The Hurt Locker 4K 2008 Ultra HD 2160p

Story Movie

Members of an elite demining squad are sent to a city in Iraq, where almost every object poses a deadly danger. James is a bomb disposal expert who, despite the danger, treats bomb disposal like a game.

War is his real passion. It is because of this that his squad begins to have disagreements.

Review 4K Movie

Soviet and legacy Russian war films have imposed their own particular imprint on any work on this subject: usually it is a forcefully implanted propaganda of patriotism and an emphasized struggle against the enemy outside, with complex moral dilemmas crumbling before the desire to preserve life. This results in a mixed perception of other, foreign productions in particular, and especially of contemporary war films: either the film is bad because it does not provoke a surge of patriotism and a desire to fight, or it is good for the same reasons, because no one has ever cancelled the negative quality of war. Not surprisingly, some of the bewilderment over the Oscar-worthiness of Lord of the Storm has more to do with its semantic component than with its objective reasons. But in order.

Baghdad. Thirty-eight days before the end of the company shift, the new captain of the demining squad becomes freshly assigned Sergeant James, and in the process a real pain in the ass for Sergeant Sanborn. So much so, that not once does the man not once awaken a desire to somehow casually kill his formal superior. The main reason for this attitude toward James is his demonstrative disregard for his own life in particular and his detached indifference to other people's lives in general, this is still without taking into account big and small violations of orders and regulations. Under the leadership of a man of dubious adequacy, everyone's fear of not returning home only intensifies, exacerbating the desire to live and take everything from this life, except for James himself naturally...

The style of a pseudo-documentary or some sort of investigative journalism is easy to read. His choice is not accidental: here it is not a desire to make the viewer a participant of events, on the contrary, such a format immediately reduces the bar of possible pathos and is better suited for the description of a little-worded tense and maximally masculine, however specific with bombs and gunfights, but the everyday life of war. The more absurd is the individual scenes with the use of rhapsody, which is supposed to emphasize what? The value of every second of the sapper's work? The power of the explosion? The horror of war? Whatever it is, but the slow motion footage looming suddenly from around the corner definitely brings a sense of Spanish shame here. The same cannot be said for the sound and musical accompaniment. Sgt. James' rebellious spirit is emphasized by the ear-splitting rock in his room, and his death is accompanied either by the sounds of the world continuing to boil with turbulent life, or by the strings, which deliberately squeak and certainly don't add much heroism to such an event. A decent 126-minute running time should have contained everything, but one has a feeling that the editing of the footage was crooked: the heroes' intimate conversations suddenly appear, or is it the drunken brawls that bring them so close? One could have done without these revelations at the end of the film, which interrupt all the aloof near-documentary, given that the epigraph basically explains everything that's happening on the screen. The casting is particularly amusing through the lens of time: the characters Jeremy Runner and Anthony Mackie of the Marvel universe could really start their careers among the contract soldiers serving in Iraq - quite similar to the truth. Especially in view of the lack of special requirements for quality emotional acting in the frame: you can't even see his face behind the armored suit.

But the actors are not portrayed as superheroes in an unambiguously positive way either. This is not about complex moral and ethical dilemmas: there are no arguments about duty, the search for deep meanings, etc. The war is simply there as a fact. The enemies are those who want to kill them. It's a job and nothing more. If suddenly your relationship with your coworkers crosses the line into friendship, your ability to work may be adversely affected if one of them dies. Framing or risking their lives, even if you don't doubt your loyalty, shouldn't be allowed either. That's the job. The question of why each of them chose it once and stayed after the negative experience they gained can be answered differently by each of the characters, all on a strictly individual basis. For the audience, a version of Willem James is presented. He's a typical anti-hero: a specialist in his field with a slight degree of obsession with his own business and unstable moral principles. A couple or three more of these shifts and the hero will face the "Apocalypse of Today", but that's tomorrow, and for now - a new task, a new blood-stirring quest. All the more impressive are the moments when the bravura grin slides off his face, revealing a more sensitive gut, which most of all values other people's lives, and so the work is. In fact, it is only through it that he gives value to his own life along with meaning, once again setting out to defuse the bomb. A dubious advertisement for war.