Black & Blue: Justice Takes A Holiday In Bigelow’s Brutal ‘Detroit’

Fifty years is a long time. Unfortunately, it has not been long enough to distance America from the depicted in Kathryn Bigelow’s Detroit. There’s Motown music in the background and the cars look old, but otherwise, you’d be hard-pressed to find a single moment of the movie that doesn’t crackle with contemporary relevance. Bigelow’s direction is as frenetic as it has ever been, one-upping the verisimilitude she showed in The Hurt Locker and Zero Dark Thirty. This has become a popular stylistic choice for hard-hitting stories that straddle the line between drama and thriller, from United 93 to Children Of Men.

Bigelow’s latest film falls into this sub-genre, technically, though I’m not sure either “drama” or “thriller” is the best descriptor. Detroit is a horror movie, tense and relentless and deeply upsetting.

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Folie À Boo: A Bleak, Haunting ‘Ghost Story’ Refuses To Go Toward The Light

Every once in a while, a movie comes along that is not really a movie.

Technically, yes, it is a movie, but the experience I have watching it is something different. Upon viewing Lars Von Trier’s Dogville in theaters, I felt like I’d just seen a very intimate and powerful stage production, not a film. Richard Linklater’s Boyhood was a little like that, too — the fact that time really is unfolding over the years for these actors, along with their characters, wipes the usual artifice of cinema away.

A Ghost Story is the latest such film. I liken seeing it to going to an artist’s exhibition — the scenes are like individual pieces. You stop there for a minute or two, think about what you’re seeing, what it makes you feel… and then move on.

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You Could Never Be Jell-O (When We Were Young, Episode 19)

“Maybe Michael couldn’t commit to this marriage, so he created a delusion… produced an unconscious, psychosomatic manifestation of… I’m better with food. Okay? You’re Michael. You’re in a fancy French restaurant. You order crème brûlée for dessert. It’s beautiful, it’s sweet, it’s irritatingly perfect. Suddenly, Michael realizes he doesn’t want crème brûlée. He wants something else…”

“What does he want?”

“Jell-O.”

“Jell-O? Why does he want Jell-O?”

“Because he’s comfortable with Jell-O!”

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Amazon Prime: ‘Wonder Woman’ & ‘City Of Z’ Explore Uncharted Territory


This just in: WOMEN can direct MOVIES.

Despite their menstruation and inability to lift heavy things, females are either as capable or even more capable than men at making films that involve punching and kicking!

Still with me? Okay! As it turns out, women, who are not historically known for either punching or kicking, can make action blockbusters just like men, who are statistically more likely to punch and kick.

At this rate, who knows? We may even get a female president someday!! I’ll pause to let you wrap your head around that impossible concept for a second.

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Your Mother’s A Tracer (When We Were Young, Episode 18)

“It was a mistake. I didn’t hate her. I wasn’t disgusted with her. I was afraid. At that moment, I felt small, like… like I’d lacked experience, like I’d never be on her level, like I’d never be enough for her or something like that, you know what I’m saying? But, what I did not get, she didn’t care. She wasn’t looking for that guy anymore. She was… she was looking for me, for the Bob. Butby the time I figure this all out, it was too late, man. She moved on, and all I had to show for it was some foolish pride, which then gave way to regret. She was the girl, I know that now. But I pushed her away. So, I’ve spent every day since then chasing Amy… so to speak.”

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