It Hurts So Good

Rating: 8/10 (27 December 2012)

My favorite war movie of all time is Saving Private Ryan. Spielberg's gritty, unflinching depiction of World War II made audiences feel as if they were really on the front lines. This, paired with some truly substantial emotional heft and psychological underpinnings, makes it a film that is both haunting and unforgettable. I think it's safe to say that Kathryn Bigelow has taken a lot of cues from Spielberg, and that's a good thing.
The Hurt Locker takes place in 2004. US Army Staff Sergeant Will James has just joined Bravo Company's bomb disposal unit, where he patrols the streets of Baghdad and makes it abundantly clear that everything they encounter is a potential threat. The paranoia here is justified, though, as seemingly innocent piles of rubble consistently turn out to be bombs with maniacally complex structures.
As Will goes about his job, it's clear that he's a reckless adrenaline junkie–instead of sending a robot in to assess what are easily lethal situations, he prefers to do it himself. His penchant toward recklessness and danger is further enforced by the fact that he constantly chain smokes and occasionally indulges in the stereotypical drunken, macho horseplay. He also likes to unwind by listening to metal CDs as he examines the spare parts of bombs that almost killed him. While everyone else is counting down the days till they're rotation is up, Will is living for the danger of the moment.
The Hurt Locker opens with a quote by Chris Hedges which suggests that war is a drug. This message is driven home for the entire 131 minute run time of the movie, and the imagery here leaves no doubt that the thrill of staring death in the face is what keeps Will going (his motivation to do this is made especially clear by the scenes preceding the film's conclusion). All of this is interesting, but it's something that's been depicted in movies many times before. For example, The Patriot and Full Metal Jacket have already demonstrated how people can have a disturbing "give and take" relationship with war, which is exactly what Will has here. I'm not suggesting that this is a bad thing, but it does feel a little recycled.
What's really interesting about The Hurt Locker (and what would've made it more unique in the end) are the technical details of what's involved with disarming these devices–and, of course, what life is like for these soldiers on a daily basis.
It seems that The Hurt Locker is also trying to touch on the notion that violence embeds itself in those in close proximity to it, and that it's transfered to subsequent generations. This is something that's handled with just the right amount of ambiguity, and it does help add a little something to the story that would've otherwise been missing, so, overall, this is an added strength of the film (not to mention that it provides some incentive for repeated viewings).
Where The Hurt Locker succeeds the most, however, is in its action scenes. Each of these finds Will taking on bombs or other unexpected threats, and they cause viewers to soon realize that, in this place, anything can happen. The Hurt Locker, for the most part, avoids Hollywood stereotypes, and isn't afraid to sacrifice characters for the sake of realism. These are some of the most intense moments you'll encounter at theater, and that alone makes it worth the arm and leg theaters are currently charging for admission.
If you're looking for a change of pace in the form of a non-blockbuster, this is the way to go. While the message contained within The Hurt Locker is nothing new, it's still an intense and informative war movie that features top-notch performances.