With Detroit, her latest feature, director Kathryn Bigelow has done something unusual: she’s made a film that fits all the criteria for what a “Kathryn Bigelow movie” should be, yet one that doesn’t much feel like a “Kathryn Bigelow movie.” Like several of Bigelow’s other feature-length efforts, Detroit is a critique of both institutional corruption and law enforcement as well as an examination of masculinity. But tonally and structurally the work feels like the product of a different director—until the credits rolled and the onscreen text read “Directed by Kathryn Bigelow,” I wondered whether I was seeing something helmed by someone else entirely. Continue reading>>