U.S., the killing of bin Laden. Here, too, was a film that didn’t tell us how to react to its discomfiting footage of a CIA operative subjecting a detainee to acts of matter-of-fact brutality.The grave, troubling ambiguity of “Zero Dark Thirty,” what makes it a work of truly radical moral complexity, is that even if one perceives a causal link between the early scenes of interrogation and the eventual discovery of bin Laden’s whereabouts — a link that I would dispute, given all the missteps, false leads, strokes of good luck and non-torture-related detective work along the way — Bigelow and screenwriter Mark Boal never fall into the trap of suggesting that an effective tactic is automatically a necessary or ethical one. Coolly dispassionate in their refusal to justify either the ends or the means, the filmmakers instead leave us to ponder a series of questions: Is the destruction of absolute evil worth the lengths some men will go to achieve it? Does barbarism become excusable on those rare occasions when it might produce a desirable outcome?

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