Zero Dark Thirty (2012) // dir. Kathryn Bigelow

Four years after her Best Picture Oscar glory with bomb disposal flick, The Hurt Locker, Bigelow sticks to her military sized guns, but this time with even bigger ammo. Returning to the warfare genre, Bigelow attempts to tackle the story behind the capture of the worlds most wanted terrorist, Osama bin Laden. After only being consigned to history for two years, this is a brave step. But is Zero Dark Thirty a genuine insight into the biggest manhunt ever, or just Hollywood propaganda?

It is almost impossible to talk about Zero Dark Thirty without drawing parallels with recent smash-hit, award winning TV series Homeland - which tackles similar Al Qaeda related situations, but with a fictional (although still very real) threat. Homeland has pretty much set the benchmark for 'war on terror' drama, keeping it interesting and entertaining without being overly complex. Despite, in parts, feeling like an overlong episode of Homeland, Zero Dark Thirty lacks its TV counterpart's edge of seat intensity and characters for the audience to truly care about. With a wilful first act, it begins on steady footing, but following a nosedive in the almost purgatory-like middle, it struggles to get back on track for its would-be climactic ending.

The ensemble cast is solid, with familiar face after familiar face appearing in various governmental roles (Mark Strong, James Gandolfini, Jason Clarke, and bizarrely, John Barrowman), but this overabundance of big names prevents any real memorable performances - we only witness snippets of what could have been with more attention to character detail and development. But it is poor Joel Edgerton as the Squadron Team Leader, who comes off worst. Despite receiving high poster-billing, his minimal screen time and lack of interaction, ensures that he remains almost forgotten about after the end-credits have rolled. It is left to Jessica Chastain to deliver the standout performance Zero Dark Thirty so desperately needs. Bearing more than just a passing resemblance to Homeland's Claire Danes (there's even a little Sarah Connor from The Terminator in there too...no...just me..?), Chastain exudes the same toughness, and gritty determination and passion towards work. But where Chastain's Maya differs from Danes' Carrie, is that she lacks the personal backstory necessary for Chastain to convey any relatable human qualities and vulnerabilities from screen to audience. Despite this, Chastain delivers, adding another genre string to her already varied acting bow, with a powerhouse performance that is the driving force behind the whole operation - and, consequently, the entire film.

So, is it just Hollywood propaganda? Given the subject matter, there is a danger of Zero Dark Thirty's finale becoming an opportunity for America to give itself a high-five; but with only one "woo-hoo" to be heard, Bigelow manages to skilfully avoid the self-aggrandising clichés of patriotism by cleverly opting for a more pensive and solemn ending.

Never quite recovering from its slip-ups and stumbles, Zero Dark Thirty is an insightful yet flawed first chapter in the bin Laden manhunt. Await further adaptations with baited breath.