The Hurt Locker

Finally, a proper movie about a bomb squad. Excellently filmed. The opening scene with the robot is flawless. Kathryn Bigelow creates an incredibly exciting atmosphere, and every “disposal" has an ace up its sleeve. I liked Renner in S.W.A.T., and it's a good thing he's sticking to these badass roles. Ralph Fiennes and a small cameo by Evangeline Lilly is also delightful. If there were fewer scenes, I wouldn't hesitate to give it five stars. (21/04/2009)

I love Kathryn Bigelow's films, but The Hurt Locker disappointed me. The main character bothered me terribly (I just don't like these pompous supermen very much), but otherwise I had almost no reservations. The cinematography, the direction, the constant tension in the air, the final idea... Basically, the unknown actors (to me) act well, but it still wouldn't have hurt to have familiar names (!!!Ralph Fiennes!!!) warm up on screen for more than five minutes. Best scenes: A “long-distance" shootout in the desert, a bomb in a child, a shower, the end. Three and a bit. (14/04/2010)

Quite intimate and unfortunately often also quite uninspiring. It has some truly revolutionary elements and some already seen a hundred times over. In the end, it’s average. A big plus is the fact that Bigelow doesn't lean towards any side. she works as an observer and doesn't add or subtract anywhere, and that’s not very easy – none of the great war movies I can think are 50-50. The sound design is excellent, and will surely be appreciated by connoisseurs and home cinema owners. The sniper exhibition and explosions are especially outstanding. The psychology is average, I expected more. Considering that the competitor was a pleasant, although relatively conceptually stale Avatar, I quite understand the Oscars. (04/04/2010)

Let’s make a war movie based on Kathryn Bigelow: We’ll create a setting for a scene and flesh out the location to the last detail. We'll spend the rest of the day explaining to eighty extras what they're supposed to be doing in that location and that they're not supposed to notice the strange people with cameras running around. At the end, we'll put the lead actors on the first marker and explain which way to go and what to do. If a cameraman brings a stabilizer or, heaven forbid, a tripod on set, he'll have 10% of his salary docked. Repeat seven times and we have a feature film. The Hurt Locker could have been perfect if it hadn't stumbled on two things. On a second viewing, we already know that all of the film's visual attributes have been exhausted in the first scene, and from there on the film repeats an established routine. Secondly, despite all sincere efforts, the catharsis comes only in individual scenes through their denouement, but there is no way left to clean up the corners of the whole construct. I wouldn't want to be Cameron coming home from the studio where he's spending his third summer and being told by his old lady: "Tea, where have you been? I put the Oscar on the fireplace, if you don't mind. I'll tell you, that year in Jordan, when we were filming that Hurt Locker, it was hell. I caught dysentery from falafel six times. Yeah, and I went shopping today and I forgot which cornflakes you like. So I grabbed the ones closest to hand. Can you believe they had a whole rack of fucking cornflakes...?" (05/03/2010)

I have a problem with this film. It derives all of its atmosphere and suspense from the banal fact that a bomb might (or might not) go off at any time. Its characters are uninteresting, the dialogue is horrible and the dramaturgical framework almost non-existent (it’s just a series of situations that the characters facing death have to survive). On the other hand, these very flaws make it all the more realistic and valuable as a testimony from the given places. Maybe all this movie needed was to decide whether it wanted to be an exciting thriller or an interesting docudrama. (20/12/2009)