Gripping, Thrilling, and Quite Cold

Rating: 8/10 (2 February 2013)

I walked out of Zero Dark Thirty with quite a headache. This is definitely what the film was aiming for, tension that racks up your nerves, increases your heart rate, and leaves you with your teeth continuously clenching. The movie will leave you breathless and numb, much like your better wartime movies like Saving Private Ryan. But all this comes with a catch---this movie is quite cold, and the timing of this movie gives it an emotionally manipulating tint.
It is manipulating because it's the premise and not the cast of characters that sells this movie or keeps it afloat. It is the story that truly drives the movie, not the interactions amongst everyone involved. There is no character development, there are no catharsis moments, and nothing changes except for the progress towards the ultimate goal of killing Bin Laden. It is indeed an entertaining and a thrilling ride, but one wonders just how much mainstream and critical investment would be placed in the movie if it had not been so soon since the actual event.
The plot is simple; a massive manhunt begins immediately after 9/11 for Bin Laden and the leaders of Al-Qaeda. The movie follows mostly the feisty and hardworking CIA officer Maya, as she scrambles, gambles, and fights her way through the government ranks into ensuring that the man behind the awful terrorist attacks gets his justice. Throughout the two-and-a-half hours we see major step after major step as well as setbacks delivered through misinformation, more attacks, and bad surprises. Written by Mark Boal, his script here is full of intensity, drama, and everlasting anxiety.
On a technical and mostly artistic standpoint, the movie fires and hits on all cylinders. The performances were amazing, the technical direction by Kathryn Bigelow was superb, and the cinematography is among the best from any movie in 2012. That being said, the entire movie is extremely one-sided to a point that it almost runs as American propaganda.
We know all about the whos and the whats and the wheres, but we never ever get a glimpse of the whys. In movies like The Kingdom and Three Kings we are presented with the motives, thoughts, and mannerisms of the Middle East enemy. But in Zero Dark Thirty it pulls a Hurt Locker and doesn't give us any insight whatsoever into the mind of the enemy of the Americans—they are faceless, nameless, and the audience is offered no chance whatsoever at sympathy. Which is borderline ironic because the movie itself offers minimal emotion, with the first hint of emotion coming from.a scene involving a suspect finally getting something to drink after nearly starving to death.
Zero Dark Thirty is a well-shot film with many curious decisions, ranging from the timing of the film (waiting a few more years could have given the third act more details), to the sheer bitter and cold mood of the entire production hampering it and preventing it from becoming a modern war classic. Much like The Hurt Locker, it lacks the heart required to add the necessary layer of substance and depth into the movie. Despite this, it is a very tense ride full of exhilarating performances and gritty realism that gives Zero Dark the edge over your average drama.