Film

Renner, whose half-muscled pudginess calls to mind Fassbinder circa Fox and His Friends, gets inside James’s skin in ways that a more seasoned celebrity could not. It’s a role that might have easily have come across as one-note, especially with a story that toggles between machismo-laden home-base drama and perilously prolonged fieldwork. Yet in this actor’s hands, the character comes off with a credible working-class clarity—he’s less concerned with heroics than with doing a good job and pissing the night away.

The James-free prologue, which features the first of two star cameos, sets the stakes high. But Bigelow doesn’t mine traditional suspense so much as impart a queasy feeling of monotony. The Hurt Locker is all about repetition. Superimposed titles count down the days left in James and his squad’s rotation, though there’s little sense of movement toward an ultimate end. As the opening Chris Hedges quote (“war is a drug”) suggests, there are no accomplishments in this line of work, only an unending round of highs, lows and in-betweens.