Zero Dark Thirty 2012 123movies

Watch: Zero Dark Thirty 2012 123movies, Full Movie Online – Maya is a CIA operative whose first experience is in the interrogation of prisoners following the Al Qaeda attacks against the U.S. on the 11th September 2001. She is a reluctant participant in extreme duress applied to the detainees, but believes that the truth may only be obtained through such tactics. For several years, she is single-minded in her pursuit of leads to uncover the whereabouts of Al Qaeda’s leader, Osama Bin Laden. Finally, in 2011, it appears that her work will pay off, and a U.S. Navy SEAL team is sent to kill or capture Bin Laden. But only Maya is confident Bin Laden is where she says he is..
Plot: A chronicle of the decade-long hunt for al-Qaeda terrorist leader Osama bin Laden after the September 2001 attacks, and his death at the hands of the Navy S.E.A.L. Team 6 in May, 2011.
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Ratings:

	7.4/10 Votes: 301,052
	91% | RottenTomatoes
	95/100 | MetaCritic
	N/A Votes: 3905 Popularity: 27.724 | TMDB

Reviews:

Quite a flat movie. The story is interesting and also the fact that it shows how US has used tortures (which everybody but some US citizens already knew) but not much more than that.

It’s simultaneously a blessing and a curse that I often wind up seeing films post-theatrical release. Even though I don’t intentionally seek out spoilers (OK, I do, but I’m getting better about it), I do still read reviews of films. The best reviews convey two things: 1) what the author thought of the film in question, and 2) enough information to give the reader an informed opinion as to whether or not said reader will enjoy the film, regardless of the author’s response.

Those reviews, coupled with the near-unanimous praise the film has received from all quarters caused me to believe that I would fall in love with this film, becoming swept up in its high-tension, immaculately-crafted story of the hunt for, and eventual assassination of, master terrorist Osama bin Laden.

I was so very, very wrong.

It starts well enough: under a black screen, a restrained opening plays audio (I do not know if it was real or dramatized) of phone calls placed on September 11, 2001 as the terrorist attacks that brought down the World Trade Center and the Pentagon were occurring. The film then introduces us to Maya (Jessica Chastain), one of many CIA workers tasked with finding the man responsible for those terrorist attacks. We follow Maya over the next twelve years, seeing small glimpses of her as she grows from determined but unsure interrogator to a woman whose sole reason in life is the location and capture of Osama bin Laden.

The film was in production for a long time, and the ending had to be hastily rewritten to account for the real-life assault on the bin Laden compound, which resulted in his death. What a boon this became for the film (to say nothing of the country as a whole), as the thirty-minute compound assault that serves as the film’s final act is a breathtaking, tour-de-force whirlwind, following Seal Team Six into the dark den of the most notorious terrorist in American history and emerging victorious.

Unfortunately, the two hours preceding that astonishing climax is unforgivably dull, lacking almost completely in character development and good writing, and structured with the worst possible way in which to tell this epic and (potentially) fascinating story.

Chastain, one of the best actresses of her generation, vacillates between being utterly terrific (attempting to convince her superiors of her lead, her final scene) and sadly miscast. Chastain is an actress of uncommon grace and beauty, and trying to put her in the role of an embittered federal agent simply doesn’t work. The rest of the cast is serviceable, but the script (more on that in a moment) simply gives them nothing to do. At least the SEALs fare slightly better, with Joel Edgerton and Chris Pratt (from TV’s ‘Parks & Recreation’) crafting positive impressions from their slivers of dialogue.

Oh, that script. Written by journalist Mark Boal (Oscar-winning screenwriter of Bigelow’s ‘The Hurt Locker’), it is a cacophony of crap. The dialogue is inane (“Bin Laden is there. And you’re going to kill him for me.”), the characters are flat, lifeless, and uninteresting, and most unforgivably, it takes what should have been a massively satisfying story (the hard-won retribution visited upon the monster that killed 3,000 innocent Americans), and trivialized it to nothing than the personal investment of a single person spurred by the death of a couple of coworkers during the twelve-year-long search. I understand that the search for bin Laden was over a decade of boredom and legwork, punctuated only by intermittent threats (most of which felt cooked up specifically for the film, despite those setpieces paling to what I can only imagine the real scenarios must have been like). But Bigelow’s insistence on conveying that to the viewers by boring them to tears as well is not an effective recipe for drama.

In a way, it’s the inverse of Steven Spielberg’s ‘Saving Private Ryan’. ‘Ryan’ is a not a good film (the screenplay is utter dreck), but the skill, inventiveness, and sheer directorial talent on display in that phenomenal opening sequence catapult it to being on the greatest scenes in cinema history. Here, Bigelow stages her own version at the end of her film, and the results are equally gripping and visceral. On the basis of that one scene alone, Bigelow (much like Spielberg) deserved inclusion in the Academy’s nominees for Best Director. Outside of that, however, I find the critical acclaim of the film to be completely mystifying. The movie as a whole is rotten to its poorly-written core, a waste of money, and a diminishment of one of the best real-life stories of modern times. If you can, pop in for the last reel, but spend the other two hours watching something better.

Fantastic piece of work
I did not expect to enjoy this as much as I actually did. With its length, complicated nature and incredible detail Zero Dark Thirty was a fantastic piece of work. Jessica Chastain was brilliant in the convincing centre piece of the narrative. It was long, starting strong, losing credit towards the middle but the final hour was terrific. Right down to the raid which was full of suspense and drama. Like the raid itself, it was a precise and scintillating piece of cinema. In the end it felt worth it, I have little interest in the context of its accuracies of the actual events, nor its controversy. In the scheme of things I watched for entertainment, and it delivered. If you’re in the mood for something dramatic with a serious tone, watch Zero Dark Thirty.

Zero Dark Thirty chronicles the decade-long hunt for bin Laden with profound neutrality.
Darkness. A blank screen echoes the desperate screams and howls of innocent civilians telephoning their loved ones before the World Trade Centre crumbled over them. 2,977 fatalities. Over 25,000 injuries. “9/11”, at the hands of Islamic fundamentalist group al-Qaeda, became the “deadliest terrorist attack in human history”. The Bush administration swiftly launching the “War on Terror” to depose the Taliban, after the proposed extradition of leader Osama bin Laden floundered. Future terrorist attacks were imminent, with the CIA employing controversial systematic torture programs known as “enhanced interrogation techniques” to extract information from detainees in undisclosed black sites. Maya, a fictional CIA analyst tasked in locating bin Laden, soon becomes obsessed with potential lead Abu Ahmed that rapidly sends her down a monomaniacal path of danger, with growing pressure to save thousands of lives in the process.

Bigelow’s thrilling decade-long depiction of events, in what is claimed as the “greatest manhunt in history”, can only be described as uncompromising scintillating cinema at its most raw. The extremist behaviour of Islamic Group members have been widely reported, detailed and sensationalised by the media for countless years. “7/7” bombings in London. The Camp Chapman attack. The 2008 Mumbai attacks. All co-ordinated actions that drew widespread condemnation. However, dramatising these profound events to stir further hatred for extremist behaviour and imply celebratory national patriotism, are not functionalities for Boal’s succinct screenplay. Both Bigelow and Boal, whom collaborated on ‘The Hurt Locker’, utilise modern history to insight political critique upon the questionable actions of the Bush administration and malevolence of al-Qaeda.

A proliferate narrative neutrality that produced an unyielding barrier of risk, querying the legitimacy of bin Laden’s assassination and the gruelling process leading up to that pivotal raid. In the process, supplying sensitive philosophers and cowardly politicians with enough controversial ammunition to fire allegations from every direction. Supposed partisanship with the Obama administration, improper access to classified documents and pro-torture portrayal (more on that later…). These assertions are just that. Allegations. Because Zero Dark Thirty is a stark reminder of how ambivalent America’s contribution to this war was, and that undoubtedly irked “experts” and officials.

Putting aside the historical politics for one moment, the essence of Bigelow’s intellectual assertion comes in the form of Maya. A lone female operative shrouded in the masculinity of warfare. Her tenacity and tough-minded persona undeniably receives the most acute character development arcs ever written, acting as an independent pressured employee expending her entire career in chasing bin Laden and a conduit for the narrative’s neutrality. Her initial reserved attitude towards approved “enhanced interrogation” allows viewers to question the permissibility of such authoritative techniques. Then she becomes obsessed, gradually succumbing to the ferocity of her work. Weeks, months, years. A decade passes. The pressure breaking her meticulous persona down, utilising any and all methods in finding bin Laden. Yet Maya combats the systematic ideologies of the CIA consistently to grant her fictionalisation a required neutrality that issues humanity. Chastain’s exceptional performance is littered with nuanced emotive details that gingerly bestow a provocative rage. Commanding, intimidating and menial. Chastain fluctuates her power from quaint whispers to enraged shouts, yet never lets her guard down. Until the final scene. A scene that profoundly reflected the morality and ethicality of all the preceding events that happened over the decade-long manhunt. The first and only moment where Maya exerts emotional fragility. A cluster of overwhelming feelings. Relief. Disappointment. Melancholy. Maya is the representation of the entire Iraq war from an emotional standpoint, and her culminating frame of film is perfect.

Bigelow, alongside Fraser’s clinically bleak cinematography, explores the dark side of war. Bolstered by a commendable supporting cast whom exude professional urgency to the matter at hand. From the desolate anticipation of the Camp Chapman attack, to the night-vision filtered compound raid of Operation Neptune Spear. Zero Dark Thirty never dissipates its tension and technical astuteness, despite the chapter segregation that does regrettably disjoint the elongated runtime.

Now, the torture interrogations. Waterboarding in particular. Famously generating a mass amount of controversy for its propagandistic nature and pro-torture stance. Makes you wonder why it conjured so much attention in the first place. To add on Bigelow’s response, it is a part of history. It shouldn’t have been, but it was. Consequently these government approved techniques should not be ignored regardless if it lead to bin Laden’s location or not, and it absolutely does question the morality behind such actions. Maya’s inclusion complying with that thought-process entirely. It categorically does not normalise torture, nor does its involvement endorse such issues. It simply provides exposure, arguably creating a statement against torture by implying the antagonistic behaviours of CIA agents.

There’s a reason why Zero Dark Thirty was marred with controversy. There’s a reason why Zero Dark Thirty pursues a neutral narrative. It raises a fundamental question. “Was the death of bin Laden worth the price we paid?”. By showing the unspeakable, unflinching and the uncompromising, Bigelow audaciously challenges on an intellectual scale by using modern warfare as her weapon of choice. Producing a near-perfect film in the process.

Other Information:

Original Language en
Runtime 2 hr 37 min (157 min)
Budget 40000000
Revenue 132820716
Status Released
Rated R
Genre Drama, History, Thriller
Director Kathryn Bigelow
Writer Mark Boal
Actors Jessica Chastain, Joel Edgerton, Chris Pratt
Country United States
Awards Won 1 Oscar. 85 wins & 174 nominations total
Production Company N/A
Website N/A

Technical Information:

Sound Mix Dolby Digital, Datasat, SDDS, Dolby Atmos
Aspect Ratio 1.33 : 1 (one scene), 1.85 : 1
Camera Arri Alexa M, Cooke S4, Optica Elite and Angenieux HP Lenses, Arri Alexa Plus, Cooke S4, Optica Elite, Angenieux HP and Optimo Lenses
Laboratory Company 3, Los Angeles (CA), USA (digital intermediate), DeLuxe, Hollywood (CA), USA (prints)
Film Length 4,301 m (8 reels)
Negative Format Codex
Cinematographic Process ARRIRAW (2.8K) (source format), Digital Intermediate (2K) (master format)
Printed Film Format 35 mm (spherical) (Kodak Vision 2383), D-Cinema