Tuesday, November 8, 2011

The Hurt Locker

  • Condition: New
  • Format: DVD
  • AC-3; Color; Dolby; Dubbed; DVD; NTSC; Subtitled; Widescreen
The official book tie-in to the critically acclaimed, original war thriller, directed by Kathryn Bigelow (K-19: The Widowmaker, Near Dark, Strange Days, Point Break) and written by Mark Boal (In the Valley of Elah), portraying the nerve-wracking missions of a military bomb squad in Baghdad.

One of the most highly touted war films in recent memory, The Hurt Locker is a riveting, extraordinary story of courage and survival on the Baghdad bomb squad, directed by Kathryn Bigelow, from a script by journalist and screenwriter Mark Boal, who researched the material by traveling to the war in Iraq, where he was embedded with a U.S. Army bomb squad in 2004. Boal’s screenplay, a fictional tale inspired by real events, follows the layered,! complex relationship between three soldiers who are thrown together in the crucible of combat, and stars Jeremy Renner, Anthony Mackie, Brian Geraghty, and Evangeline Lilly, with Guy Pearce, Ralph Fiennes, and David Morse.

In addition to the complete shooting script, this Newmarket Shooting Script® Book includes an exclusive introduction by Kathyrn Bigelow, a 16-page color photo section, production notes, storyboards, and complete cast and crew credits.
This digital document is an article from Commonweal, published by Commonweal Foundation on September 11, 2009. The length of the article is 1382 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available immediately after purchase. You can view it with any web browser.

Citation Details
Title: War as narcotic: 'The Hurt Locker'.(Screen)(Critical essay)
Author: Richard AllevaPublication: Commonweal (Magazine/! Journal)
Date: September 11, 2009
Publisher: Commonweal Foundation
Volume: 136 Issue: 15 Page: 24(2)

Article Type: Critical essay

Distributed by Gale, a part of Cengage LearningThis digital document is an article from CineAction, published by CineAction on June 22, 2010. The length of the article is 7483 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available immediately after purchase. You can view it with any web browser.

Citation Details
Title: Explosive structure: fragmenting the new modernist war narrative in The Hurt Locker.
Author: Douglas A. Cunningham
Publication: CineAction (Magazine/Journal)
Date: June 22, 2010
Publisher: CineAction
Issue: ! 81 Page: 2(9)

Distributed by Gale, a part of Cengage LearningThis digital document is an article from Sojourners Magazine, published by Sojourners on June 1, 2010. The length of the article is 497 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available immediately after purchase. You can view it with any web browser.

Citation Details
Title: Violence resistance.(ONFILM)(Shutter Island and The Hurt Locker )(Movie review)
Author: Gareth Higgins
Publication: Sojourners Magazine (Magazine/Journal)
Date: June 1, 2010
Publisher: Sojourners
Volume: 39 Issue: 6 Page: 39(1)

Article Type: Movie review

Distributed by Gale, a part of Cengage LearningThis digital document is an article from T! he Santa Fe New Mexican (Santa Fe, NM), published by The Santa! Fe New Mexican on July 29, 2009. The length of the article is 635 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available immediately after purchase. You can view it with any web browser.

Citation Details
Title: 'HURT LOCKER' PRODUCER LAUDS FILM CREW - AND N.M. INDUSTRY.(Main)
Author: Unavailable
Publication: The Santa Fe New Mexican (Santa Fe, NM) (Newspaper)
Date: July 29, 2009
Publisher: The Santa Fe New Mexican
Page: A-1

Distributed by Gale, a part of Cengage Learning
The Newmarket Shooting Script® Sets offer a value-priced opportunity for screenplay lovers to build their collection. Each book within the set includes a facsimile of the film’s actual shooting script, plus exclusive extras, such as introductions by or interviews with the f! ilmmakers, notes on the film’s production, selected movie stills, and complete cast and crew credits.

This set collects the Newmarket Shooting Script® books for the three most recent Best Picture Oscar® winners:

The King's Speech: 4 Academy Awards®, including Best Picture, Best Director, and Best Original Screenplay. Features introduction by screenwriter David Seidler on his own childhood stuttering and the long journey to get the film made, and full-color photo section.

The Hurt Locker: 6 Academy Awards®, including Best Picture, Best Director, and Best Original Screenplay. Features introduction by director Kathryn Bigelow, production notes, storyboards, and full-color photo section.

Slumdog Millionaire: Academy Award® winner for Best Picture and Best Adapted Screenplay. Features foreword by screenwriter Simon Beaufoy, introduction by and Q & A with director Danny Boyle, and full-color photo section.
War is a drug. Nobody knows! that be tter than Staff Sergeant James, head of an elite squad of soldiers tasked with disarming bombs in the heat of combat. To do this nerve-shredding job, it’s not enough to be the best: you have to thrive in a zone where the margin of error is zero, think as diabolically as a bomb-maker, and somehow survive with your body and soul intact. Powerfully realistic, action-packed, unrelenting and intense, The Hurt Locker has been hailed by critics as “an adrenaline-soaked tour de force” (A.O. Scott, The New York Times) and “one of the great war movies.” (Richard Corliss, Time)The making of honest action movies has become so rare that Kathryn Bigelow's magnificent The Hurt Locker was shown mostly in art cinemas rather than multiplexes. That's fine; the picture is a work of art. But it also delivers more kinetic excitement, more breath-bating suspense, more putting-you-right-there in the danger zone than all the brain-dead, visually incoherent wrecking derbies ho! gging mall screens. Partly it's a matter of subject. The movie focuses on an Explosive Ordnance Disposal team, the guys whose more or less daily job is to disarm the homemade bombs that have accounted for most U.S. casualties in Iraq. But even more, the film's extraordinary tension derives from the precision and intelligence of Bigelow's direction. She gets every sweaty detail and tactical nuance in the close-up confrontation of man and bomb, while keeping us alert to the volatile wraparound reality of an ineluctably foreign environment--hot streets and blank-walled buildings full of onlookers, some merely curious and some hostile, perhaps thumbing a cellphone that could become a trigger. This is exemplary moviemaking. You don't need CGI, just a human eye, and the imagination to realize that, say, the sight of dust and scale popped off a derelict car by an explosion half a block away delivers more shock value than a pixelated fireball.

The setting may be Iraq in 2004, bu! t it could just as well be Thermopylae; The Hurt Locker! is no " Iraq War movie." Bigelow and screenwriter Mark Boal--who did time as a journalist embed with an EOD unit--align themselves with neither supporters nor opponents of the U.S. involvement. There's no politics here. War is just the job the characters in the movie do. One in particular, the supremely resourceful staff sergeant played by Jeremy Renner, is addicted to the almost nonstop adrenaline rush and the opportunity to express his esoteric, life-on-the-edge genius. The hurt locker of the title is a box he keeps under his bunk, filled with bomb parts and other signatory memorabilia of "things that could have killed me." That none of it has killed him so far is no real consolation. In this movie, you never know who's going to go and when; even high-profile talent (we won't name names here) is no guarantee. But one thing can be guaranteed, and that is that almost every sequence in the movie becomes a riveting, often fiercely enigmatic set piece. This is Kathryn Bigelow's best fi! lm since 1987's Near Dark. It could also be the best film of 2009. --Richard T. Jameson

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