This is the most deceptive misquoting of reviews I've ever seen. Are you out of your mind?

TIme magazine called it a near-perfect movie and said it was dynamite.
http://www.time.com/time/arts/article/0,8599,1838615,00.html?xid=rss-arts

I could go on but I wonder if whoever put these up has some kind of personal agenda against the movie and will even allow this post.

This is quote from TIME magazine's review:

I may think of a better depiction of the helplessness and heroism attending the U.S. presence in the war on terrorism, but for now I'll say this one's the tops.

Iraq war blasts onto Venice screen with 'Hurt Locker'
2 days ago
VENICE, Italy (AFP) — The war in Iraq blasted onto the screen at the Venice film festival on Thursday with a stunning portrayal by US director Kathryn Bigelow of the harrowing work of a bomb disposal team in "The Hurt Locker".
With a screenplay by Mark Boal, an embedded reporter in Iraq in 2003 and 2004, the film depicts the "volunteer soldier who actually chooses to go to this conflict, and chooses this particular situation," Bigelow said.
"My interest was to give this conflict a human face, to enable an audience to actually experience what a soldier experiences," she told a news conference. "There's accuracy and truth and realism that underscores all the images."
In the film, daredevil Sergeant James, played by Jeremy Renner, leads the unit with chilling nonchalance as he dons an 80-pound "bomb suit" in Iraq's searing heat to approach homemade explosive devices packing terrifying payloads.
The gut-wrenching scenes of the bombs they fail to reach, the mayhem catching civilians in the crossfire, the occasional human interaction between Americans and Iraqis, together paint a portrait of the futility of war.
While "Hurt Locker" is "primarily observational as opposed to polemical," Boal said, "if we show some slice of the war accurately, then we've achieved what we set out to do."
Boal also wrote the story for Oscar-nominated Iraq murder mystery "In the Valley of Elah," which screened here last year.

Another INSANELY positive review

http://www.thestar.com/entertainment/FilmFest/article/487954

Fest Bet: The Iraq war, brought down to the pavement
August 31, 2008
PETER HOWELL
MOVIE CRITIC
The Hurt Locker
Starring Guy Pearce, Jeremy Renner, Anthony Mackie and Brian Geraghty.

Directed by Kathryn Bigelow.

Just when you think the battle of Iraq war dramas has been fought and lost, along comes one that demands to be seen – if you can handle the raging adrenaline.

Kathryn Bigelow's The Hurt Locker strips the Iraqi conflict of politics and brings it right down to the garbage-strewn pavement, where lives are saved through skill and nerve but lost through bad luck and malevolence.

The film follows the men of Bravo Company, the elite U.S. army unit tasked with defusing bombs left on Baghdad streets by increasingly violent and determined insurgents.

The bomb-removal boys have robots and shrapnel-resistant suits at their disposal, but they can't stop every blast – as we see with devastating impact early on.

The job ultimately comes down to playing hunches, keeping your cool and staying ever vigilant. If the IED (improvised explosive device) doesn't get you, the sniper hiding on a nearby rooftop just might. If not on this street, then the next one.

Gutsy and gung-ho but new to Bravo is a sergeant named James (Jeremy Renner, in a breakout role), a reckless cowboy who has disarmed 873 bombs but is one short fuse away from being blown to kingdom come. He reminds himself of this with a collection of detonators he keeps under his bed.

His subordinates Sanborn (Anthony Mackie) and Eldridge (Brian Geraghty) are shocked by his methods and not shy about saying so, but are loyal to task and team.

Testosterone flows non-stop and so does blood, but these macho men are just getting the job done. In so doing, they reveal much about themselves and also deliver some home truths about the Iraqi quagmire. This is no message movie, yet insights abound.

Bigelow knows the male mind and she's an ace at action, as she's demonstrated before in films like Point Break and Strange Days. Now she can add titan of suspense to her laurels.

If you can sit through The Hurt Locker without your heart nearly pounding through your chest, you must be made of granite.

TOTALLY AGREE - what is up when a RAVE like the one RICHARD CORLISS gave HURT LOCKER in TIME is quoted to make it look like a middling review???? I mean READ THIS and tell me that that wasn't deliberate. Hello - this is a film that got a TEN MINUTE STANDING OVATION AT VENICE!!!

he U.S. Army bomb disposal unit has three men: an intelligence officer, the specialist who covers the scene with his rifle and the staff sergeant who walks up to the device and tries to turn it off. Today there's a report of one on a Baghdad street. Mission simple to define — "Let them know that if they're gonna leave a bomb on the side of the road," the staff sergeant says, "we're gonna blow up their f---in' road" — but way harder to accomplish. As he walks toward the contaminated area wearing a heavily insulated space suit on a 130-degree day, he catches the corner-eyesight of a man about to use a cell phone. The spaceman turns and runs. Too late: BOOM! The bomb detonates and so does he. Blood seeps down his helmet visor like red rain on the wrong side of a car windshield.
RELATED ARTICLES
Postcards from the Venice Film Festival
TIME film critic Richard Corliss searches for masterpieces in the Adriatic sun

Americans Win the War on Terror!
The Kingdom starring Jamie Foxx. Frank Connor / Universal ...
9/11 in Toronto
Nathan (L) and Tomas Young in a still from the documentary film, Body of War ...
Coming Home Isn’t Easy
They joined the military into college, or out of the ghetto, or because of its seemingly studly gl...
Stop-Loss Tells a Painfully Necessary Story
Not to put too fine a point on it, Stop-Loss is a movie about getting screwed. By your own governmen...

This is the first scene of The Hurt Locker, which has its world premiere here at the Venice Film Festival before playing Sunday at the Toronto fest. No U.S. opening or distributor has been secured, but that should change once festival people strap themselves in for this dynamite drive through the Iraq occupation. (Make that war.) Except for a few digressive scenes — a solo sortie of personal vengeance, a conversation about what it all means — that could easily be cut from the 2 hr. 11 min. running time, The Hurt Locker is a near-perfect movie about men in war, men at work. Through sturdy imagery and violent action, it says that even Hell needs heroes.
The director, Kathryn Bigelow, has paraded her adroitness with complex stories about oddball characters in two curious subgenres: Near Dark (1987) was the all-time teenage vampire love story, Point Break (1991) the all-time surfer-heist movie. The scriptwriter, Marc Boal, is a journalist for Rolling Stone, The Village Voice and Playboy, which ran a story that Paul Haggis expanded into the sharpest of last year's Iraq-related dramas, In the Valley of Elah. These two filmmakers have pooled their complementary talents to make one of the rare war movies that's strong but not shrill, and sympathetic to guys doing an impossible job.
With the death of their boss, and 38 days left in their rotation, the two survivors — Sgt. J.T. "Bomber Mike" Sanborn (Anthony Mackie) and Specialist Owen Eldridge (Brian Geraghty) get a new guy, Staff Sgt. William James (Jeremy Renner), who lacks the dead man's leadership skills or his bluff camaraderie. James doesn't say much, just does his own thing, which is to keep little pieces of Baghdad from blowing up.
On his first mission, James releases a cloud of smoke, protecting him from sharpshooters but obliterating his comrades' view of him. (There's another company ready to cover him closer to the action.) A taxi has just edged toward the suspected device; he tells the driver to back out of the area. No movement. James walks closer, repeats the order; stillness. He puts his gun against the man's head: "Wanna back up?" The car slides into reverse. "Well, if he wasn't an insurgent," somebody says, "he sure is now." Finding a string nearly buried in the street dirt, James finds it attached to seven bombs and matter-of-factly snaps the wire for each. OK, that's done. Piece of cake, seven slices.
It's a creepy marvel to watch James in action. He has the cool aplomb, analytical acumen and attention to detail of a great athlete, or a master psychopath, maybe both. A quote from former New York Times Iraq expert Christopher Hedges that opens the film says, "War is a drug." Movies often editorialize on this theme: the man who's a misfit back home but an efficient, imaginative killing machine on the battlefield. Bigelow and Boal aren't after that. They're saying that, in a hellish peace-keeping operation like the U.S. deployment in Iraq and Afghanistan (James' previous assignment), the Army needs guys like James.

Some people have the luck or curse to do what they're supremely good at; and the exercise of that skill gives pleasure, even if the job carries the imminent risk of death. The talent that another man might have for making bombs, James has for finding and silencing them. It's not just his job, it's his vocation. Whether he's stripping a car piece by piece or cutting open a boy's stomach to pull out an IED, James has the instincts, let's say the genius, to do it. "Mission accomplished" is not a Presidential PR phrase, it's a definition of this man at work. It'd be a crime not to apply his expertise to saving lives. James is also in it for the fun. We learn that he has a wife and a baby back home, but Baghdad is where he feels most alive — performing a task that could end his life. If defusing bombs isn't a drug for James, it's a stimulant, pure caffeine, his headiest, most essential adrenaline.
A genius makes his own rules; a soldier isn't supposed to. Before examining the suspect car, James doffs his space suit; at this close range it won't offer much protection. ("If I'm gonna die, I'm gonna be comfortable.") More recklessly, he tosses his headset on the ground, so he doesn't have to hear Sanborn's pleas to get the hell out of there. Groups of men have gathered at storefronts, on the balconies and roofs of apartment houses, and James' lone-gunman bravado could jeopardize the mission. But a genius has to stay focused. There's got to be a bomb in here somewhere; ah, under the hood. Though his mates aren't crazy about his methods — Sanborn sucker-punches James in the jaw after this little escapade — they'll come to appreciate him. "Not very good with people, are you," Eldridge tells James, "but you're a good warrior."
The heart of the film is a half dozen sequences, most of them on bomb-squad detail, one long, terrific one showing the unit holed up with some Brit mercenaries (led by Ralph Fiennes, the star of Bigelow's 1995 futuristic movie Strange Days) fighting off fire from al-Qaeda-in-Iraq types out in the desert. Boal and Bigelow know that there's enough tension in the act of walking up to a bomb and trying to defuse it; they don't have to amp up the suspense with theatrics.
The appearances by some familiar faces — Fiennes, Guy Pearce, David Morse — are all too brief. But the three leads don't make you long for star power. They're fine: Mackie as the veteran who plays by the book, Geraghty as the subordinate with jumpy nerves, and especially Renner. He's had supporting roles in North Country, 28 Days Later and The Assassination of Jesse James by the Coward Robert Ford, but this is his big chance, and he seizes it. He's ordinary, pudgy-faced, quiet, and at first seems to lack the screen charisma to carry a film. That supposition vanishes in a few minutes, as Renner slowly reveals the strength, confidence and unpredictability of a young Russell Crowe. The merging of actor and character is one of the big things to love about this movie. The other is that its tone, of steely calm, takes its cue from the character it so acutely observes. It's as if James was not only the subject of the movie — he made it.
Later I may think of a better depiction of the helplessness and heroism attending the U.S. presence in the war on terrorism, but for now I'll say this one's the tops

BY THE WAY - word on the street is that Mr. Elley was going around town saying how much he LOVED the movie -- so why the switch, Derek?? The Italian press is also apparently up in arms about the whole thing because it was THEIR favorite film.

People, people, before you get too excited, please know these are just a few quotes from what I found just after the film premiere. Maybe in the mean time, other reviews were put up. And honestly, if you actually read my post, you can see a quote from TIME, which you mentioned as well. These are just samples, and if the rest of the review is positive, well click on the links above. Even if these quotes sound negative to you, they are exactly what these critics wrote. Attack them for putting this in their reviews.

And warmovie, for the sake of accuracy, pay attention to what you type. These are not misquoted, but all accurate quotes from actual reviews. No hate intended folks, it;s a movie, don't jump out the window.

Another thing. I sure do not have an agenda against any film, but you clearly seem to have one FOR this genre. SO that automatically makes it better huh?:)

Man, your post is biased. You sure did copy exact quotes, it`s just that these quotes odn`t represent the reviews accurately...

Maybe the quotes are biased because the movie is not outright anti-Iraq war. Liberals are automatically against any movie where the Americans are the good guys and the terrorists are the bad guys. Just like the amazing movie "The Kingdom" got mediocre at best reviews.