The Hurt Locker

War movie lovers... Your search ends here.

When I saw this movie, I found I have ended up watching not only the movie but something more than that. The Director Kathryn Bigelow has been fully able to depict the psyche of Bomb disposal squad and their breathtaking game. Though the movie lacks a firm story line up but here it is not needed. Breathtaking sequences, one by one, is the hallmark of the movie.In a war trodden place like Iraq, all aspects of war-psyche has been exploited to give meaning to the daredevils (Jeremy Renner and Anthony Mackie) and their work of disposing the bombs. The chemistry between the duo has also been fully depicted. The Director has not forgotten the emotional angle and the arouses definite kind of emotions and make you think after every sequence.

Though some sequences remind you of "Enemy at the gates" but rest assured the movie in itself is masterpiece.

With its subtle climax the movie wins more on account.

Worth watching flick........

It's not the job you want your kids to aspire to. Or your spouse. Or anyone you care about. But we are so thankful there are people who do this.

This sad tale is centered on the unique skills of the tragically necessary field of bomb technician. Bomb techs, of course, are those heroic individuals who get called when a bomb or other explosive device is discovered. Their job, under life and death pressure daily, is to defuse the bomb and make things safe for the rest of us. Unfortunately, in war environments, this is a daily occurrence. What kind of person can do this kind of work? How do they do it day in and day out? Someone has to be a little crazy to do this in the first place, don’t they? These are the questions this movie explores. The movie evokes sadness, inspiration, sympathy, concern, and even awe as we watch the heroes of this movie struggle with their daily grind.

OK, I enjoyed watching it and it showed us something of what faces the IED dismantling teams in Iraq. But, I heard from a reliable source, ie someone who has actually served out there that it is grossly overplayed and the key character, I hesitate to call a hero is way over the top. This reminded me of Black Hawk Down in feel and I actually enjoyed the tension of the earlier movie better.

I have to say, this looks like a typical Oscar political win, because they needed to give a female director the nod this year - it's like the year that Halle Berry, Denzel Washington and Sidney Poitier all got awards! A lot of people were up in arms because Avatar did not win best film, but I thought that District 9 and Inglorious Basterds were both better films than this rather pedestrian war flick.

Military and war movies are problematic for me, at least modern-era ones; I wasn't in World War II or Vietnam but the post-Desert Storm era Army is a very well known quantity for me, and military movies set in this period (to include those set in the current Iraq / Afghanistan wars) almost always get some nagging thing wrong. Lieutenants and Captains don't call Colonels by their first names, and no one would ever wear a class-B wool sweater into a jungle at night, just to name two examples I've actually seen on screen in recent years.

"The Hurt Locker" slips up a bit, too, but to my surprise, I was able to forgive those missteps almost completely, because the movie on the whole is the most compelling war movie in many years, and just a great movie, period: terrifically acted, brilliantly conceived and directed, a work of true cinematic art. Like the committed professionals that it portrays, "The Hurt Locker" as a movie shows what movies are capable of when knowledgeable, experienced professionals are on top of their game.

"Saving Private Ryan" is generally regarded as THE modern war classic, and just about any picture set in war is going to draw at least a peripheral comparison to Steven Spielberg's flawed masterpiece, thanks to the still-detonating power of that film's master-class opening sequence, which took filmed combat to levels of never-before-seen verisimilitude. "The Hurt Locker" doesn't have that level of intensity, because it works on a smaller scale: the majority of the action is between individuals, not battalions. But there are extended sequences in "The Hurt Locker" that rival "Ryan" for impact, tightening the screws more slowly, more claustrophobically, until you feel as though you've been holding your breath even when you haven't. There are at least three of these sequences in "The Hurt Locker," all done in their own pace without dragging, all expertly performed, all showing a face of war that we haven't seen on film before.

There are bit roles from recognizable actors like David Morse (brilliant in his few moments on screen), Guy Pearce, and Ralph Finnes, but the majority of the acting load is shouldered by lesser-knowns Jeremy Renner and Anthony Mackie; they're both excellent. In a just world, this movie would be earning four hundred million in the US, not "Transformers: Revenge of the Fallen." But while the Academy of Motion Picture Arts and Sciences has pulled plenty of "say what?" moment in the past ("Crash," really?!?), they still have a chance to do right by this film and quality cinema in general: Best Picture nomination, a Best Director nod for Kathryn Bigelow, Best Screenplay (of some sort; this is based on journalism by the writer, Mark Boal, which may qualify it as "adapted" work), and acting nominations for Renner and Mackie. Yes, it's that good.

It's still only August and there's a lot of film to come in the ramp-up months to awards season, so this may be a stretch. But any movie that's going to top "The Hurt Locker" as my favorite of 2009 certainly has its work cut out for it.

BONUS POINTS: Unlike so many lesser films ("Crash," again looking in your direction), "The Hurt Locker" feels no need to explain its title on screen. There's never a point (at least that I recall) in which a character earnestly says, "Man, we're really in the hurt locker now" or words to that effect. A small point, sure, but just another nod to the creativity and confidence of the filmmakers.

Already celebrated for its breathtaking realism in depicting soldiers and explosions, The Hurt Locker is being called "the best Iraq war movie," with the qualification that the genre has been weak and the public response weaker. This is Kathryn Bigelow all right: macho men in dazzling exploits, exhilarating and always a little terrifying to watch, with adrenalin and testosterone spurting off the screen. If war is a drug, this movie could give you a contact high. Bigelow was obviously born to make a war movie. The only question is why she took this long to do so. Writer Mark Boal led her into it. He embedded with a bomb squad in Iraq, and came back with remarkable stories and a character to hold them together. He's Staff Sergeant William James, who's what in the genteel days of The English Patient was more commonly called a "sapper," a combat engineer who specializes in demolitions, minefields, and the like. Bigelow wisely chose Jeremy Renner, an unknown and unglamorous actor, for this pleasingly enigmatic role of a man who may be closer to bombs and timers than to his own comrades.

The Hurt Locker (soldier slang for a real bad place) gives you immediacy and vérité soldier life, with the shaky digital camera and in-and-out zooms of the genre (the action is so good, we soon forget them, while in Brian De Palms's crude 2007 Redacted, they grate all through). Such authenticity is achieved in Brit documentary filmmaker Nick Broomfield's more political, excellent, little seen, low-budget 2005 drama The Battle for Haditha. It may not make his film unbiased, but Broomfield most notably gives more detail of the Iraqi P.O.V. -- using real Iraqis -- while Bigelow sticks to showing Iraqis as the American soldiers experience them -- an experience that turns out to be insane, paranoia-inducing, and scary. (In both movies one of the few friendly forms of contact is buying and selling pirated DVD's, the US soldiers buying, the Iraqis selling, and in both this contact becomes a key plot element.) Obviously Bigelow also had a much bigger budget, the better to provide a wealth of spectacular explosions, essential (or justified anyway) since this is about a small team of three men whose main (but by no means only) job is to find and defuse improvised explosive devices (IED's), the DIY but sometimes highly ingenious signature weapons of the Iraqi insurgency. There is also a horrifying body bomb; a complicated and lethal car bomb in front of a UN building; a suicide bomber who has a change of heart (as in Hany Abu-Assad's 2005 Paradise Now); and a hairy firefight with snipers (and a somewhat obtrusive cameo by Ralph Fiennes) out in the desert. Besides which the adrenalin-numbed Sergeant James independently gets himself and his two squad members, Sergeant JT Sanborn (Anthony Mackie) and and Specialist Owen Eldridge (Brian Geraghty), into various private and probably unnecessary severe crap storms. All of this is staged with stunning accomplishment and a strong focus on character and the interactions, intense even when alienated, of these three men.

The movie takes no political stand, other than Hedges' "war is a drug." This is like the point of view of Andrew Swoford used for Sam Mendes' 2005 Jarhead, which, however unsuccessful in some aspects and poorly received, conveys that soldiers don't question war because they're too busy doing dangerous jobs, or waiting and hoping to do them, and trying to stay alive till, God willing, their tour ends.

The Hurt Locker is episodic and cyclical. It ends where it begins, with the protagonist joining a new team of strangers for another tour. Thanks to Boal's writing, Bigelow's fine directing, and an excellent cast, the episodes never seem routine or repetitive. But if you emerge with a sense of numbing danger and pointlessness that may not be inappropriate. The only structure is the routine one of datelines saying how many days are left in Bravo company's tour. But this is a figure that, as Kimberly Peirce's Stop-Loss depicts, is often set back to start again.

The opening sequence, where James's predecessor is killed, leaving Eldridge and Sanborn in need of a new leader, is pretty obvious. It's so carefully set up you know what will happen. It's still excruciatingly tense, a textbook street IED diffusion job that conveys how terrified the two backup guys are and sets up what's to come. This is a team, with all three in radio contact and each with his function, Eldridge the lookout in charge of Sanborn, who's the guard. The street is surrounded with buildings and people and deep in unknowns. When James arrives shortly after his predecessor's body has been shipped home, he does a similar job, but it's all different.

First we don't feel the danger except by remembering the first sequence, because James is so immune to it. Sanborn and Eldridge are freaking out because James doesn't stay in touch with him when he's suited up dealing with the device. They feel lost. We realize that the three before were a great team and we sense the rage and abandonment of his bereaved mates. There's immediate intense conflict between Eldridge, an elegant, chiseled black man with extensive Intelligence experience, and the puffy-cheeked James whom Eldridge calls "redneck trailer trash" straight off to his face. These telegraphed macho conflicts, essential Bigelow, work because the jobs being done are all so convincingly and intensely depicted.

This is a great movie but it leaves you empty. The director is so caught up in what she's doing that it's infectious, but the compelling intensity also represents a loss of perspective. Still, if there is any non-documentary Iraq war movie that's a must-see, this has got to be it, and it's by far the best thing the uneven but gifted Kathryn Bigelow has ever done. It's a game-changer, the new American war movie to beat.

(This is a cut version of a 1,600-word review.)