The Greatest Showman #830 - Controversy Vortex

Time magazine's Amy Nicholson relentlessly criticized Detachment. Despite Renly's strong performance, Nicholson's opinion remained unchanged, and she gave the film a dismal "5/4" rating—out of four. Among the grading criteria, only 1.5 points were awarded. Though slightly better than Village Voice, the score still felt inconsequential.

First came Time Magazine, then Village Voice, and numerous other critical voices followed suit.

Entertainment Weekly's Lisa Schwartzbaum has never been a fan of Renly. Perhaps due to the Cornell-McGregor connection, Entertainment Weekly seemed to harbor a distinct hostility toward Renly. At least in past works, Schwartzbaum's reviews were lukewarm, with criticism that was seldom harsh, yet this time she seized the opportunity to go all in.

"The ending was a classic anti-climax," she wrote. "Just when the audience thought things couldn't get worse, Tony Kaye delivered a powerful counterattack: The film is far from rock bottom."

Her review, dripping with sarcasm, ridiculed Detachment without using vulgarity, yet it lambasted the film thoroughly.

"The film's theme is muddled. The first half feels like a Dead Poets Society story, the middle echoes Leaving Las Vegas, and the second half resembles Lolita. Kaye's suburban high school tale tells the story of a charming teacher and the girl who falls for him."

Despite the critique, Schwartzbaum conceded that "Renly Hall is undeniably charming, and his looks in this film are peak allure. Fans of Twilight will probably adore it."

Laughing, mocking, and ridiculing, Schwartzbaum's review attacked Detachment from every angle, concluding with a damning "5/4" rating—cementing this film as a milestone in Renly's career for all the wrong reasons.

As an art film festival, Berlin is known for welcoming both praise and criticism. The nature of art, after all, requires open dialogue to stimulate inspiration. If only positive voices were allowed, there would be no progress.

Following the premiere of Detachment, official publications were flooded with discussions, almost all of which were shocking.

Rolling Stone gave it a "5/4" score, saying, "Detachment drives a coffin nail into the Bible with amateurish brutality, but the entire film's discourse is so empty, so vain, and so boring that you feel no real pain."

USA Today awarded a "2/4", noting, "The film has unparalleled power, and Renly Hall's performance delivers a soul-shaking shock, once again solidifying his position as a new generation leader. Natalie Portman should be worried. Yet the film is mired in an emptiness that is unshakeable, like standing in the ruins of a dollar store, unsure what to save, or if anything is worth saving."

Variety gave it an "8/4" and acknowledged Kaye's bold attempt, praising Renly's performance. They stated, "Kaye pulled more potential from Renly Hall, showcasing his immense acting talent. There are at least three scenes that are top-level performances. But beyond that, Kaye lost control of the story's progression and development. The emotional bonds were lacking, and the film's monologues became feeble, like castles in the air."

Though author-driven films are always controversial, the backlash against Detachment was extreme. Major media outlets delivered scathing critiques, and in a matter of hours, the film seemed on the verge of collapse.

However, this is the essence of the Berlin Film Festival—controversy fuels conversation, which fuels popularity. The more divisive the film, the more attention it garners.

Films without controversy are often overlooked, while those that stir up both praise and criticism garner the most interest. People are eager to discuss such films, interpret them from different perspectives, and engage in passionate debates. This clash of ideas is where the true joy of art lies.

Despite the negative reviews from major outlets like Time, Village Voice, Entertainment Weekly, Rolling Stone, USA Today, and Variety, nine other media outlets came to Detachment's defense, recognizing it as one of the best films of the Berlin festival that year.

Silver Screen, a prestigious British film magazine, known for its authority in Europe, was one of the first to praise the film. In its review, it compared Detachment to François Truffaut's Fahrenheit 451 (1966).

"Truffaut's Fahrenheit 451 illuminated the role of reading in progress and social change. Kaye, on the other hand, addresses education from a contrarian perspective. Education, above wealth and fame, bestows the most precious gift: ideas. In today's society, education has been reduced to a means to acquire wealth and status, an alarming societal regression."

Anthony Lane, a senior film critic for Silver Screen, sharply articulated Kaye's intentions and the film's core themes. He delved into the film's documentary-style filming and its neurotic camera work, which conveyed the internal struggles of the characters. Lane also noted that, while the film was filled with confusion and discomfort, this was Kaye's goal.

Anthony's praise for Kaye was paired with a resounding endorsement of Renly's performance. "Hall strips away all polish and delivers the raw emotion of the character, elevating the film to another level. His performance at just twenty-two years old is reminiscent of Helen Mirren in The Queen."

For Silver Screen, the ultimate reason to watch the film was Renly—Renly, and more Renly. And of course, Tony Kaye's direction. Their positive review, alongside the magazine's influential status, propelled the film to new heights of visibility and controversy.

As the official publication of the Berlin Film Festival, Silver Screen's critique set the tone for Detachment's reception, pushing the debate to a fever pitch. With an "8/4" rating, the controversy was ignited into a full-blown frenzy.