DO NOT PLAYLIST THIS FILM!
Film: The Hūṛt Loċkeṛ
Directed by K@thryn Bigelṑw
United States (2008)
War Drama/Action Thriller
13 parts/120 mins
In English with optional subtitles (default)
Please...
DO NOT PLAYLIST THIS FILM! Film: The Hūṛt Loċkeṛ Directed by K@thryn Bigelṑw United States (2008) War Drama/Action Thriller 13 parts/120 mins
In English with optional subtitles (default) Please be sure to turn on the CC (closed captions) button to view subtitles ---Subtitles are translatable to any language--- 1.Click on the arrow to the left of the CC button. 2.Then click on translate. 3.Pick your language in the bottom menu, then viola!.
WARNING: Film contains adult language and violence (Rated R by MPAA)
The Hūṛt Lṑckeṛ stands the best chance yet of breaking the resistance of audiences to movies about the war in Iraq. Its already far and away the best-reviewed film on the topic. And its not hard to see why. Not only is it the best-made and most compelling film on the war, it is also almost scrupulously apolitical in its approach. I dont think the film actually is apolitical, but its savvy enough to just put the material out there and let the viewer decide what to think. The movie has one basic point—that war is, or can be, a drug. Rather than preach that, it illustrates the theme—as well as its counterpoint—via a suspense-driven character study, making it the kind of war picture we havent seen in some considerable time. Watching it, you feel youre in the presence of art completely of the moment and also aesthetically new. Its conclusion—which, yes, can be read politically as a broader statement about the U.S., and not just about James—is as chilling and devastating as anything youll find in current film. Synopsis:
The Hūṛt Lṑckeṛ presents the conflict in the Middle East from the perspective of those who witnessed the fighting firsthand -- the soldiers. As an elite Army Explosive Ordnance Disposal team tactfully navigates the streets of present-day Iraq, they face the constant threat of death from incoming bombs and sharp-shooting snipers. In Baghdad, roadside bombs are a common danger. The Army is working to make the city a safer place for Americans and Iraqis, so when it comes to dismantling IEDs (improvised explosive devices) the Explosive Ordnance Disposal (EOD) crew is always on their game. But protecting the public isn't easy when there's no room for error, and every second spent dismantling a bomb is another second spent flirting with death. Now, as three fearless bomb technicians take on the most dangerous job in Baghdad, it's only a matter of time before one of them gets sent to the Hūṛt Lṑckeṛ.
The film is developed very shrewdly and effectively through a series of set pieces. Each of these—starting with the brilliantly achieved opening sequence—is a little essay in effective filmmaking. Bigelṑw understands how to achieve both suspense and perfectly lucid action. While she employs the currently trendy shaky-cam approach—more at the beginning of the film than later on—she has a firm grasp of the logistics of the action. You are never left wondering who is shooting at whom or where the characters are in relation to each other. Because The Hūṛt Lṑckeṛ is told in an episodic fashion, dominated by several extremely tense EOD situations, a lot of character-building happens in those action scenes. Noticing the subtleties in how differently the men handle a sniper shoot-out or the defusing of an improvised explosive device is key to interpreting the non-political Iraq War film. This is the closest any film on the subject of the war in Iraq has gotten to greatness.
This film pioneers observational action moviemaking. It sensitizes you to changes in atmosphere that portend danger and convey hidden meaning while furthering the plot and the characters. And it does so while reporting aspects of the Iraq war that have never before been fleshed out. The movie is as enthralling in its ambiguous vistas as it is in its microscopic inspection of wires and materiel. Midway through, a duel in the desert outside Baghdad between insurgents and members of the bomb squad provides a stunning illustration of how soldiers can feel pinned down in wide open spaces. Here, they do bond in action, and that action reveals unexpected contours in their hearts and minds.
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