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.
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>
In the Kuwait Lamborghini showroom scene, Dan asks if one of the cars is a Balboni. Gallardo LP 550-2 Valentino Balboni, a limited-production named after a test driver, is the car with the stripe along its centerline. See more »
A sign board with Shimla (hill station in India), Panchkula (near Chandigarh,India) can be seen during the secret stalking of Abu Ahmed's white SUV by the CIA. See more »
"Zero Dark Thirty" is a grim, clinical depiction of the CIA search for Osama bin Laden. Its strongest feature is its dramatization of the Navy Seal Team 6 operation in Abbottabad, Pakistan, that killed bin Laden. That sequence is so professionally shot it could be actual documentary footage.
"Zero" has no real plot. Episodic scenes occur in a choppy manner, one after the other. Scenes consist of depictions of beating and water boarding of detainees in order to gather information, agents stalking a suspect in Pakistan's crowded, chaotic bazaars, terrorist bombings, assassinations and assassination attempts. There are also scenes in offices where characters stare intently at computer screens or interrogation videos, and characters yell at each other and use obscenities, as their frustrating hunt for Osama bin Laden wears them down.
"Zero" makes no attempt to draw the viewer in with any human sentiment. Characters are given no backstory and no character arch. CIA agent Maya, played by Jessica Chastain, is the closest the film has to a main character. She reveals no affect. Her face is blank. She isn't so much robotic as inert. We know nothing about her, except that she was recruited to the CIA while in high school we are never told what would draw the CIA to a high school student. I didn't care about this character at all. All I kept thinking was, "Jessica Chastain is being praised for *this* performance? Why?" The dullness of her performance, and the underwritten character, made it almost impossible for me to lose myself in the story, such as it was.
Jason Clarke is very strong and charismatic as Dan, a CIA interrogator. Dan humiliates, beats, and water boards suspects, and then feeds them delicious meals of hummus and olives when they deliver. His depiction of his work as just another job he could be playing a bus driver with the same amount and degree of expressiveness is provocative. I wish I had gone to see a film built around his character and his performance.
Overall, I was disappointed in the film. Feature films are an art form. I want them to do to me what drama can do. I want to be made to identify with a character and I want, through that identification, to learn more about life, or I want to be entertained. "Zero" did neither for me. I wasn't entertained, and my understanding and worldview were not expanded. I think the same material could have been better treated in a documentary with selective re-enactments.
"Zero Dark Thirty" sidesteps key questions. Maya sacrificed years of her life to the hunt for Osama bin Laden. Dan risks his humanity by making his living beating and humiliating other men. Men, women and children throughout the Muslim world, and, as the film makes clear, in America's and Europe's cities, are eager to blow themselves up, as long as they can take some infidels with them. Why? The film doesn't even acknowledge that there are people out there asking the question, never mind attempting to suggest an answer.
The film opens with audio from the September 11, 2001 terror attacks, suggesting that the war between Islam and the non-Muslim world dates from that attack. Not so. Islam increased its territory through jihad from its invention in the seventh century until September 11, 1683, at the Battle of Vienna. After that defeat, Islam stopped its spread. The significance of the date of September 11 goes back over four centuries.
America's founding fathers had to deal with jihad; see Thomas Jefferson and the Barbary Pirates. Some argue terrorism, including the 9-11 attack, is caused by Western imperialism. The solution to these thinkers is for the Western world to be nicer to non-Western nations, to practice multiculturalism and to share the wealth. Others argue that jihad is inextricable from Islam, and that one necessary step is for the West to recognize and cherish its own unique virtues to cherish that for which its spies, soldiers, and citizens fight, sacrifice, kill and die.
"Zero Dark Thirty" never so much as brushes up against these questions. At its key moment, the film is hollow. We all know how the hunt ends we all know Osama bin Laden is dead. "Zero" might have addressed why Maya gave the time of her life to that hunt, why Dan risked his humanity, why Seal Team 6 trained for years and risked their lives. "Zero" never does consider why these, who might have been the film's heroes, did what they did, and I walked out of the theater oddly unmoved by all the high tension and graphic violence I'd just sat through.
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