he action film has gradually become a discipline of structure rather than strategy: Place a flirtatious dialogue here; release a deafening barrage of bullets or lasers right here; the perfect moment for a father/brother/partner/best friend to be slain, to invoke vengeance in the main character? It's right there. As much as one must admire big-budget action films with a level, working head such as Star Trek and last year's Iron Man, action films, more and more, feel like a producer's game rather than a filmmaker's, a shell game rather than a magic show.
Then in comes Kathryn Bigelow, swaggering and swinging-for-the-fences after a seven-year absence from the biz. Her last film, K-19: The Widowmaker, was overlong and overdramatized in equal measures, but it certainly wasn't an unambitious work: What courage it must take to make Harrison Ford don a Russian accent? In the late '80s/early '90s, however, the 58-year-old Bigelow owned every genre she entered. She returns now with The Hurt Locker, a pulverizing and madly suspenseful minefield placed in the middle of the minuscule terrain of Iraq occupation narratives.
Read more: http://www.worstpreviews.com/review.php?id=856§ion=review#ixzz0hhhsolV4
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