Zero Dark Thirty

Accumulation. Asseveration. Evisceration.      

Kathryn Bigelow's bureaucratically bitchin' tenaciously pitchin' Zero Dark Thirty nonpartisanly coordinates the clandestine predications of a resilient stalwart team.

In/directly lead by Maya (Jessica Chastain).

Militaristically maneuvering from the collection of data to the formulation of hypotheses to the execution of ideas, they uniformly act like the production of a covert thesis.

Perhaps this thesis asks, "can we successfully fabricate a concrete entertaining internationally provocative blueprint which periodically articulates anti-terrorist protocols which seem bona fide yet cleverly dissimulate each and every event that took place, apart from the lengthy ending, thereby functioning as overt espionage (and trumping Argo)?"

This question may be a bit much considering that what takes place seems to follow a logical asymmetrical pattern the fabric of which conceals/reveals both sides (as depicted in the film) regardless.

Nevertheless, even though its bravado is qualified by stats and potentialities, Zero Dark Thirty impresses practical unrelenting retributive necessities across its apolitical spectrum, collocating resourceful avatars with seductive sentiments, in a potent, charismatic, collection.