![]() ![]() Zero Dark Thirty offers its bracing look at a dark decade and the greatest manhunt in American history. The enemies don't have uniforms and, other than the poster child target of Osama bin Laden, they don't have faces or names to remember. For every realistic Black Hawk Down, there's a John Wayne movie that's all "oo-rah." For every sympathetic Saving Private Ryan, there's an unsympathetic clown show like Inglourious Basterds. Kathryn Bigelow's challenging and riveting new film, Zero Dark Thirty, most firmly sets its sights on realism over romanticism, because the War on Terror is a different conflict. Very few (you can count them on your hands) do both because it is hard to be both real about the violent act of war while still being romantic and heroic about war for the purpose of entertainment. There are extremely good movies on both ends of that spectrum. Besides the fact that every war movie is really an anti-war movie, the perspective of any film of the genre can be measured between its degree of angle toward either realism or romanticism. Throughout the course of cinema history, when it comes to war movies, the key has always been the pendulum swing between realism and romanticism.
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