Acting under the cover of a Hollywood producer scouting a location for a science fiction film, a CIA agent launches a dangerous operation to rescue six Americans in Tehran during the U.S. hostage crisis in Iran in 1980.
Marcus Luttrell and his team set out on a mission to capture or kill notorious Taliban leader Ahmad Shah, in late June 2005. Marcus and his team are left to fight for their lives in one of the most valiant efforts of modern warfare.
Navy S.E.A.L. sniper Chris Kyle's pinpoint accuracy saves countless lives on the battlefield and turns him into a legend. Back home to his wife and kids after four tours of duty, however, Chris finds that it is the war he can't leave behind.
Faced with both her hot-tempered father's fading health and melting ice-caps that flood her ramshackle bayou community and unleash ancient aurochs, six-year-old Hushpuppy must learn the ways of courage and love.
Maya is a CIA operative whose first experience is in the interrogation of prisoners following the Al Qaeda attacks against the U.S. on the 11th September 2001. She is a reluctant participant in extreme duress applied to the detainees, but believes that the truth may only be obtained through such tactics. For several years, she is single-minded in her pursuit of leads to uncover the whereabouts of Al Qaeda's leader, Osama Bin Laden. Finally, in 2011, it appears that her work will pay off, and a U.S. Navy SEAL team is sent to kill or capture Bin Laden. But only Maya is confident Bin Laden is where she says he is. Written by
Jim Beaver <firstname.lastname@example.org>
Jessica Chastain took all the photos from the suspects everyday after work and watched them on her wall, because she thought that was what Maya would do. See more »
When the CIA agent asks help from his Kuwaiti asset in Kuwait city, the setting is in a bar, with girls dancing and drinks in hand. Alcohol is still strictly forbidden and there are no bars or dance clubs in Kuwait. See more »
The filmmakers wish to especially acknowledge the sacrifice of those men, women, and families who were most impacted by the events depicted in this film: the victims and the families of the 9/11 attacks; as well as the attacks in the United Kingdom; the Marriott Hotel in Islamabad, Pakistan; in Khobar, Saudi Arabia; and at the Camp Chapman Forward Operating Base in Afghanistan. We also wish to acknowledge and honor the many extraordinary military and intelligence professionals and first responders who have made the ultimate sacrifice. See more »
An epic-length film chronicling the complex, confusing, and sheer frustrating decade-long hunt for terrorist mastermind Osama bin Laden, ZERO DARK THIRTY is directed Kathryn Bigelow's follow up to the masterful THE HURT LOCKER. Unfortunately this turns out to be a middling production that's just not in the same league as its predecessor.
The nature of the problem seems to lie in the script, which struggles to make a decent storyline out of lots of chaotic and seemingly disconnected events. The nature of the hunt is a long and ultra-slow one, and it doesn't help that the viewer has no characters to connect with. Jessica Chastain won all the plaudits for her role in the lead as the woman who simply refuses to give up the hunt for what might well be a bogeyman, but her acting consists of blank-faced staring for much of the running time and I didn't warm to her at all.
What ZERO DARK THIRTY becomes is a string of loosely-connected set-pieces, some of which are fantastic, others less so. The torture stuff seems rather interminable and too heavy-handed in its efforts to make a political point; on the other hand, the scenes with Jennifer Ehle are handled very well. The movie as a whole is technically proficient but it lacks bite and heart; there's no suspense or excitement here, even at the climax, which should be palm-sweatingly tense. The male characters are reduced to macho posturing (Chris Pratt, Joel Edgerton, Jason Clarke, Mark Strong) and Bigelow seems to focus more on providing distracting cameos (Scott Adkins, Edgar Ramirez, James Gandolfini, Stephen Dillane, John Barrowman) than making a truly remarkable film.
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