Google+ Cinema Viewfinder: Zero Dark Thirty
Showing posts with label Zero Dark Thirty. Show all posts
Showing posts with label Zero Dark Thirty. Show all posts

Thursday, June 20, 2013

James Gandolfini

by Tony Dayoub


I read it. I liked it. I thought it was good. But I thought they would have to hire some good looking guy—not George Clooney but some Italian George Clooney—and that would be that. But they called me and they said can I meet David for breakfast at 9 a.m. At the time I was younger, and I stayed out late a lot. And I was like, "Oh, for fuck's sake. This guy wants to eat breakfast? This guy's going to be a pain in the ass."

-Actor James Gandolfini on The Sopranos and its creator, David Chase

The passing of James Gandolfini yesterday came as a shock to just about everyone it seems. After hearing it, I went through the 21st century version of the five stages of grief. First, I visited reliable online news sources to confirm that the reports were indeed true. Second, I shared my sadness with Facebook friends. Then I went on Twitter to read the reactions of celebrities and journalists. Next, I scoured the cable guide for any showings of The Sopranos, a show I hadn't seen since its cancellation. And finally, I find myself here writing up whatever kind of minuscule tribute to the actor I can offer.

Thursday, December 6, 2012

Zero Dark Thirty

by Tony Dayoub


Zero Dark Thirty begins with heart-wrenching audio recordings of 911 calls placed from inside the World Trade Center towers on 9/11. From there, the long awaited film about the manhunt for al-Qaeda leader Osama Bin Laden follows a rigid three-act structure that is one part Michael Mann-style procedural—in which we get to know a protagonist simply through process—and one part meta-analysis of how America once again lost its innocence, possibly for good this time. That director Kathryn Bigelow and screenwriter Mark Boal frame this film through a unique perspective rarely found in war films—that of a female—is the key innovation. Instead of attempting to duplicate the action beats of their last Academy Award-winning film, The Hurt Locker (2008), by predictably zeroing in on the SEAL operation to capture or kill Bin Laden, aka UBL, Bigelow and Boal open up the canvas to spin a sprawling tale involving everyone from CIA field operatives to their more political Washington-based intelligence counterparts, from suspicious informants to the most trustworthy of military officers.