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PostPosted: Wed Apr 12, 2017 10:12 am 
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Kathryn Bigelow's Detroit

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Last edited by DarkImbecile on Wed Apr 12, 2017 6:01 pm, edited 1 time in total.

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 Post subject: Re: Comic Books on Film
PostPosted: Wed Apr 12, 2017 10:16 am 
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Was this based on a comic book?


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 Post subject: Re: Comic Books on Film
PostPosted: Wed Apr 12, 2017 10:23 am 
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That's what I get for posting on my phone! Can someone move this to Trailers for Upcoming Films, please?


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PostPosted: Thu Apr 13, 2017 4:15 pm 
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Is Annapurna now their own company? It seems like they're always co-producing movies with more established studios.

The uneasy tone the trailer establishes reminds me of what I said in the Jackie thread, that now movies about the 60's are going to be much more allegorical than nostalgic. And quite possible more "realistic" (I hate using that word to describe movies, but for lack of something better I guess it's accurate) too.

Kind of funny that the last time she did a movie with some of these themes, it was Strange Days, which still holds up despite some elements which should immediately date it but it's not to it's detriment.


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PostPosted: Thu Apr 13, 2017 4:23 pm 
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flyonthewall2983 wrote:
...The uneasy tone the trailer establishes reminds me of what I said in the Jackie thread, that now movies about the 60's are going to be much more allegorical than nostalgic. And quite possible more "realistic"...

I'll play devil's advocate here just for fun and suggest that Hidden Figures (2016) is more nostalgic for its era than realistic whereas Shampoo (1975) uses 1968 as allegorical and is not at all nostalgic. With the references to Motown in the trailer, I bet Detroit will have some nostalgia factor, but I like what I'm seeing.


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PostPosted: Thu Apr 13, 2017 5:35 pm 
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flyonthewall2983 wrote:
Is Annapurna now their own company? It seems like they're always co-producing movies with more established studios.

Detroit is the first film they're releasing themselves.


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PostPosted: Thu Apr 13, 2017 6:23 pm 

Joined: Wed Mar 16, 2005 9:20 pm
Detroit is co-produced with MGM. Annapurna is co-producer and distributor in the US, while MGM will handle international distribution. MGM just signed a long term co-production/international distribution deal with Annapurna.


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PostPosted: Fri Apr 14, 2017 10:01 am 
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Really excited to see a right-wing capitalist perspective of this riveting topic.


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PostPosted: Fri Apr 14, 2017 11:48 am 
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aox wrote:
Really excited to see a right-wing capitalist perspective of this riveting topic.
All right, I'll bite. Please elaborate on how you know this will be the case for this film.


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PostPosted: Fri Apr 14, 2017 1:09 pm 
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DarkImbecile wrote:
aox wrote:
Really excited to see a right-wing capitalist perspective of this riveting topic.
All right, I'll bite. Please elaborate on how you know this will be the case for this film.


I've seen her previous films.


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PostPosted: Fri Apr 14, 2017 2:09 pm 
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Who knew Near Dark was such a nefarious reactionary work? Seriously though, if we're talking about The Hurt Locker and Zero Dark Thirty, I felt the opposite. There's certainly been a lively debate on this over the latter film.


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PostPosted: Thu Aug 10, 2017 6:25 pm 
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Detroit manages to both be infused with the uniquely visceral intensity that defines Bigelow's best work while also being unconventionally structured in such a way that makes the absence of that intensity in some scenes feel in the moment more prominent - and like more of a problem for the film - than I think it actually is upon reflection (and hopefully upon a second viewing). The film is far more ambitious and complicated than The Hurt Locker, and while it doesn't overcome its structural challenges as expertly as Zero Dark Thirty did its own, it achieves enough in its depiction of the rioting and the murders at the Algiers Motel to be seen and discussed on the same level as those films, an outcome which appears increasingly unlikely.

Many have pointed to the post-Algiers scenes as the weakest of the film, but I think this portion succeeds in demonstrating that the monstrously inhumane face of racism we are exposed to in the middle portion is largely possible only because of the unwillingness of white society and the legal structure to acknowledge it at all. In the same final 20 minutes, the coda for what becomes our main protagonist feels earned and genuine while also being straightforward about the lingering effects of trauma.

The actual biggest mistake Bigelow makes is the inclusion of the animated artistic representation of the 20th-century black experience in America that opens the film. Despite Henry Louis Gates, Jr.'s involvement in its creation, this history lesson is too shallow and cursory to provide any context to 90% of the audience that would be seeking out an 2-1/2 hour R-rated period film with almost no recognizable actors about racial strife and not particularly famous 'unsolved' murders, and they also undermine the immersive, immediate quality of the opening filmed sequence.

This doesn't read like a strongly positive review so far, but despite the issues noted above and a few irritatingly on-the-nose moments from Mark Boal's script, the majority of the film works exceptionally in establishing the period, the context for the riots and the events in the Algiers, and leveraging the very good to excellent work by the cast to make the anger, uncertainty, and terror of that summer palpable. Bigelow is stretching and developing here in a way that's more interesting than - for example - a revisit to the American wars of the past two decades would have been, and I hope she continues to take these kind of risks, assuming this film's underperformance doesn't drastically limit her options.

For a right-wing capitalist depiction of systemic racism and injustice, it's a film with enough capacity to provoke powerful and divisive responses that I look forward to further discussion about its flaws and successes here and elsewhere.


Last edited by DarkImbecile on Thu Aug 10, 2017 6:32 pm, edited 1 time in total.

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PostPosted: Thu Aug 10, 2017 6:29 pm 
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My impression is that Annapurna doesn't care about making a profit as long as the head likes working with the filmmakers. She also produced two recent Bigelow shorts for example so I imagine this flopping doesn't affect this relationship all that much.


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PostPosted: Thu Aug 10, 2017 6:36 pm 
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I hope so, though I would like to see her maybe shake things up regarding her working relationship with Boal if she moves further away from more journalistic films; I maybe didn't emphasize enough that his script is the weakest element here (though I appreciate the difficulty of trying to cobble together recollections and evidence of an event about which much is unclear into a clear narrative that also respects the facts and people involved).


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PostPosted: Thu Aug 10, 2017 6:49 pm 
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Honestly the weakest part of the other two films has been his scripts so that's no shocker. Clearly she's getting something positive out of it, but Boal consistently seems to bring the pictures down to me. Still excited to see this eventually though.


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PostPosted: Fri Aug 11, 2017 3:32 am 
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DarkImbecile wrote:
I hope so, though I would like to see her maybe shake things up regarding her working relationship with Boal if she moves further away from more journalistic films; I maybe didn't emphasize enough that his script is the weakest element here (though I appreciate the difficulty of trying to cobble together recollections and evidence of an event about which much is unclear into a clear narrative that also respects the facts and people involved).


...while also taking care not to draw any material exclusively from the most comprehensive study of the events, as the film rights to that are very famously not available.


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PostPosted: Sat Aug 12, 2017 2:46 pm 
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MichaelB wrote:
...while also taking care not to draw any material exclusively from the most comprehensive study of the events, as the film rights to that are very famously not available.

Do you mean this book? (Also how are the rights famously not available? Any prominent examples of filmmakers trying to get the rights?)


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PostPosted: Sat Aug 12, 2017 6:08 pm 
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hearthesilence wrote:
MichaelB wrote:
...while also taking care not to draw any material exclusively from the most comprehensive study of the events, as the film rights to that are very famously not available.

Do you mean this book? (Also how are the rights famously not available? Any prominent examples of filmmakers trying to get the rights?)


No, it's this book.


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PostPosted: Sun Aug 13, 2017 6:43 am 
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Indeed - and John Hersey promised his interviewees that he'd never sell the film rights. Which meant that if there was eyewitness testimony exclusive to the book and the eyewitness in question had since died or was otherwise unable to be consulted by the filmmakers, that was just tough.


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PostPosted: Sun Aug 13, 2017 11:30 pm 
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So, they made a film based on an event that they can’t use significant source material for?


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