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The Hurt Locker (2008)

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During the Iraq War, a Sergeant recently assigned to an army bomb squad is put at odds with his squad mates due to his maverick way of handling his work.


Kathryn Bigelow


Mark Boal
1,087 ( 155)
Won 6 Oscars. Another 119 wins & 129 nominations. See more awards »



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Cast overview, first billed only:
Jeremy Renner ... Staff Sergeant William James
Anthony Mackie ... Sergeant JT Sanborn
Brian Geraghty ... Specialist Owen Eldridge
Guy Pearce ... Sergeant Matt Thompson
Ralph Fiennes ... Contractor Team Leader
David Morse ... Colonel Reed
Evangeline Lilly ... Connie James
Christian Camargo ... Colonel John Cambridge
Suhail Dabbach ... Black Suit Man (as Suhail Al-Dabbach)
Christopher Sayegh Christopher Sayegh ... Beckham
Nabil Koni Nabil Koni ... Professor Nabil
Sam Spruell ... Contractor Charlie
Sam Redford Sam Redford ... Contractor Jimmy
Feisal Sadoun Feisal Sadoun ... Contractor Feisal
Barrie Rice Barrie Rice ... Contractor Chris


An intense portrayal of elite soldiers who have one of the most dangerous jobs in the world: disarming bombs in the heat of combat. When a new sergeant, James, takes over a highly trained bomb disposal team amidst violent conflict, he surprises his two subordinates, Sanborn and Eldridge, by recklessly plunging them into a deadly game of urban combat, behaving as if he's indifferent to death. As the men struggle to control their wild new leader, the city explodes into chaos, and James' true character reveals itself in a way that will change each man forever. Written by BWR Public Relations

Plot Summary | Plot Synopsis


You'll know when you're in it. See more »


Drama | Thriller | War

Motion Picture Rating (MPAA)

Rated R for war violence and language | See all certifications »

Parents Guide:

View content advisory »





English | Arabic

Release Date:

31 July 2009 (USA) See more »

Also Known As:

The Hurt Locker See more »

Filming Locations:

British Columbia, Canada See more »


Box Office


$15,000,000 (estimated)

Opening Weekend USA:

$145,352, 28 June 2009

Gross USA:


Cumulative Worldwide Gross:

See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs


Sound Mix:

Dolby Digital



Aspect Ratio:

1.85 : 1
See full technical specs »

Did You Know?


Director Kathryn Bigelow had the rare luxury of final cut on the film. See more »


When James initially hands Sanborn the Barrett M107 magazine, before Eldridge cleans it off, the rounds in the magazine have no bullets. In the next shot, when Sanborn receives the magazine, the rounds have bullets in them. See more »


Guard at Liberty Gate: [after catching James coming back into the camp after having snuck out] What the fuck are you doing?
Staff Sergeant William James: I was in a whorehouse.
Guard at Liberty Gate: All right. If I let you in, will you tell me where it is exactly?
See more »

Crazy Credits

There are no opening credits, not even a title. See more »


Referenced in Modern Family: Family Portrait (2010) See more »


Written by Al Jourgensen (as Jourgensen) / Tommy Victor (as Victor) / Ministry
Performed by Ministry
Courtesy of 13th Planet Records, Inc.
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Frequently Asked Questions

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User Reviews

"The rush of battle is often a potent and lethal addiction, for war is a drug.""--Chris Hedges.
17 July 2009 | by Chris KnippSee all my reviews

Already celebrated for its breathtaking realism in depicting soldiers and explosions, The Hurt Locker is being called "the best Iraq war movie," with the qualification that the genre has been weak and the public response weaker. This is Kathryn Bigelow all right: macho men in dazzling exploits, exhilarating and always a little terrifying to watch, with adrenalin and testosterone spurting off the screen. If war is a drug, this movie could give you a contact high. Bigelow was obviously born to make a war movie. The only question is why she took this long to do so. Writer Mark Boal led her into it. He embedded with a bomb squad in Iraq, and came back with remarkable stories and a character to hold them together. He's Staff Sergeant William James, who's what in the genteel days of The English Patient was more commonly called a "sapper," a combat engineer who specializes in demolitions, minefields, and the like. Bigelow wisely chose Jeremy Renner, an unknown and unglamorous actor, for this pleasingly enigmatic role of a man who may be closer to bombs and timers than to his own comrades.

The Hurt Locker (soldier slang for a real bad place) gives you immediacy and vérité soldier life, with the shaky digital camera and in-and-out zooms of the genre (the action is so good, we soon forget them, while in Brian De Palms's crude 2007 Redacted, they grate all through). Such authenticity is achieved in Brit documentary filmmaker Nick Broomfield's more political, excellent, little seen, low-budget 2005 drama The Battle for Haditha. It may not make his film unbiased, but Broomfield most notably gives more detail of the Iraqi P.O.V. -- using real Iraqis -- while Bigelow sticks to showing Iraqis as the American soldiers experience them -- an experience that turns out to be insane, paranoia-inducing, and scary. (In both movies one of the few friendly forms of contact is buying and selling pirated DVD's, the US soldiers buying, the Iraqis selling, and in both this contact becomes a key plot element.) Obviously Bigelow also had a much bigger budget, the better to provide a wealth of spectacular explosions, essential (or justified anyway) since this is about a small team of three men whose main (but by no means only) job is to find and defuse improvised explosive devices (IED's), the DIY but sometimes highly ingenious signature weapons of the Iraqi insurgency. There is also a horrifying body bomb; a complicated and lethal car bomb in front of a UN building; a suicide bomber who has a change of heart (as in Hany Abu-Assad's 2005 Paradise Now); and a hairy firefight with snipers (and a somewhat obtrusive cameo by Ralph Fiennes) out in the desert. Besides which the adrenalin-numbed Sergeant James independently gets himself and his two squad members, Sergeant JT Sanborn (Anthony Mackie) and and Specialist Owen Eldridge (Brian Geraghty), into various private and probably unnecessary severe crap storms. All of this is staged with stunning accomplishment and a strong focus on character and the interactions, intense even when alienated, of these three men.

The movie takes no political stand, other than Hedges' "war is a drug." This is like the point of view of Andrew Swoford used for Sam Mendes' 2005 Jarhead, which, however unsuccessful in some aspects and poorly received, conveys that soldiers don't question war because they're too busy doing dangerous jobs, or waiting and hoping to do them, and trying to stay alive till, God willing, their tour ends.

The Hurt Locker is episodic and cyclical. It ends where it begins, with the protagonist joining a new team of strangers for another tour. Thanks to Boal's writing, Bigelow's fine directing, and an excellent cast, the episodes never seem routine or repetitive. But if you emerge with a sense of numbing danger and pointlessness that may not be inappropriate. The only structure is the routine one of datelines saying how many days are left in Bravo company's tour. But this is a figure that, as Kimberly Peirce's Stop-Loss depicts, is often set back to start again.

The opening sequence, where James's predecessor is killed, leaving Eldridge and Sanborn in need of a new leader, is pretty obvious. It's so carefully set up you know what will happen. It's still excruciatingly tense, a textbook street IED diffusion job that conveys how terrified the two backup guys are and sets up what's to come. This is a team, with all three in radio contact and each with his function, Eldridge the lookout in charge of Sanborn, who's the guard. The street is surrounded with buildings and people and deep in unknowns. When James arrives shortly after his predecessor's body has been shipped home, he does a similar job, but it's all different.

First we don't feel the danger except by remembering the first sequence, because James is so immune to it. Sanborn and Eldridge are freaking out because James doesn't stay in touch with him when he's suited up dealing with the device. They feel lost. We realize that the three before were a great team and we sense the rage and abandonment of his bereaved mates. There's immediate intense conflict between Eldridge, an elegant, chiseled black man with extensive Intelligence experience, and the puffy-cheeked James whom Eldridge calls "redneck trailer trash" straight off to his face. These telegraphed macho conflicts, essential Bigelow, work because the jobs being done are all so convincingly and intensely depicted.

This is a great movie but it leaves you empty. The director is so caught up in what she's doing that it's infectious, but the compelling intensity also represents a loss of perspective. Still, if there is any non-documentary Iraq war movie that's a must-see, this has got to be it, and it's by far the best thing the uneven but gifted Kathryn Bigelow has ever done. It's a game-changer, the new American war movie to beat.

(This is a cut version of a 1,600-word review.)

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