Frustrated over negotiations for a stay-behind force of U.S. troops in Afghanistan, President Obama is now weighing the possibility of a faster withdrawal and a “zero option” on troops going forward. That may signal the belated recognition of twin American defeats in the Afghan and Iraq wars, says Beverly Bandler.
Exclusive: At the heart of the new George W. Bush Presidential Library – and the Bush Family’s frantic efforts to rehabilitate its image – is a novel approach toward putting visitors on the spot by putting them in Bush’s shoes as he faced tough choices, a challenge that Robert Parry agrees to take on.
From the Archive: Director Kathryn Bigelow won an Oscar for “The Hurt Locker” and is in the running again with “Zero Dark Thirty,” but both movies have a troubling undercurrent of racism, heroic Americans operating in a world of apathetic or crazy Muslims, wrote Robert Parry.
From the Archive: “Zero Dark Thirty,” the big-screen chronicling of the manhunt for Osama bin Laden, won critical acclaim for its taut storytelling, but the Oscar-nominated film ignored the complex history between the CIA and its terrorist target, wrote Jim DiEugenio.
From the Archive: The hunt-for-bin-Laden film, “Zero Dark Thirty,” portrays torture as a key element in that search. But the filmmakers distorted the facts and ignored the reality that torture is illegal, immoral and dangerously ineffective, wrote Marjorie Cohn.
From the Archive: Two Oscar favorites – “Argo” and “Zero Dark Thirty” – purport to tell real-life stories about America’s troubles in the Middle East, one an escape-from-Iran thriller and the other a get-bin-Laden film. But neither confronts some hard realities, wrote Winslow Myers.
Exclusive: Director Kathryn Bigelow – in both Zero Dark Thirty and The Hurt Locker – presents stories of heroic Americans operating in a world of either apathetic or crazy Muslims, with little explanation of the whys behind the conflicts. This lack of context makes her films vacuous and depressing, writes Robert Parry.
Oscar buzz is humming about two movies recounting real-life chapters of U.S. policy in the Middle East – the get-bin-Laden film “Zero Dark Thirty” and the escape-Iran drama “Argo.” But neither provides an in-depth examination of the reality behind the events, writes Winslow Myers.
Movie-goers across America can now see the hunt-for-bin-Laden film, “Zero Dark Thirty,” and its graphic portrayal of torture as a key element in that search. But the filmmakers distort the facts and ignore the reality that torture is illegal, immoral and dangerously ineffective, writes Marjorie Cohn.
Exclusive: Zero Dark Thirty, the big-screen chronicling of the manhunt for Osama bin Laden, has been hailed by some critics for its taut storytelling, but it fails to confront the larger questions about 9/11, including the complex history between the CIA and its target, writes Jim DiEugenio.