Chris Hondros on "The Hurt Locker"
I’ve been waiting for a truly great movie about the Iraq War. I know it’s still going on, but I don’t think it’s impossible to ask: Casablanca came out right in the middle of World War II in 1942, and M*A*S*H, with its Korea-as-Vietnam theme, was released in 1970. I’ve thought a lot about this, since like many journalists who have frequented Iraq I’ve often been frustrated by the public’s misunderstandings about the place, and have thought for some time that a thoughtful, tone-perfect movie could help explain to a general audience what the experience of being in Iraq was (and is) like.
The Hurt Locker, recently released to positive reviews and much acclaim, seemed like it could have been that movie. But having seen it I don’t think The Hurt Locker will do for the Iraq War what, say, Apocalypse Now or Platoon did for our understanding of Vietnam. It might be the best Iraq movie out so far, but that’s not saying much. To me The Hurt Locker fell flat--partly because the soldiers behave in implausible ways throughout, but mostly because I don’t think it offers us a coherent plot or deep character development, the stuff all great movies are made of.
The Hurt Locker tells the story of an Army bomb-defusing trio based out of Camp Victory in Baghdad on the last month of their deployment. The team is (reluctantly) led by a reckless a staff sergeant explosives expert named William James (played with indisputable talent by Jeremy Renner). His support duo is a risk-averse sergeant named J.T. Sanborn (Anthony Mackie) and a young specialist, Owen Eldridge (Brian Geraghty).
The movie gets off to a good start--the opening scene is appropriately tense, and the superficial details about the Iraq environment look just right, more so than any Iraq movie previously. The Army uniforms and Iraqi style of dress, for instance, are perfect, and the Humvees look just like they did in 2004, when the movie is set. Camp Victory, Baghdad's largest base, looks in the movie just like it really does: a bleak gravel plain covered in soulless white barracks trailers. The physical look is fantastic.
But it isn’t long before the movie gets mired down in absurd and seemingly pointless misadventures.








