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'American Carol' zings liberals Zucker's satire helps GOP roast the left By TED JOHNSON Zucker More Articles: GOP convention gets makeover GOP sending muddled messages Republican convention downsized McCain taps Alaska governor for VP Web welcomes convention coverage BBC America to cover conventions Hollywood is tapping into a new marketing pit stop: political conventions. Denver saw no less than a mini film festival last week at the Democratic National Convention, with an ongoing series of screenings of politically tinged docs and features. Delegates to the GOP gathering are seeing their share of films on an even grander scale than those staged in the Mile High City: Director-writer David Zucker ('Airplane!,' 'Naked Gun') screened his upcoming pic 'An American Carol' to more than 1,000 conventioneers at the Minneapolis Convention Center.

At a lavish reception, Lee Greenwood sang standards and buffets were themed around the armed forces. The comedy satire, a spoof of 'A Christmas Carol,' centers on a Michael Moore-like filmmaker (Kevin Farley) who is campaigning to end the Fourth of July.

He gets visited by three ghosts — those of George Washington, George S. Patton and John F. Drivers License Office In Jamaica here. Kennedy — who try to get him to rethink his ways. The cast also includes Kelsey Grammer, Robert Davi, Jon Voight, James Woods, Leslie Nielsen and Dennis Hopper.

Fox News’ Bill O’Reilly has a cameo in which he admits to the Moore look-alike, 'I just enjoy slapping you.' Zucker, who wrote the movie with Myrna Sokoloff, doesn’t water down the satire. The convention attendees 'are just surprised at how over the top and funny it is. A lot of the movie is pretty shocking, and I don’t think Republicans are prepared for it because they are not used to movies that laugh at the left,' Zucker said from the Fox News skybox, where spent much of the day Monday promoting the film with Voight. He was attending his first political convention and, among other activities, he planned to attend a dinner with Mitt Romney and Jeb Bush. 'I think we will be doing a lot of promotion on talkradio — anywhere we can reach the main audience for this,' Zucker said. 'I think it will attract attention because of the controversial nature of the movie.'

The film skewers protesters, which was especially resonant on Monday after hundreds were arrested outside the Xcel Center. One of the film’s producers, Steve McEveety, tapped into GOP contacts to co-host the event, including New York hedge fund tycoon Paul Singer. The pic is being released by McEveety’s Mpower Pictures and Vivendi Entertainment. In addition to Zucker, Voight and Davi, the convention has drawn musicians including John Rich, who sang at a Lifetime Rock the Vote bash on Tuesday, and GOP stalwart Pat Boone, who was seen dining at the CNN Grill. MGM’s Harry Sloan, a supporter of John McCain since the start of his campaign, was expected to come into town for McCain’s acceptance speech. And there was a possibility that Sylvester Stallone would attend. There’s also a handful of industry figures on the other side of the spectrum.

Stuart Townsend screened 'Battle in Seattle' on Monday, just as he did for the Democratic Convention, as part of the Impact Film Festival. The fest is hosting screenings in St. Paul as well. Zucker was a longtime Democrat who backed Al Gore in 2000, but his political views changed after 9/11. He’s a McCain supporter who describes himself as a centrist, pro-choice and pro-environment (he has two Priuses). 'My goal is to convince Republicans to abandon nuclear power,' he said.

Zucker is an unabashed conservative on fiscal issues and national security. He used his creative skills in making biting anti-John Kerry ads for the Club for Growth in 2004 and provocative spots, one of which featured Madeleine Albright painting Osama bin Laden’s cave, for the Republican National Committee in 2006. He has no plans yet to cut spots or take some other role this year — but he would like to. 'I almost can’t resist,' he said. 'Humor is so ripe for this political season.' The old WB and the online future 06:43 PM PT, Sep 2 2008 Last week, Warner Bros. Brought back the defunct WB channel in a new form: an online-only network, the first one with a name inherited from Hollywood.

You can watch august old WB shows on TheWB.com, along with raggedy new Web-only video series, and the effect, so far, is something like those professional dog walkers who have a Great Dane, two chihuahuas and a bulldog on the same leash. You know they're all the same species but -- wow, did the Creator really intend for them to be out strolling together? But that's a little bit like Warner Bros. There's the studio itself, which is massive and traditional, defined by shows like 'ER' and 'The West Wing.' Then there was, for a decade, the WB network, which, through independent-minded shows like 'Buffy the Vampire Slayer' and 'Dawson's Creek,' created iconic teen worlds in which beautiful people also suffered, and outsiders' obsession with social status could somehow look like social justice.

TheWB.com blends those two corporate identities into what they're calling a 'curated experience' -- much in the spirt of an old-school TV network, in fact. With its attempt to be something unified in spirit, it goes a few sprightly steps further than sites like NBC and News Corp.' S more catch-all Hulu.com toward fusing the old TV model with the new one that's emerging on the Web. Above all, it's a way for Warner Bros. To wring some small change, at least, out of its library, in this case popular shows like 'Gilmore Girls' and 'Everwood' that ran on the WB, which merged with UPN to form the CW in 2006.

Be warned: The network is not putting everything online -- right now there are only around 200 selected episodes, with 'fresh' ones substituted each week so viewers keep coming back. Not every WB show is there, either: No 'Dawson's Creek' or 'Felicity,' at this point. (But you do get 'Veronica Mars,' a Warners show than ran on UPN.) So if it's merely a small step toward the dream of every TV show or movie you want, available any time at the click of your mouse, TheWB.com is still a tentative peek into a future of convergence, in which your TV and your computer will be the same animal. As Hollywood brands go, the frisky WB seems like a natural test case for a Web/TV hybrid.

The Web network too wants to come across as a force of liberation: 'The WB isn't about putting a limitation in front of our viewer,' Brent Poer, the site's general manager, told me over the phone. 'It's about saying, here's the content -- enjoy it when you want to.' Shows like 'Gilmore Girls' have some age on them at this point, but still, they had a particular feel -- intimate and intense, soapy but not dopey -- that makes them Web-friendly. With smallish, loyal followings, a 'Gilmore Girls' (or 'Veronica Mars' or 'Everwood') were always scaled more in the niche way that has come to define a Web audience. Watching them with your computer screen inches from your face feels appropriate.

'Buffy' and 'Smallville,' the Superman prehistory drama, are also right at home on a computer screen, with their science-fiction underpinnings and superhero DNA. Those shows easily sucked in a particular kind of brainy, emotional viewer ('Smallville,' still on the air, continues to exert its pull), but were too precise and moody to have the mass appeal of a TV juggernaut like 'Friends' -- which, by the way, TheWB.com is throwing into the mix, since it was a Warners production that ran on NBC. 'Friends' will probably get a healthy share of clicks, but in a way, it's working against the identity that TheWB.com is trying to build.

As a glossily packaged comedy with next to nothing to do with real human life, it looks weird sitting on the home page next to a sincere and depth-seeking show like 'Everwood.' Web series in the mix Since the old shows are a finite, exhaustible trove, the network will also have to furnish new material too.

So it's including a handful of original Web series -- that ever-shifting category, defined for now by fuzzy parameters. (Shot on video, presented in bite-sized episodes, influenced by the democratic, tell-your-story-into-the camera vibe of YouTube. Add to that: unlikely to make any real Hollywood-style money in the near future.) TheWB.com will have one high-end Web series that looks like it comes from money, at least -- slick-looking, McG-produced 'Sorority Forever,' which premieres Monday and has an appealing (and 'Buffy'-ish) premise: a sorority that appears to be also some sort of evil cult. It stars the only actress to anchor a hit Web series, Jessica Rose, better known as lonelygirl15, and it's got all the production values of a regular old TV series, but with super-quick-cut episodes all in the six-minute neighborhood. TheWB.com has a few other new Web series launching in the months to come, including one from 'Gossip Girl' creator Josh Schwartz* (whose Fox show 'The O.C.' Is another non-WB hit playing at TheWB.com).

This one aims to involve viewers in a new way: It's set in a Hollywood rock club that users will be able to 'visit' online. Less explainable is the selection of what TheWB.com is calling 'snaggables.' Brent Poer described these shows as 'short-form, information-based or humor-based, not episodic. They allow you to view a little content and go on with your day.' While a series like 'Sorority Forever' is conceivable on TV (just as another Web-born series with Hollywood DNA, Marshall Herskovitz's 'quarterlife,' ended up on NBC), these other shows are, as Poer put it, 'things you wouldn't necessarily see on air, but they are part of the daily diet of this audience.' In other words, these are existing grass-roots Web shows that have been plucked from Internet micro-microfame and given the red-carpet WB treatment.

These particular shows are not, so far, benefiting. The contrast makes them look hokey and striving instead of refreshingly un-Hollywood.

There's 'A Boy Wearing Makeup,' in which a friendly young guy named Mathieu Francis gives makeup instructions by demonstrating on his own face. Someone apparently found this gender-bending premise exciting; Francis has some charm but he's not funny, and he is all business.

There's nothing else going on here, no submerged narrative, and his conventional approach could be right out of a Bobbi Brown instructional video (though all his products are from MAC, adding a suspicious infomercial overlay). 'Whatever Hollywood' is a little better, with its three singing and dancing chicks mocking both celebrity culture and their own lack of fame. But it still seems to belong more to the realm of things you find randomly on the Web than to something that would have the WB stamp on it. It's been only a couple of years now that Hollywood and the Web have been trying to imagine a way to live as one. TheWB.com may not be that just yet, but it's a sign that the two approaches are not ridiculously far apart. If you squint hard at the site, you might pick up a hint about TV's next act. Prva kritika HURT LOCKERa, izgleda da se moj omiljeni MILF vratio with a vengeance: TIFF Review: THE HURT LOCKER Posted by Todd Brown at 11:57am.

Posted in Film & DVD Reviews, Drama, Action, USA & Canada, Toronto Film Festival 2008. I present to you a basic Hollywood reality that should have been recognized long ago but apparently has not been: This is a bad time to be making an Iraq War film. Good film, bad film, big cast, no cast, fiction, documentary, it really doesn’t matter. Whatever the merits of the film in question - and there have been a number of good ones made - if it is about the Iraq War it is destined to fail at the box office as has been proven repeatedly over the last year. The conflict is still far too fresh, still far too much in the news and an audience overloaded by Iraq every night on the six o’clock news simply won’t pay money to see more of the same on the big screen. Too bad for Kathryn Bigelow, then, because with The Hurt Locker she has put together one potent piece of work.

Set in the current Iraq conflict The Hurt Locker tracks a three man unit through the final days of their military service. The threesome has just over a month left, their task: finding and defusing bombs. It’s a job that demands precision and absolute trust, a job that has zero margin for error, but the balance of the group is shattered with the arrival of new team leader Will James. It’s James’ job to actually defuse the bombs while the other pair offer support and protection but James has zero regard for protocol, zero regard for the safety of his team members, constantly rushing in to situations poorly prepared, riding from one wave of adrenaline to the next. Bigelow has created one sterling bit of film here.

It is impeccably performed, keeps the tension ratcheted up to the highest possible extreme, and manages to capture both the scope of the conflict while remaining close and intimate. It is also a surprisingly apolitical film. If Bigelow has any opinions on the causes and course of the conflict she keeps those opinions resolutely off the screen, focusing instead purely on her central trio of characters and the effects the conflict is having on them. When you’re on the ground with bullets flying, after all, you really don’t care about why you’re there, all that matters is surviving to see another day and she captures that feeling perfectly. The stresses play on each of the three principles in different ways and Bigelow does a remarkable job of showcasing each of her three characters without ever sermonizing, without feeling the need to spell out their histories. She simply lets them live and lets us observe.

By focusing on a bomb squad Bigelow has found not only the perfect image to capture the war in Iraq - where roadside bombs play such a hugely prominent role - but she also finds a squad of soldiers that everybody can sympathize with regardless of their political bent - however they got there all these men are trying to do is clear the country of weapons designed to kill and maim indiscriminately and it’s awfully hard to criticize them for that regardless of their behavior. Bigelow shoots her film with such an incredibly high degree of technical skill and a willingness to put all of her characters at risk that it may well be the most immersive and compelling war experience caught on film since Ridley Scott;’s Black Hawk Down but where that film was plagued with overwhelming “Go America!” rah rah, this film avoids that particular trap throughout. Yes, it’s impossible not to feel a certain thrill through some of the action sequences and the story is certainly told from the American perspective but the film is also smart enough and honest enough both to capture the confusion and disorientation of its leads, the complexities of the situation and to show all involved as more than a little bit flawed. After a solid two hours of subtle character work Bigelow can’t quite resist the big, overwrought moment of exposition at the end, just in case anyone out there has missed the point, and while the final sequence is heavy handed and unnecessary it is certainly not distracting enough to do any serious damage to the film as a whole. Druga kritika: Story The Hurt Locker The Hurt Locker Fionnuala Halligan in London 04 Sep 2008 17:00 Dir. Kathryn Bigelow. US, 2008, 124 mins.

The Hurt Locker probably isn't the 'great' Iraq film which will finally move audiences into theatres but it does play out like fragments of one. Kathryn Bigelow holds pieces of the jigsaw in this impressionistic, tense war drama shot at street level, but commercially The Hurt Locker is facing down the public's well-documented indifference to Iraq fare without the armour of star wattage (Fiennes, Morse and Pearce all have brief cameos). In reality, the lack of known faces works in The Hurt Locker's favour, but whether audiences can be persuaded to take the risk is another matter and the all-male cast and testosterone-fuelled subject matter restricts the demographic. In telling the story of a three-man bomb disposal unit working the streets of Baghdad and the addictive risks their work entails, this is closer in spirit to Fight Club than other recent Iraq-set fare, although Hurt Locker is instantly visually reminiscent of everything from Jarhead to The Kingdom and is evidently a war film. Bigelow crafts here a barrage of individual set pieces of great, often heart-stopping tension, but they don't quite add up as a whole and, towards the end, almost strain against the central impetuous of the film. She captures very well, though, the feel at street level for these comrades-in-arms (Jordan subbed for Iraq) and it is possible this could play well to veterans and their families, kick-starting word-of-mouth. Based on the reminiscences of Boal, a former correspondent assigned to one of Iraq's special bomb units, The Hurt Locker starts by illustrating the correct procedure for Bravo Company to dismantle a street bomb – by sending in a robot down the rubbish-filled streets to investigate and then, if necessary, the unit's sergeant (Guy Pearce) in an astronaut-style suit and a set of pliers.

With 38 days remaining on their tour, Bravo's new adrenalin-junkie boss James (Renner; a 'redneck piece of trailer trash' according to his second-in-command) recklessly dispenses with all the formalities and immediately throws the unit's chances of survival into extreme jeopardy. Sanborn (Mackie) and Eldridge (Geraghty) must now find a way to deal with their leader's seeming indifference to death if they are themselves to survive. Their reactions vary wildly over the course of the film, and give Hurt Locker an effective emotional arc. James's character is more challenging for audiences, however. The film's opening frame tells us how the rush of battle can be a powerful and lethal addiction and he evidently personifies the warning, but his journey feels almost pre-destined and uneasy interludes with a young Iraqi boy do little to open him up. Moving off the Baghdad streets, a desert interlude with a bulked-up Ralph Fiennes' band of British mercenaries half-way in is extremely effective but, as often seems to happen in The Hurt Locker, once it concludes the film flattens out and has to build up momentum again.

Technically, this is all you can ask from a war film, and Barry Ackroyd shoots low and intensely. A big relief is the lack of a powering, throbbing sound-track; Bigelow allows her characters make their own case without the score pumping it out for them. Production company/int'l sales Voltage Pictures 1-323-464 1062 Producers Kathryn Bigelow Mark Boal Nicolas Chartier Greg Shapiro Tony Mark Screenplay Mark Boal Cinematography Barry Ackroyd Editors Bob Murawski Chris Innis Main cast Jeremy Renner Anthony Mackie Brian Geraghty Ralph Fiennes David Morse Guy Pearce. Bigelow film gives Venice a jolt 'Hurt Locker' focuses on Iraq bomb squad By NICK VIVARELLIMore Articles: Composer Pierre Van Dormael dies Bankside boards 'Blessed' French, U.K. Pics head Euro list Strand nabs Terence Davies' 'Time' Germany unveils Oscar contenders Guillermo Del Toro booked thru 2017 VENICE — The Iraq war dominated the day at the Venice Film Festival, where the world preem of Kathryn Bigelow's high-adrenalin bomb squad actioner 'The Hurt Locker' gave the Lido a jolt and proposed itself as the Iraq pic that might break through to American auds. 'We represent something that's very different from any other Iraq war film that we've seen so far,' producer Greg Shapiro told Daily Variety.More than one option(Co) Daily Variety Filmography, Year, Role (Co) Daily Variety Shapiro has high hopes of closing a U.S.

Distribution deal in Toronto for the you-are-there war drama, which follows an elite Explosive Ordnance Disposal (EOD) team operating in and around Baghdad. Jeremy Renner (“28 Weeks Later”), Anthony Mackie (“Million Dollar Baby”), and Guy Pearce (“Factory Girl”) star as the death-defying defusers, with Ralph Fiennes putting in a cameo as a mercenary. The indie pic shot in Jordan, produced by Shapiro and Nicolas Chartier's Voltage Pictures, goes out in Italy via Warner Bros. At the packed presser, Bigelow, who is the only woman helmer in the Lido's 21 title competition, called 'Hurt Locker' 'a very topical film about an underreported war. Complete Boa Constrictor Vin Russo Pdf Reader on this page. ' But politics are really peripheral. 'My interest was to give this conflict a human face, and to enable the audience to actually experience what a soldier experiences, based on personal observation from the battlefield,' she said.

Journo Marc Boal, who was embedded with an Iraq EOD team in 2004, and penned the screenplay based on that experience, called 'Hurt Locker' 'primarily observational, as opposed to polemical.' A psychological aspect of any war that is central to 'Hurt Locker' is the drive that possesses volunteers to enlist in the army during a conflict. 'It's almost a dirty little secret of war that, as horrible as it is, there are some men who through the intensity of the experience come to find it alluring,' said Boal. Despite this pic's deeply different new tack, Shapiro acknowledged that the marketplace for Iraq war films is very tough. Obvious examples of the lack of interest Iraq has sparked so far are Paul Haggis drama 'In the Valley of Elah,' and Brian de Palma's 'Redacted,' both of which preemed in Venice last year.

'But hopefully this film presents the war in a new and a fresh way that people haven't seen, so we're hoping that perhaps that will break the trend in America,' Shapiro said. Slotted just as Toronto opens, 'Hurt Locker' provided further proof that Venice topper Marco Mueller has backloaded the fest, which during the first week really lacked films with firepower.

The Venice fest ends Saturday. The Hurt Locker By DEREK ELLEY 'The Hurt Locker' A Voltage Pictures presentation, in association with Grosvenor Park Media and FCEF, of a Voltage Pictures, First Light, Kingsgate Films production. (International sales: Voltage, Los Angeles.) Produced by Kathryn Bigelow, Mark Boal, Nicolas Chartier, Greg Shapiro. Executive producer, Tony Mark. Co-producer, Donall McCusker. Directed by Kathryn Bigelow.

Screenplay, Mark Boal. William James - Jeremy Renner Sgt. Sanborn - Anthony Mackie Specialist Owen Eldridge - Brian Geraghty Sgt. Matt Thompson - Guy Pearce Contractor Team Leader - Ralph Fiennes Col. Reed - David Morse Connie James - Evangeline Lilly Col. John Cambridge - Christian Camargo 'Beckham' - Christopher Sayegh War may be hell, but watching war movies can also be hell, especially when they don't get to the point. Often gripping at a straight thriller level, but increasingly weakened by its fuzzy (and hardly original) psychology, Kathryn Bigelow's 'The Hurt Locker,' centered on an elite U.S.

Bomb squad in Baghdad, doesn't bring anything new to the table of grunts-in-the-firing-line movies. Modest biz looks likeliest.

Though pic has yet to garner a U.S. Distrib, its B.O. Fortunes, especially Stateside, will depend to a large extent on its reception at Toronto, and on whether marketing the film more as a thriller will be enough to overcome auds' resistance to Iraq War movies. Internationally, Bigelow's cult rep could be a further plus on the back of good reviews. The major problem with the script by journalist Mark Boal, who was embedded with a bomb squad in Baghdad four years ago, is that it's unclear where the drama in 'Locker' really lies.

It's emphatically not a 'cut the red wire!' Countdown thriller -- these guys get by on old-fashioned guts and instinct rather than sissy hardware -- but it's not a pure men-under-stress drama either. In fact, Boal's script stirs a little of everything into the pot, which boils down into seven setpieces divided by brief intervals of camaraderie/conflict among the three protags. Three of the setpieces don't even involve defusing bombs, and are basically there to broaden the action and deepen the characters. But whether it's the adrenaline rush, a death wish, macho posturing or just 'doin' a job' that drives these men is little clearer by the end than it is at the beginning. After an opening quotation that 'war is a drug,' pic jumps straight into the action as an Explosive Ordinance Disposal team, led by iron-jawed Sgt.

Matt Thompson (Guy Pearce), is called in to examine a suspicious pile of rubble. When the robotic hardware goes on the fritz, Thompson 'suits up' in protective clothing and does the job by hand -- recklessly, as it proves. Attention-grabbing opening reel -- with handheld, slightly grainy lensing, nervous cutting and one sound effect that will test any theater's woofers -- sets the tone, and much of the content, of the next two hours.

When Staff Sgt. William James (Jeremy Renner) arrives to take Thompson's place as head of the three-man unit, it's clear he's even more of a cowboy than his predecessor. Conflict between him and his deputy, by-the-book Sgt. Sanborn (Anthony Mackie), comes to a head early on. Meanwhile, cornball Specialist Owen Eldridge (Brian Geraghty), is taking voluntary counseling with a Bravo Company colonel, Cambridge (Christian Camargo).

Unlike many men-in-war movies, 'Locker' concentrates on a small number of characters that are clearly identifiable from the start. Even in the setpieces involving considerable military backup, the dramatic focus is kept tight on the three protags.

Especially in their first two assignments, this works very well, with James the guy on the ground while Sanborn rat-a-tats orders as he and Eldridge scan the surrounding buildings for snipers or trigger men. It's when the movie starts to fan out at the 45-minute mark -- with a developing friendship between James and a jive-talkin' Arab kid, 'Beckham' (Christopher Sayegh) -- that the script starts to show signs of artificially straining for character depth. As the end of Bravo Company's rotation approaches, James threatens to go off the rails in some highly manufactured (and not especially enlightening) ways. Flip-flop final reel is limp.

After a couple wobbly entries ('The Weight of Water,' 'K-19: The Widowmaker'), it's good to see Bigelow again flexing her gift for sheer physicality. Even when the men are mouthing commonplace dialogue or male-bonding cliches, there's a real feel for them on a flesh-and-blood level. Helmer's ability to create a sense of ever-present menace, seen in her early pictures, pumps up scenes in which the trio is silently 'observed' by hostile/curious Arab bystanders. Film steers clear of questioning the U.S. Presence in Iraq and, with a couple brief exceptions, treats its entire Arab cast as either faceless cannon fodder or potential threats. This may sit uneasily with some viewers, even though it's clear early on that this is more a dramatic choice than a political one.

Renner is fine as James, especially in his freewheeling early scenes played off against his suspicious colleagues. It's basically Renner's film: Mackie and Geraghty are just OK, and other roles are bits. Ralph Fiennes pops up briefly as a Brit mercenary, and David Morse contributes a memorable thumbnail of a complete military psychopath. As the 1949 bomb-squaddie classic 'The Small Back Room' proved, antsy cutting and camerawork and gritty processing aren't necessarily de rigueur for building tension. Still, Barry Ackroyd's lensing, halfway between faux-docu and regular drama, is highly emotive, equally textured in sun and shade, catching the immensely realistic detail in pic's production and costume design.

(Like Brian De Palma's 'Redacted,' the film was shot in Jordan.) Editing of the mountain of footage captured by multiple Super 16 cameras is aces, kinetic but not aggravatingly so. Music is either bland or simply atmospheric. Camera (color), Barry Ackroyd; editors, Bob Murawski, Chris Innis; music, Marco Beltrami, Buck Sanders; music supervisor, John Bissell; production designer, Karl Juliusson; art director, David Bryan; costume designer, George Little; sound (Dolby Digital), Ray Beckett; sound designer, Paul N.J. Ottosson; stunt coordinator, Robert Young; special effects supervisor, Richard Stutsman; visual effects, Company 3; associate producers, Jack Schuster, Jenn Lee; assistant director, David Ticotin; second unit camera, Niels Reedtz Johansen; casting, Mark Bennett. Reviewed at Venice Film Festival (competing), Sept.

(Also in Toronto Film Festival -- Special Presentations.) Running time: 127 MIN. Film Review: The Hurt Locker Bottom Line: War made exciting By Deborah Young Sep 4, 2008 Venue: Venice Film Festival, In Competition The definitive film about the U.S. Involvement in Iraq has yet to be made, and 'The Hurt Locker' doesn't aspire to compete in the category. Tensely action-packed and muscularly directed by Kathryn Bigelow, this tale of an elite U.S.

Army bomb disposal unit in Baghdad is a familiar story in new clothes, targeted at the young male demographic. Its Iraq setting is downplayed as incidental, perhaps to avoid the commercial disappointment of the two Iraq-themed titles screened in Venice last year, 'Redacted' and 'In the Valley of Elah.' 'Locker's' refusal to take a moral stance on the war should widen its audience to the U.S. Military, while lowering its chance for a a major festival prize. Bigelow (Point Break, K-19: The Widowmaker) and screenwriter Mark Boal (who has story credit on 'In the Valley of Elah') here toy with the idea of war as a drug whose adrenaline-inducing excitement is addictive. In a fast-paced opener, shot like newsreel footage, a three-man team loses their commander (Guy Pearce) when he tries to detonate a street bomb. Arriving to take his place is Sgt.

Will James (Jeremy Renner), who immediately does something incredibly dangerous, demonstrating fearlessness bordering on a death wish. His men Sanborn (Anthony Mackie) and Eldridge (Brian Geraghty) are shocked by his reckless behavior.

Sanborn is furious with him for not following the rules, and Eldridge is scared out of his wits. As they bounce around the gutted city in their Humvee, counting the days until their tour of duty is over, their missions become increasingly dangerous. On one, the foolhardy Sgt. James removes his protective suit to disarm a car rigged with explosives in front of the U.N. On another, he tries to help a frightened man remove explosives locked to his body before a timer blows him to kingdom come. At one point, they stumble across a make-shift bomb factory and find the blood-soaked body of a young boy.

His stomach is stuffed with explosives - he apparently died while being turned into a human bomb. James's emotional reaction to the sight readies us for a plot twist, but leads to nothing more than a picturesque solo excursion through nighttime Baghdad. Typically, his encounter with the locals is fleeting and inconclusive. For a film purporting to be about soldiers' psychology, 'The Hurt Locker' makes little in-depth analysis of its characters. An army psychologist (Christian Camargo) spouting priestly platitudes to poor terrified Eldridge gets short shrift from the manly script. As final credits roll, James's motivation is the same as when he first came on screen: he simply gets high on danger. Renner, Mackie and Geraghty acquit themselves honestly in a film that offers them little character arc or chance to become likeable.

David Morse cameos as a colonel who compliments James on his bravery, and Ralph Fiennes as a British bounty hunter. The indistinguishable Arab actors just stare at the Americans. Convincingly lensed in Jordan by cinematographer Barry Ackroyd in a classic actor's point-of-view documentary mode, the action scenes are shot through with raw tension, in 140 fast minutes and the quiet bits edited out. Production company: Voltage Pictures, First Light, Kingsgate Films. Cast: Jeremy Renner, Anthony Mackie, Brian Geraghty, Christian Camargo, Evangeline Lilly, Ralph Fiennes, David Morse, Guy Pearce.

Director: Kathryn Bigelow. Screenwriters: Mark Boal. Executive producers: Tony Mark. Producer: Kathryn Bigelow, Mark Boal, Nicolas Chartier, Greg Shapiro. Director of photography: Barry Ackroyd. Production designer: Karl Juliusson. Music: Marco Beltrami.

Costumes: George Little. Editor: Bob Murawski, Chris Innis. Sales Agent: Voltage Pictures, Los Angeles.