Zero Dark Thirty and Beasts of the Southern Wild

Zero Dark Thirty was a good movie--engrossing, exciting, good casting AND way too long.  It's refusal to take a stand on some moral issues:  torturing war prisoners, killing men and women suspected of harboring Osama bin Laden, making no attempt to capture bin Laden alive adds to its being a less than great movie, although it is a thought-provoking one.  (Liked The Hurt Locker way better.  It presented its case in a more succinct, focused way and gave the audience a clear idea of what the filmmaker thought about the concepts presented.)  Using the Jessica Chastain character as a stand-in for the number of individuals it took to gather and crystallize the information gathered into intelligence that could be used to search and find bin Laden did help to keep the movie from being longer and becoming tedious, and she's a good actor.  Bibi thought her guarded, unrevealing demeanor was effective in expressing the film's basic attitude:  here's what happened, how it happened--not adding a moral to it.  That's up to the viewer.  Also, could be that the blankness that character is effusing might be a stand-in for the general American public:  we don't know what to think about this (war) mess.  Kathryn Bigelow may have a strong sense of the brutality and pointlessness of torture as a means of eliciting information, she might have a strong dislike for the entire war on terrorism as it has played out, but for some reason, she's timid in expressing that outrage in this movie.  The last 20-30 minutes are the best part, the set up and carrying out of the raid. So, good, but not great.  B+ ish

Bibi has known for awhile is that she is almost completely assimilated into middle class life.  That has its good and bad aspects:  good in that I can afford to live in a way I find acceptable, pleasant, actually very good in most ways and am not a burden to anyone.  Bad because my life is in many ways so sheltered and narrow, I don't appreciate the value that others place on their different lifestyles or lifestyles choices.  Beasts of the Southern Wild gives a glimpse of a different way of living, freely accepted and desired by the people living it, mostly from the point of view of a six year old girl.  She's adorable, of course, as children in movies often are:  lovely, a wide-eyed seeker of warmth, love, meaning, making what she can of it, a marshland fauve. The community, the Bathtub, is on the edge of Louisiana levee life, a collection of misfits from civilization, who care for each other in a loose-knit, communal way, each person left to make their own decisions about their lives within the group.  Lots of drinking, eating, not taking baths, good times. We watch Hush Puppy explore her natural, if litter-strewn world, caring for pets and/or chickens and pigs.  She's fascinated by their heartbeats, attentively listening to them, a place of quiet assurance in her sometimes chaotic family setting.  There's no mother, although her father is mostly there, a committed drinker and forager who daily gives Hush Puppy lessons in self-reliance (she lives in a separate shack from her father) and the idea of personal strength required for living ("no crying" is a community slogan).  When a hurricane destroys the fragile community, Hush Puppy and her father struggle to find their scattered friends and rebuild, firm in their refusal to join civilization and the comforts it offers.

The movie is in color, but there are often some very effective gray/white scenes that made me wonder later, was the movie in color?  These scenes give palpable, sometimes terrifying life to Hush Puppy's take on the community teacher's explanation about cave men and the menacing, hugely malevolent aurochs who  destroyed as many big, strong cavemen as they could.  Hush Puppy equates the dangers in her life that could rip away her father, the community around her, maybe overwhelm her as snorting, snuffling, brutish aurochs, constantly on the prowl, looking for the weak to prey on.  

Loved this movie.  It has no chance against the heavy hitters like Lincoln and Zero Dark Thirty, Argo or  Django Unchained (like Quentin's movie has any chance at all.  Talk about a group of people who are the epitome of middle class--the voters in the Academy).  A