A dizzying blitz of descriptors surrounds Katheryn Bigelow’s Zero Dark Thirty: pro-torture, anti-torture; anti-Bush, pro-Obama; mindlessly jingoistic, nuanced in its critique of American exceptionalism.
“She is, simply, a great filmmaker. Because while it is marginally interesting that she calls “action” and “cut” while in the possession of two X chromosomes, gender is the least…