[quote=”Joseph Jon Lanthier (highlights mine)”]Much like Fritz Lang’s M, Kathryn Bigelow’s Zero Dark Thirty begins with violent death that’s aurally suggested rather than seen, and concludes with a woman’s ambiguously symbolic tears. These disorienting overloads of affect bookend a deceptively rational police-procedural thriller, cataloguing the steps taken by a steely CIA operative (Jessica Chastain) to hunt down Osama bin Laden through a political decade defined by torture and mishap. Hyperkinetic drama trumps context throughout; discussion of Operation Cyclone and even Islam is riskily absent, as though Bigelow were writing history with lightning. The code-named characters meanwhile behave like they’re auditioning for HBO; Chastain’s self-proclaimed “motherfucker” of an agent, who scrawls angry notes on her male superior’s office window (a.k.a. “the glass ceiling”), has an anemically sketched inner life. Yet all of these vernacular tropes form a shrewd, daring rouse. In a move worthy not only of Lang but of Brecht, Bigelow has politicized her pop aesthetics. Her compulsively watchable film brings a global exchange of unthinkable pain down to earth while still retaining the essence of its ineffability. Zero Dark Thirty is ultimately about unknowable cost—not only the cost of keeping a worldwide hegemony afloat with grisly violence, but the cost of maintaining a worldwide entertainment industry with facsimiles of the same.[/quote]
So [i]Zero Dark Thirty[/i] (that’s the same [i]Zero Dark Thirty[/i] that [url=http://nymag.com/movies/reviews/zero-dark-thirty-hobbit-2012-12/]David Edelstein[/url] describes as “borderline fascistic”) is the [i]Starship Troopers[/i] of its generation, and only JJ Lanthier here with his cromulent prose and incoherent metaphors can tell! Who knew? And if you were one of the millions of people who made the connection between [i]Zero Dark Thirty[/i] and German Expressionism – and how could you not? – JJ has you covered there, too. He knows a lot about cinema, you see.
Oh, Slant. It’s this kind of nose-upturned, art-school-socialist pedantry you just can’t fake; and yet, it’s the kind of smug, rigorously pretentious provocation that makes you (occasionally) worth reading.