At the core of Del Toro’s performance is the same Oedipal anguish as De Palma’s Raising Cain; and though a father-son werewolf clash turns ludicrous, there’s a final flourish straight out of The Fury. Best of all is a liebestod, staged Romanek-style against a jugendstil waterfall where Lawrence grabs Gwen’s wrist—a shocking gesture of love just like the climax of Carrie. What’s missing from The Wolfman is De Palma’s sophisticated, humorous purpose, as Romanek surely intended.

It may be that movies, at least as they are currently made and consumed, can’t bridge the gulf between the theater of war and the arena of politics. It is also probably true that the soldiers who are the main characters in fictional and nonfictional war movies don’t talk much about the larger context in which they struggle to survive and get the job done.

Most notable among the ‘Product Placement Thanks’ is Nokia, a long-term army supplier across the world and a recent industrial partner of Siemens, a company notorious for their operation of factories which were converted into Nazi concentration camps during the Second World War. More pertinent to the Middle East, however, is a Nokia-Siemens partnership which sparked controversy – albeit since the release of Redacted – for its plans to provide Iran with telecommunication systems that would allow unprecedented monitoring of its already repressed citizens.

All this is not to suggest that films should be made without the assistance of these companies, or that we should somehow boycott every product that has an investment in the military-industrial complex, these are businesses after all, and military is big, big business.

But with Redacted, Brian De Palma (and his Producers) seem to be taking goods and/or money from such organisations on the one hand, and seeming to preach against the interests of these organisations on the other. Call it an act of subversion if you will, but it seems to be just another symptom of the confused creative approach to a frequently confusing war.

Nearly 40 years later, Brian De Palma advanced the hybrid form with his 2007 Iraq War thriller Redacted, weaving jihadi websites and Al Jazeera-style footage into a tapestry of "found footage" not unlike the elaborate collage of District 9. By comparison, Kathryn Bigelow's The Hurt Locker seems downright conservative, even though it marks a radical departure from the director's more classically constructed earlier work. To achieve the immersive effect she wanted, Bigelow turned to cinematographer Barry Ackroyd, whose background in documentaries had served him well with such verite-inclined directors as Ken Loach (Ladybird Ladybird) and Paul Greengrass (United 93).

"The reason she got in touch with me was because of United 93. She wanted that sense of immediacy and urgency," explains the d.p., who coached Bigelow in Greengrass' strategy of shooting long, continuous takes and letting the action move from one camera to the next. While the actors played close to the script, the camera crew was encouraged to improvise and avoid ever repeating the same take. "If in the end, the shot is out of focus, that's the equivalent of a beautifully framed shot because it betrays the emotion in it," Ackroyd says.