Zero Dark Thirty (2012)

Bigelow’s rapid response is a taut and morally ambiguous procedural for the ages, case-hardened and unsentimental like The Hurt Locker. The clear-eyed photography stands out as a statement of unblinking facts, though the finale shifts into more conventional action territory.

The critic praises the film as forthright and above-board, effectively questioning the efficacy of Bush-era prisoner abuse without soapboxing. The unblinking depictions of torture and the ideological inkblot quality are singled out.

A gritty, unbelievably tense procedural and instant classic that puts viewers thrillingly inside history with journalistic detail and lean, mean storytelling. The realistic, white-knuckle raid sequence and detached reporter-like approach to the characters' motivations are singled out for praise.

Bigelow delivers a riveting dramatisation that makes the manhunt deeply personal through Chastain's driven CIA analyst. The raid sequence is a tour de force of editing and tension that grips despite the known outcome.

The critic calls it a phenomenally gripping unholy masterwork and borderline fascistic as a moral statement but praises its neutral-seeming style and Chastain's riveting performance. The opening black screen with 9/11 audio is singled out as a masterstroke.

The film is gripping throughout with an impressive central performance from Jessica Chastain. It stands out for its measured, journalistic portrayal of the grinding routine of intelligence work leading to the raid.

Zero Dark Thirty is terrifically good, propulsive film-making with superb use of authentic locations and an unmissable performance from Jessica Chastain as the obsessed CIA agent. The final raid sequence is singled out as a masterclass in action filmmaking.

The hunt for Bin Laden is catalogued in forensic detail in this wordy but well-paced thriller, with Bigelow skilfully creating a cohesive narrative from complex material. Chastain’s driven CIA operative provides a strong human centre amid the controversy over the torture scenes.

The critic describes the film as masterly, praising its attention to the way life works, its combination of ruthlessness and humanity, and its stunningly detailed and convincing scenes that move with juggernaut speed. He singles out the expertly done torture sequences for their artistic merit while noting they damage the film's claim to authenticity as an account.

The critic considers it a good, solid docudrama but is less impressed than most, finding it compromised by a conventional lone-hero narrative that sneaks in despite its procedural ambitions. The transformation of Maya into a revenge-driven protagonist is singled out for complaint.

The critic praises the film as a masterpiece and anti-action procedural focused on cognition and perception, highlighting Jessica Chastain's intense portrayal of Maya as a solitary, obsessive figure.

The critic praises Bigelow as a master of heightened realism and narrative drive, noting that the film's elements are overshadowed by Jessica Chastain's thrilling performance as the single-minded CIA operative Maya. He singles out the meticulous, painstaking gathering of information over nearly a decade as the effective core that the film makes exciting.

Bigelow makes a magnificent case for the success of the decade-long search through hard work and tenacity in this taut, methodical true-life thriller. The dispassionate, stripped-down approach builds to a visceral impact, with the compound raid sequence a technical marvel.

The film is a well-made, tense spy drama and effective thriller with a strong final sequence, but it lacks the subversive edge of Homeland and sticks closely to the CIA's official version of events. It maintains a non-judgmental stance on torture while remaining firmly on the side of the American protagonists.

The critic finds the film matches form and content to terrific ends and calls it possibly Bigelow's most impressive and personal work. The climactic raid sequence is singled out for its extraordinary detail and precision, along with Chastain's indelible performance.

The critic calls the film a brilliantly directed fictionalized account of the search for bin Laden, a cool intelligence procedural that is also a wrenchingly sad story about revenge and its moral costs. She singles out the seamless weave of truth and drama and the focus on the protagonist Maya as an ambivalent but driven figure.

The film is a thrilling, disturbing, and matter-of-fact procedural about obsession and the post-9/11 hunt for bin Laden, stronger than The Hurt Locker. Chastain's performance as Maya is masterful and essential, providing the emotional core without easy answers or rah-rah sentiment.

The critic praises the realistic, understated approach and Chastain's humble yet determined performance as the driven CIA agent. They single out the taut suspense and neutral depiction of events, despite a slow start.

The critic hails it as an extraordinary feat of journalistic filmmaking and forensic procedural, praising Bigelow's direction of the raid sequence and Chastain's performance in a poignant emotional coda.

The critic calls it a fantastic, detailed procedural in the mold of Zodiac or All the President's Men, with a powerful emotional core from its singular female lead. They single out Jessica Chastain's performance for keeping viewers invested despite the linear structure.

The critic calls it a well-made but flawed film that falls between a slow historical document and a character study, noting its hollow ending and technical excellence while questioning its handling of torture.

The film is a skilled but ultimately uninvolving and somewhat infuriating just-the-facts account of the bin Laden hunt that fizzles in its later stages. Bigelow's no-frills action filmmaking and strong performances, especially Jason Clarke's, are singled out for praise amid criticism of its detached tone around torture scenes.

The critic finds the film overly explanatory and predictable, with a contrived portrayal of the lead CIA agent and scenes that telegraph emotions and events. They single out the lack of surprises and packaged Hollywood treatment of real events.