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Three Critic Reviews of the Film: The Hurt Locker
Introduction
The Hurt Locker is about the long and agonizing battle in Iraq, the irregular nightmare where the army cannot attack the opponent in any substantial manner. Their mission is a very long collection of duties where they are profoundly strengthened flowing targets, in the seamless threat from the wayside bombs or the Improvised Explosive Devices. The movie features Jeremy Renner as Staff Sergeant William James, the leader of a three-man disposal troop. His subordinate is Sergeant Sanborn, acted by Antony Mackie. Finally, the third star is Specialist Eldridge, acted by Brian Geraghty, who is a young soldier evidently unscrambling. Various reviews have been written by different critics of the movie. The paper considers three critic reviews of the film by analyzing the quality and success of the performance of The Hurt Locker.
Keith Uhlich-Author 1
It is entirely possible that Staff Sergeant William James (Renner), the bomb-deactivating specialists at the heart of the great Iraq War action film The Hurt Locker, was entitled by screenwriter Mark Boal after a particular sensible 19th-century philosopher. “On the brightness-to-profoundness range, that falls at a point between christening a desert-island survivalist Locke and naming a breathing satisfied tiger Hobbes” (par 1). However, James is more than his name, not excessively over-the-top as everlastingly involved, grunt-like, with the one thing he accomplishes better than any other person.

Renner, whose half-muscled chubbiness beckons to remind Fassbinder circa Fox and His Friends, comes inside James’ skin in methods that a more experienced personality could not do. “It is a responsibility that might have quickly decentralized into single-note laudations to dauntingly impressive behavior, particularly in performance with a periodic narrative design that regularly clips between masculinity-loaded home-origin drama and dangerously protracted fact-finding” (par 2). But in this actor’s influences, the character goes over with reliable, high-quality lucidity; he is less worried about doing dismissal recklessness than about performing a good work and micturating the night away.
The James-liberated preface, which involves the first of two “kill-‘em-off” star appearances, outwardly places the odds high. Director Kathryn Bigelow, performing her run-‘n’-gun excellently, does not reinforce outdated apprehension so much as conveying an unsettled sense of boredom. The Hurt Locker entails existing in a frequently monotonous instant. Overlaid headings count down the number of hours remaining in James and his group’s alternation, although there is a little feeling of motion toward a final destination. As the introductory Chris Hedge quote, ‘War is a drug’, proposes, there are no achievements in this type of piece, just an endless cycle of lows, climax, and in-betweens.
Dave Calhoun-Author 2
Best popular for 1991’s ‘Point Break’, Kathryn Bigelow has returned to the system with one of the best movies about the US Army in Iraq, and one of the rare not to propel American onlookers running for the mountains. The film is written and co-produced by war journalist Mark Boal, who developed Paul Haggis’s ‘In the Valley of Elah’. “Bigelow’s movie mixes an excellent administration of pressure with a thoughtful and editorial attention to all aspects available” (par 1). Bigelow has one focus on the fact and the other on the complex, and if one can pardon her the strange emotional or dramatic embellishment, this brings an element of a strange combination of the sobering and exhilarating feature of the film.
The focus of the movie is a bomb clearance team in Baghdad in 2004 and the 38-day round of Sergeant William James (Jeremy Renner), a specialist in deactivating machines and an insolent betrayer whom one could see as either ‘hot shit’, the way one boss refers to him, or deserving of a sock in the jaw, as one his colleagues call him. “Bigelow creates suspense and empathy by adhering closely to the small crew via many incidents, such as the one wonderfully performed desert firefight, and enabling the audiences to feel the circumstances as they disclose for the armies” (par 2).
The cinematography from ‘United 93’DoP and consistent Ken Loach collaborator Barry Ackroyd provides a frantic nearness to events, whereas using Amman in place of Baghdad offers reality and setting to a confining narrative. Bigelow is more concerned with psychology than politics, yet she depicts only sufficient alertness of the way the action of the troops can drive vengeance and, to some extent, adds one direct implication that the US Army can and does decide to disrespect the social well-being of the citizens. “Most hearteningly, the movie provides a reasonable separation between valor and recklessness” (par 3).
Richard Roeper-Author 3
The Hurt Locker is a war movie designed in contemporary Iraq, yet it is not about the battle in Iraq. The film is about the universal soldier who turns out to be addicted to fighting. It is also about war as a drug. The movie touches on a man who goes home and is completely lost in the grocery collection, but fully happy fudging opponent vigor and deactivating bombs in tough, aggressive situations. “It is an intense, memorable movie full of intolerably anxious set pieces and superb acting” (par 1).
Director Kathryn Bgelow and screenwriter, Mark Boal, who was surrounded by a U.S. bomb-deactivation team in Iraq in 2004, have produced a bold, intuitive piece of the deadly dangerous, every day running of a troop of American soldiers that are endangering their lives as recurrently as one takes a three-day weekend. The two influential individuals in the film are utterly aware that a large proportion of the citizens back home perceive they need not to even be in Baghdad, or aresolutely apathetic to their undertaking.
Bigelow turns close to varnishing the slaughter with her fondness for ear-piercing rock and axial motion and her certainly inspiring, slow-motion gunshots of bangs. She also takes part in the terrible episodes of death and demolition that act as a blow to the bowel. Even if a soldier endures a battle physically unhurt, he does not come out complete.
The film is all about the daily chores of a leading bomb group that has 38 days remaining in their cycle. In the introductory episode, in which the crew utilizes an undulating ‘bot’ to whiff out a bomb on a boulevard with a lot of commotion in Baghdad, the viewers are sure something will not take place due to a component that is hard to explain or reveal, and though it occurs in any case. From this juncture, Bigelow poses notice. The audiences are in for a hellish drive.
Furthermore, Jeremy Renner is not one-tenth as prominent as most of his aristocrats, yet he has got much more of a wizard existence and more advanced chops than merely about any appealing boy performer of whom one can imagine. Renner orders the display here in a concert well-intentioned of a young Russell Crowe. His Sergeant James is a typical, opposed, profoundly inconsistent conqueror. He is seen as one who is overconfident butch, but not an exaggeration. “He is exceptionally good at what he undertakes, yet the opposite of the team player” (par 5).
According to Richard Roeper, “while the film is not fairly in the same group as The Deer Hunter and Coming Home, it strikes parallel subjects about the massive gap splitting the enraging, adrenaline haste of the battle involvement and the beautiful predictability of daily home life” (par 6). When the viewers see an expert via Bigelow’s eyes, they are stunned that any person coming back home from these involvements can attain even instants of normality. The Hurt Locker is one of the best movies of 2009.
Conclusion
The focus of the movie is a bomb clearance team in Baghdad in 2004. It involves the war between two rival soldiers of Iraq and the U.S. the cinematography and the overall display of the film is interesting and captivating. The director of the movie is also good at showing the audience the purpose of the movie and balances the real-life occurrences and the fictional actions in the movie. Considering the three critic reviews of the film, it can be concluded that The Hurt Locker is one of the best films of 2009.