There have been a couple of constants where Iraq War cinematography is concerned. One, movie makers ignore the public appetite for movies supporting the anti-terror war message in favor of drab, depressing, preachy antiwar politicking featuring marquee names and little else. Two, those movies, which predictably bomb at the box office, are the rage of the film critics who levitate in ecstasy at the opportunity to praise that which trashes Bush, the war on terror (set ital) and (end ital) the military all at once. So how to explain "The Hurt Locker" and the critical rapture that surrounds it? Here's...