed). She also pictures the Supremes performing at Detroit's Fox Theater that same night (patently Untrue!). Bigelow flagrantly invents scenes showing BOTH Michigan's State Police AND America's National Guard fleeing Detroit's Algiers Motel as yellow-bellied cowards in the face of a single Detroit rogue cop. She besmirches the esteemed memory of U.S. Presidential Candidate and Michigan Governor George Romney by editing an archival footage clip to make him sound like a total idiot. She shows John Conyers, a Rabble Rouser in Congress from Detroit Then and Now, but neglects to reveal that it was bozos such as Big John that forced Michigan to carve itself into unwieldy jigsaw puzzle piece Congressional Districts to minimize that harm done to America by Conyers and his ilk to just one-third of what DETROIT's deplorable demographics would otherwise produce.

You've got to give DETROIT director Bigelow kudos for so effectively stirring up the Alt.Left by ripping apart the scar tissue over old wounds. It puts one in mind of that Great Propaganda Piece by ANOTHER female movie director, Leni Riefenstahl (aka, "Hitler's Videographer"). Though Ms. Riefenstahl's TRIUMPH OF THE WILL set new standards for epic film-making, it also started World War Two, resulting in 100 million deaths (including those of 6 million Jews). Hollywood doubtless will shower its Alt.Left darling Ms. Bigelow for her Racist Hatchet Job with a slew of Oscars. Let's just hope that DETROIT's death toll does not surpass the tally racked up by TRIUMPH OF THE WILL.
2017-08-16
It Hurts The PC Police, But It's On The Nose
Yes, I've read the reviews from the Gen Xers and the Millennials who all doubt the accuracy and want to believe this is some alternate universe, but this is it. This is what it was like. This is what it was like when I was activated during the riots when Martin Luther King, Jr. was assassinated. This was what it was like when I was activated during the Nashville prison riots. I hate to rain on your delicate sensibilities, but this is ~precisely~ what it was like. A disturbing look at the times, but an accurate look at the times. These actors and the director captured it PERFECTLY. I am blown away at how realistic and factual this film nailed it. Folks think it was only the South where racism existed and they're dead-ass wrong. Racism was worse in Detroit, Boston, and St. Louis than it ever was in the South. Want to argue about this? Unless you've got a time machine, don't waste your keystrokes because you don't know what you're talking about.
2017-12-03
This film beats you over the head until you cry "uncle"
This dramatization of a major incident of police brutality that took place during the 1967 Detroit riots starts off strong. It has great period detail in recapturing the Motor City in its roiling state of anxiety and resentment- an image of a great city on the verge of combustible catastrophe. A growing sense of anger and lawlessness is well-captured here. Furthermore, the film boasts vivid performances by an exceptional ensemble cast. Will Poulter is a standout as a violent, psychopathic police officer who cannot subtract his personal prejudices from the line of duty. John Boyega is also effective as a private security guard who makes a good faith effort to keep the peace but soon finds himself questioning his own judgment.

Unfortunately, where the film goes wrong is its decision to have a key police interrogation and torture sequence go on so interminably and so relentlessly that ironically the film loses its power and emotional grip in the process. The evil that is portrayed here goes from convincing to almost cartoonish. A viewer might be forgiven for no longer having their head in the film once the narrative finally moves on. Although no one can accuse this film of having the wrong intentions, it becomes so overheated in its depiction and so didactic in its approach that it becomes a textbook example of cinema where less could have been more. Perhaps less hand-wringing and more tonal balance would have made this a more potent film. But subtlety is not the word here.

This is not to say that all was lost. The film goes on to have quite a heartfelt, anguished conclusion and offers a cautionary word that the law and not reason is sometimes the biggest weapon. However, a better work would have left some room for debate instead of trying to pound its audience into submission. Not recommended.
2017-08-12
Bigelow gets it wrong
I'm a huge fan of director Kathryn Bigelow and when I heard that she was making this film and when rumours leaked out that it was going to primarily be focused on the Algiers motel murders I was more excited than ever. It seemed like the perfect project for Bigelow to tackle.

Unfortunately the result is a messy, gloopy, half-committed mess and Bigelow never quite succeeds at bringing to life a half-baked script.

Now to start off the film is not solely focused on the Algiers Motel incident. It's a film in three parts, the first dealing with the start of the riots in Detroit, the second zeroing in on the terror at the Algiers, and the third showing the trial that happened as a result of the Algiers murders.

Right away Bigelow gets it wrong. The rioting that took place is poorly explained and she and writer Mark Boal actually mostly shows the start of the riots from the perspective of the police, bizarrely making it seem like rioters were just interested in looting despite the fact that there were multiple reasons why they were angry and lashing out. As a result the first third of the movie is just like a noxious clash of violence and terror as Bigelow introduces and obliterates so many characters, the violence seeming random and unending and not in a good way. The final third of the movie is similarly sloppy; I've seen court room dramas handled with more grace, and subtlety on Law & Order.

However the middle section, at the Algiers, is where most of the pieces come together. If there's one thing to trust Bigelow on it's scenes of torture and she spares nothing when it comes to these scenes. Now I've heard criticism saying that these scenes amount to torture porn and I disagree, the violence in this section is necessary to show just how brutal what happened was. Bigelow isn't glorying in the moment but she isn't flinching away from it either. This happened and she wants her audiences to know it and understand it and feel angry and hurt and ashamed because of it.

Unfortunately the rest of the movie just doesn't rise to the level of the middle section leaving the film as a half-baked mess. Only because Bigelow is such a talent is the film still somewhat worthwhile to watch because despite everything there is much to criticize and some to admire.

The best parts of the movie are the cast (almost uniformly stellar but Anthony Mackie, Algee Smith, John Boyega and Jacob Latimore are standouts) and the costumes. There may not be many speaking roles for women in the film but there were a lot of women extras and the clothes they wear are FANTASTIC.

A missed opportunity from Bigelow.
2017-08-22
Pathetic. Lets rewrite history a little more, shall we?
If Detroit shows us anything it shows this; Liberals with their environmental guidelines, huge corporate taxes, and Unions created the loss of jobs in Detroit, and indeed in all of the rust belt. That is why the city went downhill. White Flight is a result of people doing what they needed to keep themselves and their kids safe. It can't be blamed on white people. If the police had not cracked down on the riots in Detroit, more lives would have been lost, and mostly black lives. Considering that black people mob attacked and tried to kill several white people, and did kill others in those riots, its really, really funny that white people are the bad guys here, because of a fictional set of cops.
2017-11-30
Motown manufactured melodrama
How can a movie as confusing as this be considered Oscar material. This is nothing like Bigelow's previous superb movies with its jumbled story and outright fiction presented as "truth". The screenwriter admits to "a self-imposed rule to never stray from what I understood to be the underlying truth of a scene or an event". What he termed poetic license, is nothing less than a license to lie. He also updated the dialogue, to what, modern terminology or assumed modern attitudes? Probably both.

Bigelow uses a broad brush dipped in the slime of three corrupt cops as an indirect implication projected 50 years later on today's police a la BLM hate. Just casting Will Poulter, who oozes bully/evil, as a cop, is pejorative. And yes the black victims deserved focus, but not to the point of marginalizing the massive violence, looting, vandalism, riots and murder. A major flaw was the fact that the victims stood up to the beatings and apparent/actual murder of some of them, rather than give up the dead moron in the parlor who had fired off a starter pistol in the middle of a riot. This is a canyon sized plot hole.

And in another piece of complete idiocy, one of the black singers is made to complain that Motown's music is just for white people. Ga! And yes it was an all white jury, but they found the black security guard to be innocent in like 8 minutes. But the white judge, who was later found to be personally corrupt, instructed the jury to either convict the cops on 1st degree murder (which was not the case), or render a not guilty verdict--2nd degree murder or manslaughter weren't options. Chalk another one up to the establishment, so of course none of that was mentioned.

What in the hell happened here? Was Bigelow found to have been too conservative in her previous efforts and forced to make a propaganda film, or is this her true self? Her emphasis can do nothing here but stir the rabble rousing pot which is already at the boiling point. So I guess yeah, it is Oscar material.
2017-08-05
This is Detroit. We don't bluff.
This film is s docudrama about the Detroit 1967 riots. It is mostly composed dramatization from eye witness accounts and also includes clips from the era.The film opens with the after hours club raid which fueled the rioting. It didn't include Tiger's Willie Horton appealing to the crowd. It then turns to the incident at the Algiers hotel, focusing on the life of Larry Cleveland Reed of the group "The Dramatics." It ends with a trial over the raid.

The film had excellent acting and I thought the recreation was good, although I have no knowledge as to what happened. Interesting from an historical viewpoint.

BTW the Dramatics hit song "Whatcha See Is Whatcha Get" was released in 1971 and appears to be anachronistic for the 1967 incident.

Guide: F-word. Very brief nudity
2017-08-21
Detroit Packs a Powerful Punch and Leaves You With an Ugly Lasting Impression
*Minor Spoilers Ahead* After the animated introduction (which I won't spoil the content of) Detroit begins in the city of Detroit, 1967. A party is being held at a backroom bar for the return of a Vietnam veteran. The cops break up the party but a crowd gathers of mostly African-Americans. The cops are almost exclusively white but all the patrons being rounded up are African-Americans. Instead of trying to explain their actions, the cops are quick to move on from the scene. Someone throws a bottle at one of the cops and the looting begins. Unfortunately, the 12th street riots are underway.

Even having watched some really gritty movies lately (Shot Caller and Dunkirk) I still had to admire how Detroit drops you right in the middle of this tumultuous period of Detroit's history. The action is in your face and they don't shy away from the brutality. Although Detroit feels firmly grounded in reality, the movie does have a sense of style. The beginning has an animated segment that isn't pretty and they use it to drive home the hopelessness of the situation. It certainly does the intended job. While the action does hit home, the shaky cam did push the envelope and there were a couple of times I wish they had stayed a little more static. There were some quick moments where the camera could cause a little motion sickness.

Addressing the elephant in the room, Detroit was given the green light because a lot of these issues are still stuff many people grapple with on a daily basis. Its not something that people like to discuss but that doesn't mean that it doesn't take place. One of the things that surprised me about Detroit is that they don't force a ton of comparisons to the present day upon the audience (Free State of Jones was an example of something like that). The horror of the material speaks for itself and they didn't need to jam metaphors about how times haven't changed down our throat. These problems do exist and hopefully this movie will help some people come around on those issues but the story is completely self contained and I actually appreciated it for doing that way. They trust the viewer to draw their own connections and it isn't common to take such a mature approach.

Detroit dips its toes into a couple of different genres but where it works best is when its in the thick of this terrible situation. It is an engrossing and tense thriller. This movie is so hard to watch, a couple of people left the theatre and I honestly couldn't blame them. Things get downright brutal and where some stories play with some of the characters having ambiguous motives, this is not one of those. The villains are disgusting and their behaviour is downright heinous so there isn't a question of who your rooting for. Every turn the story makes, things get nastier but you can't turn away.

Detroit's cast is well rounded and there is definitely some excellent acting from everyone involved but 1 person kind of steals the show. Will Poulter is the villain of the piece as Krauss and he puts on a show that rivals Michael Fassbender in 12 Years a Slave. This feels like a coming out performance for him, his character is so detestable but I have to tip my hat to him. John Boyega gets top billing as Dismukes and he handles the material well but this was more of an ensemble. I was also surprised that Anthony Mackie made an appearance, he's one of the more accomplished actors in the cast but he's in a supporting part. He acquits himself well though. Algee Smith and Jacob Lattimore are both excellent as Larry and Fred. Hannah Murray and Kaitlyn Dever are also really good as Julie and Karen respectively.

If I had one complaint about Detroit (other than the fact that the subject matter is super depressing) is that by the time you get to the end of the movie, it does begin to drag. This is a long movie and I get why they had to include so much but I was hoping for a quicker resolution when we got past the 2hr mark.

Detroit was always going to be a controversial movie but the movie steers into the skid. I more or less fall on the critics' side, this movie has a tight story that is more topical than we would like to admit. I can't verify if it's 100% historically accurate, there's been some debate in the other user reviews and I'm willing to concede that they probably took some liberties with it. But judging it as a movie, I was shocked yet I couldn't turn away from Detroit. I would applaud Kathryn Bigelow for handling this touchy issue so well and despite the length I would recommend giving this a chance.
2017-08-07
Detroit
To be honest, when I saw the trailer for this film, I debated whether or not I wanted to see it in the cinema, or if I could wait for DVD, but I went with my gut and went to the cinema, and I'm glad I did, directed by Kathryn Bigelow (Point Break, The Hurt Locker, Zero Dark Thirty). Basically it is July 23rd, 1967, an unlicensed club is celebrating the return of black veterans, the Detroit police stage a raid on the club, while arrests are taking place, a riot soon breaks out, with a mob throwing rocks at officers, looting nearby stores and starting fires, beginning the 12th Street Riot. Civil authorities, elected representatives, and emergency services are unable to maintain any semblance of order, the Michigan National Guard and Army paratroopers are authorised by Governor George W. Romney to enter Detroit to assist. On the second day of the riots, a looter is being pursued by two cops, officer Philip Krauss (Will Poulter), against orders, mortally wounds the man with a shotgun, but he is allowed to remain on active duty until his superiors can decide whether to file murder charges. Professional black R&B group The Dramatics are hoping to score a recording contract in Detroit, but seconds before their music hall performance, the police shut down the venue and order them to leave the city, and en route their bus is attacked by rioters. The group subsequently splits up, lead singer Larry Reed (Algee Smith) and his friend Fred Temple (Jacob Latimore) rent a room for the night at the local Algiers Motel, while there they meet two white girls, Julie Ann (Hannah Murray) and Karen (Kaitlyn Dever). The girls introduce Larry and Fred to their friends Carl Cooper (Jason Mitchell) and Aubrey Pollard (Nathan Davis Jr.), Carl and another friend play a prank using a starter pistol, this upsets Julie and Karen, they move to the room of Vietnam veteran Greene (Anthony Mackie), while Larry and Fred return to their room. Private security guard Melvin Dismukes (Star Wars' John Boyega) is assigned to protect a grocery store from looters alongside the Guardsmen, Carl sees them across the street, he decides to fire several blanks from his pistol in their direction to frighten them. The troops mistake the blank shots for a sniper attack and open fire on the Algiers, a detachment of police arrive, led by Krauss, who guns down Carl trying to escape, and he plants a knife next to Carl's body as he bleeds to death. The police, accompanied by Dismukes and some Guardsmen, round up everyone in the hotel and line them against the wall, they demand to know who was shooting, while searching Dismukes fails to find a weapon. Krauss orders several suspects be taken to different room and subjected to mock executions, part of a "game" to terrify the others into confessing, most of the Guardsmen and soldiers are unwilling to get involved and leave without informing anyone of Krauss's abuse. Julie and Karen are taken upstairs and begin screaming, Julie gets her clothes are torn off, Dismukes and a Guardsman are disgusted and manage to get them released from custody. Aubrey is killed during his interrogation by one of the remaining Guardsman, who was unaware that earlier executions were fake, Krauss fearing arrest permits the remaining suspects to leave, but only if they swear not to say anything to anyone, Greene and Larry agree to do so, but Fred is refuses and is shot dead. The riots start to die down, while working his other job in a factory, Dismukes is arrested, charged with murder, after Julie identified him as being present at the Algiers, Krauss and his fellow officers are questioned as well, everyone except Krauss confesses. Larry's singing career has stalled due to the trauma he experienced, he is a summoned to testify as a witness, the judge ultimately decides not to accept any of the confessions as evidence. Without a solid case, Dismukes, Krauss, and their co-defendants are acquitted of all charges by the all-white jury, Dismukes confronts Krauss with he truth, but he is powerless to get any justice for the victims. The film ends with explanations of what happened next: Dismukes moved to suburbs to escape death threats and resumed his job as a security guard, Krauss and his remained on the force but never returned to active duty, Julie rebuilt her life and started a family, and Larry became a choir singer, he never returned to professional music, in the present day he still lives in Detroit. Also starring John Krasinski as Attorney Auerbach and Jack Reynor as Demens. Boyega is good as the straight forward security guard, Smith is likable as the ambitious soul singer, but it is Poulter who stands out as the aggressive racist white cop, it is unconventional in its approach to the real-life events, the city is in turmoil, which we see some of, but the horrific events in the hotel overwhelms the majority, the film is claustrophobic and disturbing with the treatment of African-American people in the time it is set, it certainly delivers the "Black Lives Matter" message, all together it is gripping and provocative period crime drama. Very good!
2017-09-14
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