‘The Hurt Locker’ at the Orpheum

A new movie arrives at the Orpheum (on State St., of course) only once every blue moon, or at least that’s often how it seems. The Orpheum has been carrying a combination bill of The Hangover and Public Enemies for about as long as I can remember, so a new film, any film, would be a welcome development: lo and behold, today Katheryn Bigelow’s extraordinary The Hurt Locker begins what may, at this rate, prove to be a month-long run.

By now you’re probably well-aware that The Hurt Locker is one of 2009’s most outstanding cinematic achievements, though perhaps you haven’t yet gotten the opportunity to see it. Well, here’s your chance. Given the amount of conversation this film has stimulated in a relatively short span of time, I scarcely need to clarify that it’s required viewing.

So many films ask us to recall the past; The Hurt Locker boldly asks us to recall the present, in so far as such a thing is possible. Historical memory is not restricted to remembrance of things past: it is also an interrogation of the now and the soon-to-be. No film in 2009 has pursued this project of preserving the present more effectively (or more muscularly) than has The Hurt Locker. Do yourself a favor and go check it out at the Orpheum, if only to participate in what has thus far been one of the most fascinating discussions stemming from a film released this year.

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