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- ZERO DARK THIRTY JESSICA CHASTAIN MOVIE
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Zero Dark Thirty, for all its many charms and flourishes of enrapt filmmaking, is so wrapped up in the fine points of its historical subject matter that it overrides a basic consideration of its characters.
ZERO DARK THIRTY JESSICA CHASTAIN MOVIE
Where Bigelow and screenwriter Mark Boal fall down is in turning what’s a naturally compelling story into what’s basically a procedural with all the depth and character of an episode of “Law & Order.” The torture scenes, interpreted as either pro- or anti- depending on your personal political filter, are presented largely without comment: A group of CIA staffers pause to listen to a first-term Barack Obama comment on TV on how the United States will not condone torture before resuming their work, but this is as far as the movie goes in terms of delving beneath the surface of a complex issue.
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Its triumphant final set piece, the raid by Seal Team Six, is nearly a full half-hour of green night vision-shaded intensity that’s every bit as off-putting as the blackness that opens the movie and repeats as the team lurks, horror-movie style, through the dark hallways of bin Laden’s hideaway. With its teeth-chattering resonances and the immediacy of modern American life, Zero Dark Thirty has an undeniable way of passing its sense of disquiet on to the audience. Much of this tension falls to the work of Bigelow, an accomplished action director who seems to have found her niche in the anxiety of 21st century military angst.
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Even knowing the outcome, the hunt for bin Laden becomes a strain, an uncomfortable itch that lingers long after it’s been scratched. By the time Seal Team Six descends on a Pakistani compound (in what one character terms a “soft 60 percent” chance of finding bin Laden), the inevitable is a relief for all involved. This is the business of spycraft, and it’s punctuated by the occasional explosion and gunfire, but predicated on the tedious work of rooting out information and following one hint to the next. Emails are checked, phone records are kept, thousands of photos, pieces of film, and paper trails are scrutinized and dissected. For the viewer, getting bin Laden is a question of when for Maya and her team, it’s a frustrating, obsessive if. With the weight of recent history behind it and – spoiler ahead for the world in which you live – the knowledge that Maya and her team of analysts are eventually successful in finding and killing bin Laden, Zero Dark Thirty is propelled by equal parts frustration and anticipation.
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This is not the first of Maya’s compromises in what becomes an obsessive, frustrating manhunt it’s just the first in a long series of wrong turns and dead ends in what turns out to be a decade-long chase after the al Qaeda mastermind. Maya is visibly disturbed at what she’s witnessing, but she stands by in mute witness anyway. No character is more discomfited than Maya ( The Help’s Jessica Chastain), a fresh-faced CIA agent whose first foray into the endless maze of hunting Osama bin Laden is witnessing the prolonged and graphic torture of a captured insurgent in an undisclosed CIA facility in Pakistan. Like the modern tragedies it portrays, Zero Dark Thirty, based on “first-hand accounts” of the pursuit and death of Osama bin Laden, is filled with the disquiet and discombobulation of a world gone desperately wrong and the people tasked with putting it back together again. There isn’t a single element of the film that isn’t about being jarred out of the normal, that isn’t about trying to fit pieces back together into something that isn’t quite whole. 11 – Zero Dark Thirty, director Kathryn Bigelow’s follow-up to The Hurt Locker, declares itself as a movie that’s all about discomfort. From its opening frames – a black screen overlaid with dispatcher chatter and other audio from Sept.