Kathryn Bigelow is one of Hollywood’s best talents. Never heard of her? Well surely one has seen her films as she’s done Point Break, Near Dark, and K-19: The Widowmaker. As far as female directors go, there’s something that separates Bigelow from the rest of the pack in that she can construct a good film. Yes, I know, the sex card comes out but truth is film is a male dominated world and there hasn’t been one female director to make a splash like Kathryn Bigelow. The woman just knows how to get the very best out of her films and in some cases can elevate the material she’s given to make it work. After a seven year absence Bigelow returns with The Hurt Locker, a film where there’s not enough good words in the English Dictionary to praise such a wonderful, great, and incredible piece of filmmaking it is.

Much is made of the film’s setting during the Iraqi war and while some may wish the political side of this was dipped into a little bit more, Bigelow and screenwriter Mark Boal are smart to keep the focus on the characters and story at hand. Where films like The Kingdom would try to make political statements over defining it’s characters, The Hurt Locker is too concerned with letting us get to know Sgt. William James (Jeremy Renner) Sgt. JT Sanborn (Anthony Mackie), and Specialist Owen Eldridge (Brian Geraghty). Their dynamic works in that each represents a face of war with James being the hot-headed, war junkie, Sanborn represents the most level-headed of the group, and Eldridge is someone who really shouldn’t be there to begin with. The film doesn’t tell us any of it though as Bigelow expects us to watch the characters actions rather than have a five minute dialogue scene on their feelings.

There’s no face villain in The Hurt Locker as it’s antagonist comes from an unlikely place. The movie takes a Taxi Driver mentality and presents it’s lead as it’s adversary. That’s really high praise, but that’s the first film that came to mind when . Sgt. James is off in his own world, operating on his terms. One may ignorantly argue that he’s essentially a rogue cop, and while that mentality does apply, the film shows a scene where a higher officer (David Morse) praises James for his efforts rather chew him out. Bigelow takes the time to make you get invested in James before showing what a crazy son of a bitch he truly is. Renner though, is flawless and will be made a leading man after this film. He’s utterly believable as a man who craves war and only has a passion for it. There’s a scene towards the end of the film where Renner perfectly delivers his final lines that sends a chill down one’s spine. They also paint him as a racist, evidenced when James pins Sanborn down and sticks a knife to his throat. No lines are shared to give an indication, just the actions of Renner.

If there’s a “hero” in here, a Johnny Utah if you will, it is Anthony Mackie’s Sanborn. This character could have easily gone the way of the tired “I hate you but will eventually respect you” stereotype but Mackie elevates him past that. He’s the character the audience attaches themselves to and sees things through his eyes. Should he “accidentally” kill James? Maybe, and Mackie’s ice cold delivery tricks the audience into thinking he might. While the film allows these two opposites to attract, it never fully establishes whether or not they “respect” each other by the end. Mackie seems to play him towards no, even when both James and Sanborn discuss what happens in the heat of war. Mackie’s never overdoing it or coming off weak, but just as a man who’s had enough. He needs to be just as great as Renner, and thankfully for the human race he’s perfect.

Balancing both Sanborn and James out is Eldridge, who represents the young minds who shouldn’t be in war. Bigelow shows him playing Gears of War flawlessly only to show how unstable Eldridge is two minutes later. In combat, real combat, the specialist isn’t so special as he’s nervous and jittery on missions. Eldridge is even paired with a colonel (played expertly by Christian Camargo) to evaluate his status. He finds some form of solace in the colonel, but even then he never feels right at home in Iraq. Geraghty dazzles to create a perfectly unstable character. He knows Owen doesn’t belong and gives him every reason to not be there. When he tells James “Fuck you,” there’s real conviction behind it that Geraghty doesn’t fumble.

Bigelow’s direction reigns supreme as she again proves she can do action better than most anyone working today. Pretty much, she just ran down the line and slapped the taste out of most directors touting their big action sequences for the summer. The Hurt Locker establishes itself with its opening sequence and never looks back. It’s an explosive opening, and gives off the impression things are going to go tits up at every turn. Alas they don’t as Bigelow performs like a magician, creating the illusion they will. Anytime James walks to disarm a bomb one is on the edge of their seat, gasping for air. The action doesn’t need a building to blow up or have fifty guys be mowed down by gunfire. Instead, the viewers are treated to action that relies on James disarming a bomb and making its audience wondering if he’s going to die.

Yet that isn’t where Bigelow takes folks like Michael Bay or Len Wiseman out behind the woodshed. This can all be summed up by two words: sniper battle. In one of the film’s best sequences, our trio and a group of mercenaries led by Ralph Fiennes are holed up in a trench as a terrorist sniper picks them off. There’s one, possibly two shots from the enemy point of view while the rest of the time one is anticipating the final blow. Nothing blows up and there’s no close-ups of any of the deaths. When the final blow does indeed come, Bigelow chooses to show a bullet shell bouncing off the sand in slow motion, much more effective than showing a dismembered body. Even after the bullets are done flying and Capri Sun comes into the picture, we linger in just a little longer to see Eldridge get his moment to shine. Like the rest of the film, one is biting their nails and shaking with a mix of tension and that feeling of awesome. They should, as it’s most likely the best action sequence of this year and last year.

Mark Boal’s script never makes us forget about the men in the middle of the mayhem however. As mentioned before, The Hurt Locker is too concerned with putting it’s story and characters first to add in any political mumbo jumbo that plagues every other Iraqi war film. One could place this story in any other war and you’d still come away with the same result. Iraq is just a background and Boal understands this, as does Bigelow. She shoots the picture very aggressively, being subtle with when and where the shaky cam is placed. She also knows where it doesn’t belong and perfectly frames her shots, particularly a scene with James at the end of the film. Bottom line, if a female is going to win the Best Director Oscar, now’s a perfect time.

The Hurt Locker is simply a product of what happens when all the great elements of filmmaking come together. It’s the closest thing to a perfect film we’ll likely get and absolutely lives up and surpasses all the praise it’s been getting. Kathryn Bigelow marks her return and let’s hope she’s back to stay. She’s helped by Boal’s tight script and some spectacular performances by it’s leads. Bigelow anchors the ship to make it rise head and shoulders above everything else that’s come out, or likely, will come out. The film is just pure greatness from the opening frame to its last, which right now makes it one of, if not the best film of the year.

Rating: ★★★★★