Directed by:
Kathryn BigelowScreenplay:
Mark BoalCinematography:
Greig FraserComposer:
Alexandre DesplatCast:
Jessica Chastain, Jason Clarke, Joel Edgerton, Jennifer Ehle, Mark Strong, Kyle Chandler, Edgar Ramirez, James Gandolfini, Chris Pratt, Callan Mulvey (more)VOD (4)
Plots(1)
For a decade, an elite team of intelligence and military operatives, working in secret across the globe, devoted themselves to a single goal: to find and eliminate Osama bin Laden. Zero Dark Thirty reunites the Oscar winning team of director-producer Kathryn Bigelow and writer-producer Mark Boal (The Hurt Locker) for the story of history's greatest manhunt for the world's most dangerous man. (official distributor synopsis)
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Reviews (17)
I have a minor issue with Kathryn Bigelow in this movie; in comparison to the genius Hurt Locker, it’s the complete oppositemovie-wise. While The Hurt Locker was pure action with barely any story, Zero Dark Thirty is mostly a story that completely overshadows everything else. It attempts to be such a precisely told Bin Ladin operation that it sometimes forgets that it’s a movie and not a book. That’s exactly why the movie is 157 minutes long and why there’s a couple of moments that were incredibly boring to me. If it weren’t for the last half an hour, I’d be pretty pissed. Luckily, Jessica Chastain was keeping everything on such a strong level that I couldn’t close my eyes throughout the movie; it’d simply be too much of a shame.
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The unreservedly enthusiastic overseas reviews didn't lie, it's a blast. What’s impressive is that the slickest films in A-list Hollywood today are being made by a woman. And I'd like to hear what 'Klaus's Rasputin', the insane Chancellor Hájek, would say about this film, given his popular opinion (one of the many pearls this alien entity has spat) that Osama Bin Laden was a fabrication. It could be fun…
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The losers have a voice and dignity (which we realize when they are completely denied and the film does not turn “eyes"), the winners are not here - only strange marked beings without intimacy and pleasure, lonely technocrats who approve to any sort of crap, but it breaks them down when someone shoots their favorite monkeys. One of the American critics wrote that this procedural view of "the administration of justice" is amoral and came, like Greengrass' Flight 93, too soon. I say: just in time. Maybe one day we will see a film where everything will be given with clear moral values, the good will be good and the bad will be bad. This will be the story of the winners. Zero Dark Thirty is a story of lost and abandoned people, which can be interpreted as admiration for the performance of the bureaucratic machinery of the secret services, but rather offers the interpretation that Bigelow has made another bold film about stigmatized individuals who "move history".
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The perspective of one of the workaholic cogs in an overseas bureaucratic machine for the search for a "symbol of all evil" - a.k.a., a procedural drama in the purest possible form. As interesting and detailed as it is, it's also cold, audience-unfriendly, and requires more than a cursory knowledge of the events. The first, office hour is significantly better than the second, which for logical reasons was fundamentally reworked from the original concept. There is no propaganda, and the Allies come out no better than "the bad guys," but nevertheless if a (much) longer time had elapsed since these events, it would have been better.
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I understand that getting Osama was mostly due to lengthy bureaucracy combined with refreshing waterboarding, but the first hour of this film is the pure essence of boredom. It only begins to pick up after the attack on the base in Afghanistan, only to culminate in the final bit of action, which is something so precisely and coldly filmed that the director's craft is bewildering; anyway, we won't know for a few years whether this film came too soon or too late. 3 ½.
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