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Showing posts with label Kathryn Bigelow. Show all posts
Showing posts with label Kathryn Bigelow. Show all posts

ZERO DARK THIRTY

Tuesday, December 18, 2012

ZERO DARK THIRTY
Written by Mark Boal
Directed by Kathryn Bigelow
Starring Jessica Chastain, Jason Clarke and Kyle Chandler

Dan: This is what defeat looks like. Your jihad is over.

Remember how it took a moment to process the reality of the announcement that Osama bin Laden, leader of the al Qaeda terrorist organization, had been killed by the Americans? I do. It was late at night and it didn’t seem real. The Americans had made it their personal mission to hunt down and kill the man behind the horrifying September 11th terrorist attacks, but that was nearly ten years prior. It seemed to me, to most perhaps, that their efforts would ultimately prove fruitless, to the point where I had almost forgotten they were still looking for him. Find bin Laden they did though and now, thanks to Academy Award winning director, Kathryn Bigelow (THE HURT LOCKER), you can see exactly how it happened and precisely why it took so darn long.

ZERO DARK THIRTY, a reference to the approximate hour bin Laden was killed, is an intense account of the ten years it took to fulfill the promise President George W. Bush made to his people after they were attacked. Bigelow does not shy away from the dirtier details of the mission, exposing us to a great deal of torture from the very onset. The manner in which America dealt with its enemies changed a great deal after 9/11, and again since then, when it was exposed to the world how horrible they were being to their detainees. Bigelow hardly glorifies their methods but she also is sure to show that if it weren’t for some of these tactics, they might not have been able to prevent some potentially disastrous terrorist plots. To watch the ever changing face of how the Central Intelligence Agency worked to protect the American people, only further highlights just how long it took to execute its vendetta. To watch that mission presented as an obsession sheds some much needed light on how it may have also distracted from thwarting some other successful terrorist attacks.


Bigelow reteams with THE HURT LOCKER screenwriter, Mark Boal, for ZERO DARK THIRTY, and while the twosome certainly work well together and know how to craft tense, taut thrillers, their latest collaboration lacks some of the deeper insight their previous success had. Watching THE HURT LOCKER, I felt a grander sense of purpose in the unfolding action, while ZERO DARK THIRTY felt more like a straight forward manhunt thriller than anything else. Sure, it is led by the luminous, Jessica Chastain, in yet another remarkable performance, but even her profound subtlety doesn’t bring us anywhere underneath the surface of this hunt. That being said, the surface itself, which clocks in at a near two and a half hour runtime, is stellar, fully engaging from start to finish. Perhaps if I was American though, accomplishing the mission would have felt more personally satisfying.


305. Zero Dark Thirty

Monday, December 10, 2012

305. (08 Dec) Zero Dark Thirty (2012, Kathryn Bigelow)* 83



Terse, intelligent and exhilarating, it's hard not to be a little in awe of Zero Dark Thirty's confidence and competence. From the opening series of scenes about torture, it's clear this is constructing a thoughtful, even defining dialogue on the limitless complexity of the war on terror. Offering no easy answers and sticking us with an unsociable, obsessive main character, this has all the urgency and understanding that's been lacking from post-9/11 works about terror (e.g. United 93).

Jessica Chastain's Maya is the perfect fit for this narrative. From her steely resolve to her all-consuming need to kill bin Laden, she's endlessly fascinating. Her steady, rather devastating arc is done so much justice by Chastain, one can only pray she takes home the Best Actress Oscar.

The sheer leanness of Zero Dark Thirty is perhaps what it's easiest to marvel at. Mark Boal's The Hurt Locker script was laden with filler scenes, but there's not a wasted moment here. It's all in service to the theme of military intelligence coming at a high price for all involved, and that even good information can mean nothing without intuition and judgment.

The final sequence at the bin Laden compound should be enough to assure this a couple Oscars for sound work and a deserving nomination for Greig Fraser's cinematography. Alexandre Desplat's score is his umpteenth stroke of genius from recent years.

The Hurt Locker

Sunday, November 20, 2011

The Hurt Locker, 2008
Directed by Katheryn Bigelow
Nominated for 9 Oscars, won 6.
Synopsis: A new sergeant, Will James, has come to take over a an elite squad of roadside bomb disposal team after their previous sergeant was killed on the job. James is reckless and wild, and very different from their last sergeant. He shows himself to be unafraid and indifferent to life, death, and everything around him, except disarming bombs. His two subordinates, Sanborn (a strong, fierce man) and Eldridge (someone suffering post-traumatic stress after the death of their previous sergeant) are both just trying to adjust and deal with this new, wild, reckless man leading them. But war doesn't leave you indifferent. If anything, it leads you to caring too much, and thus trying not to care.
At least, this is what Ms. Bigelow shows us in her (almost) documentary-style film about bomb disposal soldiers in Iraq.
I settled down to watch this movie with my boyfriend. I was interested in seeing this film. I had watched the first 20 minutes or so in film class, and wondered about the rest of the movie. Being extremely oblivious to war (Iraq, Afghanistan, etc), politics, and the like, I wasn't sure how much of this movie I would understand, or even like.
But I quickly found myself transported into this world that I had no idea existed. I see just exactly how war is affecting everyone. How tricky it is to weed out the citizens you want to help, with the citizens who want to kill you. How much you can't get attached, and how much you have to block out in order to not bleed to death from the hopelessness of it all.
All Oscars it won for the technical side were well-won. Film editing, sound mixing and sound editing. Everything was so rocky and raw and real that I felt like I was there in Iraq, wearing the bomb protection suit, or in the Humvee with them. 
The cinematography was indeed, also, very good. Very shaky, and amateur, but on purpose. To not try to take anything away from what's going on. So you can't put a glamour on what you're seeing. This is real. You also saw so much of what they saw. How many places you have to keep watch over; balcony's, minarets, windows, everything.  All the people who constantly around, and just how poor Baghdad really is.
I really appreciated this movie because even though I wasn't sure exactly what was going on all the time, it didn't dumb down the movie to make it simple for viewers. It threw them into the life of these soldiers, where they weren't beginners. You jumped right in, and there was nothing to introduce you, which I thought was refreshing.
I really enjoyed this film because of the character of Will James. He was a complex character, and I really felt so much sympathy for, not only him, but all of the soldiers. It's just so sad what's going on over there. That war like this is going on.  It really taught me a lot about what's going on in the world, or at least in Iraq, and just how much the American soldiers do. Or how much they suffer, and how much this is affecting them. And just how much we take forgranted here. America, and Canada.
Rating: B+

100 Women Directors Worth Watching

Tuesday, April 26, 2011



AA = Academy Award (for the film)
doc. = Documentary, ss = Short Subject
Personal favorites highlighted in blue
[Updated 4.30.11]

Those with the most awards

Aparna Sen (Mr and Mrs Iyer-02, House of Memories-00) India, 12 awards

Caroline Link (Nowhere in Africa-01, AA; Beyond Silence-96) Germany, 25 awards

Debra Granik (Winter's Bone-10, 26 awards) 17 awards


Deepa Mehta (Earth-96, Fire-98

Kathryn Bigelow Wins Director's Guild Award for Hurt Locker

Sunday, January 31, 2010


Kathryn Bigelow [AP photo above], ex-wife of director James Cameron, won the Director's Guild of America's best director award for The Hurt Locker. The winner has won the Academy Award all but six times since 1948. Bigelow is the first woman to win the award. Previously, only Lena Wertmuller (Seven Beauties) and Barbra Streisand (The Prince of Tides) have been female Oscar® nominees for
 

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