It’s how I felt about “Zero Dark Thirty” (2012), which, unlike “The Mauritanian,” didn’t even take much of a moral position on the torture we were witnessing.
Both films exist as something of a rejoinder to Kathryn Bigelow’s Zero Dark Thirty , a film that wasn’t nearly as skeptical about American anti-terrorism policies.
“The Mauritanian,” in other words, joins 2019’s “The Report” in reviving a dormant subgenre of war-on-terror thrillers that, with one brilliant exception (“Zero Dark Thirty”), has produced little more than a series of bland, hopelessly dated exercises in high-minded hand wringing.
“The Mauritanian” is a tough movie, and not an easy one to enjoy, marking the polar opposite of the gung-ho fight-terrorism-at-any-cost attitude of post-9/11 productions such as “24” and “Zero Dark Thirty,” in which the ends justify the means.
We’ve seen these stories before in Zero Dark Thirty , documentaries such as Ghosts of Abu Ghraib , or the aforementioned The Report .