“The Hurt Locker” (2008)
To date “The Hurt Locker” remains Kathryn Bigelow’s most tautly directed film, fitting for a story about a Sergeant in a bomb squad. However, the prowess of her filmmaking is on display far past the moments of undisturbed tension as we always feel as if that bomb is going to go off, whether it’s on a mission or at home. There’s an unease to the entire picture that, despite a rather slow and steady pace and reliance on quieter moments, is just as stressful as your average thriller. Aided by a cast that includes Jeremy Renner in his official break out role (and the role he continues to try and live up to) and the always reliable Anthony Mackie, the film is arguably also the filmmakers most consistently great, from start to finish. Another film of Bigelow’s that studies the idea of individuals who can’t leave their past, or “mission” behind them, it capatalizes on the “lone wolf” mentality of its lead at odds with a squad that needs team comraderie in order to survive. For such a visually barren film it’s remarkably her most emotionally potent. – AJ
“Zero Dark Thirty” (2012)
Bigelow’s second collaboration with screenwriter Mark Boal struck a political and cultural chord like few other films ever have. Originally about the unsuccessful decade-long hunt for Osama bin Laden, Bigelow and Boal completely rebuilt the film from the ground up after the Al-Qaeda mastermind was killed in 2011. But that fact is only a blip on the radar of “Zero Dark Thirty,” a film about the sort of singular obsession necessary to track down the world’s most wanted man and the moral toll that takes on both society in general and the individual — in this case portrayed by a career-best Jessica Chastain. In addition to being so quietly emotional, it’s an unflinching, technically proficient film that’s expertly plotted and as tense of a movie as you are ever likely to see. All of this is not to mention the controversy it stirred up regarding torture and all the classified information that made it onto the screen. And while it’s only been a few years since it came out, it’s hard to imagine “Zero Dark Thirty” notwithstanding the test of time and serving as a vivid and disconcerting snapshot of America and her War On Terror. – GG
“Detroit” (2017)
You can read more expanded thoughts on Bigelow’s latest films, “Detroit” about the 1960s motor city riots centering on the racially-charged, true-to-life Algiers Motel incident, in our full-blown review. But it’s hard to argue with: “Detroit” might be one of her most ambitious, but flawed, recent works. During the riots, three black teenagers were killed and several more were injured, beaten and humiliated by a riot task force comprised of the Detroit Police Department, the Michigan State Police, and the Michigan Army National Guard. Featuring many up and comers as the black teenagers (Algee Smith, Jacob Latimore are huge stand outs), Will Poulter as one of the focus points of racist police rage and John Boyega as an African American security guard witnessing the entire incident, but hoping to lessen any bloodshed, “Detroit” is punishing and exacting. Like an on-the-ground, embedded documentary, Bigelow’s camera weaves through the streets like a war photographer capturing do or die history. The first two acts of the film are brutal and even stomach-churning; some of the best filmmaking she’s ever accomplished. But unfortunately, “Detroit” turns into a rather conventional courtroom drama and one that kills the movie’s kinetic momentum and sucks the air out of the room. It’s a shame that chasing down factual information winds up taking “Detroit” into a narrative cul de sac. You understand the impulse: you want to give these people their full due of the grave injustice and indignities carried out against them, but there’s no denying this last act handicaps Bigelow’s film. Still, on the flipside, no one makes a dynamic and traumatic docudrama quite like Kathryn Bigelow, so in the aggregate of films of 2017, you could do a hell of a lot worse. – RP
Honorable mention:
It’s only 10 films in 36 years, but a Kathryn Bigelow film is an event. However, thanks for her Oscar and prestige filmmaking clout, it appears that there won’t be any shortage of her cinematic presence anytime soon and for that we can rejoice. There’s not that much more to mention really, but if you want to be a completeist, she directed a handful of episodes of “Homicide: Life on the Street” in the late ‘90s, directed music videos for New Order and helmed some random TV pilots (“Wild Palms” and “Karen Sisco“)
Perhaps strangely enough. Bigelow directed, to little fanfare honestly, the pilot episode of HBO’s “The Miraculous Year.” And or the only episode. The first episode was supposed to be the entrée for a series, but wasn’t picked up. It’s listed as a TV movie, but there doesn’t seem to be any Google-proof that the pilot actually ever aired.
Perhaps her most significant contribution not given its full due here is “Last Days” her animated short film chronicling the connection between terrorism and the poaching of elephants in Africa; a project that was apparently dear to her heart and a labor of love. You can watch the short below.
Lastly, if only for shits and giggles (and not to undermine), you should watch this unintentionally hilarious music video Bigelow appeared in as a rough n’ tumble cowgirl directed by her then-husband James Cameron (starring Bill Paxton). Titled “Reach” by Martini Ranch, you need to watch this curio if only as an antidote to a dead-serious, no-nonsense and extremely driven career.
-Rodrigo Perez, Kyle Kohner, Gary Garrison, Joe Blessing Allyson Johnson, Joseph Coupe, Mike Beales, Eli Fine
