Synopsis
The Greatest Manhunt in History
A chronicle of the decade-long hunt for al-Qaeda terrorist leader Osama bin Laden after the September 2001 attacks, and his death at the hands of the Navy S.E.A.L. Team 6 in May, 2011.
2012 Directed by Kathryn Bigelow
A chronicle of the decade-long hunt for al-Qaeda terrorist leader Osama bin Laden after the September 2001 attacks, and his death at the hands of the Navy S.E.A.L. Team 6 in May, 2011.
Jessica Chastain Jason Clarke Kyle Chandler Jennifer Ehle Mark Strong Joel Edgerton Chris Pratt Edgar Ramírez Mark Duplass Scott Adkins Harold Perrineau Jeremy Strong Reda Kateb Ricky Sekhon J.J. Kandel James Gandolfini Stephen Dillane John Schwab Martin Delaney John Barrowman Jeff Mash Taylor Kinney Callan Mulvey Phil Somerville Nash Edgerton Mike Colter Jessica Collins Frank Grillo Fares Fares Show All…
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Politics and human rights War and historical adventure High speed and special ops political, democracy, president, documentary or propaganda war, soldiers, combat, fought or military war, wwii, combat, military or duty terrorism, thriller, gripping, intense or political spy, agent, intrigue, thriller or suspense Show All…
Five stars.
Fine, four and a half, because I know certainty freaks you guys out, but it's a five.
I mean the movie's entire thesis is that we were thirsty for revenge and we went to extreme lengths to get it. Eventually -- almost accidentally -- we got it. Then that sliver of "justice" irrevocably upended every single value we hold for ourselves, so now what?
We did this shit, and this is what it means for us.
That's a very grudging three stars, because — like Flight — there's more to chew on than I initially realized, but I still think it's kind of a crappy movie. Let me count the ways:
1) The first third in particular wore me down. I exceedingly dislike the way Bigelow transforms 7/7, the 2008 Islamabad Marriott bombing and the bombing of Camp Chapman into standard suspense setpieces (when will that explosive go off?). The latter particularly rubbed the wrong way: the longer Bigelow keeps intercutting between Maya's chat window and the guilelessly optimistic CIA officials awaiting their big break is downright sadistic. (It was just another gchat session UNTIL.) Is there intent here to make the viewer tensely ever-expectant of…
I feel deeply conflicted by this film. While I admire its scope I have great difficulties with the way it presents it, both in content and in cinematic quality.
Let me start by saying that Bigelow should earn nothing but respect for taking on such an ambitious project. I am not a big fan of hers as a director (and she betrays here weaknesses here as well), but I always admire artists who dare to push the boat out a bit further than the rest or take on a challenge with both hands.
Chronicling a decade long man-hunt for the world's public enemy number one is no small task. Mark Boal's script comes across as fastidiously researched, giving us a…
"we don't know what we don't know."
"what the fuck does that mean?"
still perhaps the finest example of the dirty handheld journalistic "realism" as it's not really deployed for its usual mundane purposes but instead serves bigelow's procedural blurring of firsthand details, dates, facts, events, paperwork, screens and timelines into an abstracted foreground of gross jingoistic impulses, poisonous methodology and complete moral erosion. what it gets wrong about the torture/information pipeline doesn't undo how pointedly barbaric and unsatisfying the depiction of american tradecraft is here, especially that raid sequence which is still one of the nastiest pieces of tactical craftsmanship in bigelow's career. the hazy information is being fed, the players are locked in knowingly/willingly or not (reduced to…
maybe it's just because we're living in the age of tr*mp now but i'm pretty sure we should just stop making weird nationalistic war movies trying to straddle the fence between palatable war propaganda and political critique anyways this was pretty boring and long but jessica chastain if you're reading this hmu let's go to chilis and make out sometime
I wish I'd been able to see this before "Is it pro-torture or not?" became the only prism for viewing it. I spent most of the run-time evaluating it on that basis, and near the end, I found myself agreeing tepidly with the Greenwaldian critique. But then came the raid sequence. Nasty, brutal, unheroic violence scored to the sound of traumatized, screaming children. All of it topped off by the unanswered and unanswerable question "where do you want to go now?" and Chastain's blank face. Arguing that ZDT "endorses" torture because the film shows waterboarding tangentially relate to capturing bin Laden misses the point by light-years. For one thing, torture is wrong WHETHER IT "WORKS" OR NOT. Secondly, ZDT's joyless…
The astronomical amount of money spent invading and blowing up shit and eventually finding this guy could have instead been spent on finding the following. The secret to everlasting life; better blowjob technique; a beer bottle that never runs dry; civility in internet forums; someone to make a decent movie about locating Osama bin Laden via incentives amounting to 300 bucks in cash, a carton of cigarettes, and a fully paid (for one year) unlimited minutes cell phone plan with free handset.
This movie commits two cardinal sins of film-making.
The first is that it doesn't build up the threat. What's at stake? We are all aware that this is based on allegedly real events, but the goal these characters are so vehemently pursuing doesn't feel important because the threat is never seen. He was allegedly responsible for many acts of terrorism in real life, but where is this *in the movie*? There's a quick allusion to 9/11 in the beginning, but that is just not enough. I felt the same way at the end as I did at the start because nobody was feeling any effects of the threat at any point throughout the entire story. Simply put, it feels like…