Very very predictable, including the post credit scene !!!

The acting in this movie is really good.

One of the worst ways to make a cult movie is to set out to make a cult movie.

It is an exhilarating, distressing, funny and profound film, with one of the more memorable film scores in years,

When I started seeing promotional material for "Detroit", I thought that it really had the chance to be something special. It is very timely in today's social/political climate, and director Kathryn Bigelow always takes such care in her films to portray the truth. While this seems to indeed be the case in "Detroit" as well, the film comes off as lacking a clear focus in terms of what it wanted to accomplish short of "showing the facts of what happened".For a basic plot summary, "Detroit" tells the story of the 1967 race riots that tore through the city of Detroit, MI. While the first half of the film looks at the riots as a whole, the second half focuses in on one specific incident where the Detroit PD roughs up a group of African American men (and two white women) in trying to find a weapon that was fired from that location. The shocking brutality and subsequent trial are all chronicled in the back half of the film.There are two things that I really wish "Detroit" would have done different:1. It almost seems to be two different movies, and I wish Bigelow would have stuck to the first one, so to speak. As I've mentioned, the first half is really gripping, showing the beginning of the riots and what they might mean for everyone. I was really "into" this movie, as it truly does parallel many similar themes and problems even today. When the film switches to the one Algiers Motel incident, however, I felt like it bogged down and never really recovered. Perhaps had the film focused on that single scene from the beginning it would not have been so jarring of a switch, but as it stands I didn't like the focus going from wide-angle to pretty strict zoom.2. I know that Bigelow likely wants to remain a-political in her filmmaking (from what I remember, a similar thing happened in "The Hurt Locker"), but I also feel like this isn't a story that can be told without taking a bit of a stand. That doesn't happen here, though, and the movie has less of an impact because of it. Instead, this is very much a "just the facts, ma'm" approach that, at nearly two and a half hours, becomes hard to get through.There is enough in "Detroit" to make it a watchable movie, as the acting performances are great and the general atmosphere of the whole piece is pretty chilling. Plus, Bigelow does a great job of subtly showing how similar race issues continue to plague black/police relationships. Basically, it does a great job of showing how the problems often remain even after the actors change.So, while not a bad movie by any stretch, "Detroit" is one that I was quite underwhelmed by. I wanted a more consistent storytelling approach and a bit more of an impactful, articulated message within it. It's worth a watch if you are interested in the type of topics it delves into, but it likely won't vault to the top of your best-of lists.

I was a child during the hell on earth Detroit summer of 1967. I don't remember it. Acclaimed Director Kathryn Bigelow has done one helluva job recreating the powder keg that exploded over a half century ago in the based-on-actual-events drama "Detroit". It is profoundly difficult to process that a human being could be as recklessly racist as these rogue cops are. Will Poulter is particularly chilling as the brazen ring leader. That these white officers of the law could treat mostly black suspects as lives that scarcely matter is sickening. Yet, as the disturbing courtroom scenes reveal toward the end of the film, how do we know?

As a whole, 'Detroit (2017)' is too unfocused and too big for what it is trying to achieve, with the first act standing almost entirely alone from the following two and feeling sort of superfluous in the overall narrative. The central set-piece - and even, to a lesser extent, its much slower aftermath - is compelling, vigorous stuff that's unrelenting in its tension and urgency, though. It never just feels like one race against another, but rather humans placed in a situation where good and evil are shown in shades of grey. If you're even remotely human, the brutality and oppression of the piece will make your blood boil and the flick pulls no punches when it comes to the injustice on display. The lack of any comeuppance almost feels like a lack of narrative closure - you truly want to see the perpetrators punished, and this alone is an achievement - but instead it simply emulates the messy and unfulfilling way that life often works. While the story mightn't be entirely accurate to the real-life scenario (the events of which were never accurately established in court), it does work as an examination of what could have happened in a terrible situation that took the lives of three young men, one which is still scarily relevant today. 7/10

I'm starting to fall in love with her. Zero Dark Thirty is one of the best films of this century and does not get enough credit. Detroit, although not in that league, is still absolutely powerful in every aspect. A film that both informs and thrills the audience of the 1967 Algiers Motel raid in Detroit. An event that is not talked about much, documents and footage of the raid have been scarce and so consequently there are scenarios that are dramatised. This added drama is what prevents Detroit from being a documentary reenactment. It's a clear three act narrative. The first act plays out like a documentary, educating viewers about the riots of Detroit. The second act is the genre shift to a thriller, the motel raid. The third act is the courtroom drama that deals with the legal aftermath. Sure, it's mechanical...but Bigelow directs the heck out of this which is why it feels so raw and powerful. Her directing style is frantic. Constant shakiness and zooming, it involves the viewer...draws them in. An event like this cannot be handled with care and fluffiness. No, it needed to be brutal and Bigelow was the perfect choice. If a film dealing with racism and/or segregation makes me angry inside, it's done its job. If the film does that and engages me throughout its run time...well we have ourselves a home run. Aside from Bigelow being a standout, Will Poulter deserves a lot of recognition. He's come a long way in recent years and believe this is his best performance. John Boyega also gives an understated performance. The violence is savage, but it needed to be. Someone gets hit, you are also going to feel it. My only one criticism is that the ending dragged. When your second act is a thriller, your third act consequently will slow down in pace and unfortunately it slowed down too much. Still compelling, just more at ease. I suspect Detroit will be overlooked during Awards season. It's a shame because this is a powerful important film that has outstanding direction and some strong performances.