Not quite satisfied with making history as the first female Oscar winner for Best Director with The Hurt Locker (2008), Kathryn Bigelow, working again with screenwriter Mark Boal, is back with Zero Dark Thirty, another topical and suspenseful Middle East adventure that’s already a serious contender for this year’s top Oscars. The new film expands far beyond the modest scope of its predecessor, taking on one of the biggest stories of recent years, the decade-long, multi-country search for 9/11 mastermind Osama bin Laden and how it eventually found closure, a mere 19 months ago (maybe you heard about that part). […]
Let’s face facts: If “traveling back in time to change the past” movies stuck rigidly to actual logic, there would be no such movies. As far as I can tell, there’s just no getting around the paradox that if you travel back in time and change the past, you alter history in such a way that you no longer have a reason, in the new timeline you’ve created, to get in a time machine and go back and change the past. For starters.
Fortunately, the best examples of the genre wisely choose to ignore this little snag and do the next best thing: Pour their energy into making it so entertaining and zanily convoluted that it doesn’t even occur to you to mind until you’re on your way home. The last decade, in fact, has seen a wealth of intriguing time-travel flicks that do exactly that, largely thanks to the fact that time travel doesn’t always require expensive special effects and thus can be done independently; all you need is a convincing-looking time machine prop and a lot of ingenuity, and presto, you got yourself a “high concept indie,” be it the soft-spoken, cerebral Primer (2004), the ruthless Mexican mind-bender Timecrimes (2007), or the diabolically clever Triangle (2009) (which doesn’t actually involve a time machine at all, but otherwise fits the category). […]