Sometimes our stories will end on that happy moment, a hero back from hell, even if reductive or just a moment in time; and sometimes the return will involve a different kind of hell, a reckoning with memory and the past, a reckoning with the schism between a then and a now. This cohesion and possibility for healing—and sometimes art—happens in the telling of the tales, the shaping of experience, character, setting, wherever the story may take us on that narrative arc. 

Director Kathryn Bigelow may have won both of her Oscars for the 2008 film “The Hurt Locker,” but “Zero Dark Thirty” is her best project to date. The high praise for Bigelow’s newest feature isn’t meant to disparage “Hurt Locker,” which is a great film in its own right, but to underscore how powerful and affecting “Zero Dark Thirty” is. The movie is not only great, it’s a reminder that Oscar voters don’t always get it right.

“Having 10 Best Picture nominees will allow Academy voters to recognize and include some of the fantastic movies that often show up in the other Oscar categories but have been squeezed out of the race for the top prize," AMPS President Sid Ganis said at a press conference.  While the expansion of the Best Picture category at the Oscars allows for more movies to receive the recognition they deserve, it does not change the fact that the voters lean towards awarding similar themes and performances every year.  They love dramas, lengthy historical epics, and tales of patriotism, controversy, and triumph over adversity.

While strong female protagonists have been all but invisible in conventional war genre films (Jarhead, Hurt Locker, Black Hawk Down, Restrepo), a new sub-genre has cropped up that puts women at the center of military defense politics. From Alias and Salt to Homeland and the Oscar-nominated Zero Dark Thirty, we have witnessed the emergence of a contemporary screen obsession with watching ass-kicking female CIA agents hunting the world’s most elusive political terrorists. 

Some deserving films were left out of the drama category, but thankfully, many deserving actors were awarded their due. The few exceptions most definitely include Best Actress contender Quvenzhane` Wallis, the pint-sized wonder who enchanted in the emotional and profound Beasts of the Southern Wild, as well as Paul Thomas Anderson’s The Master for Best Picture. Perhaps the film was a bit beyond its time, or perhaps star Joaquin Phoenix’s flippant comments hurt The Master’s chances. Let’s hope it wasn’t the latter, because Phoenix gives a gut-wrenching, career-best performance in the film (and thankfully he was nominated for Best Actor.) Let’s also hope that the Oscars wise up and learn from the Globes’ mistake.