We are going to have to talk a bit about aesthetics and their relationship to fiction and reality here, and I will try to make that as painless as possible. Kathryn Bigelow's "The Hurt Locker" (opens tomorrow, if you live in a major city, looks like) is a very suspenseful, intentionally frightening (thriller-style) look at a wildman who defuses bombs during the early-middle stages of the Iraq war. It is about, Bigelow said the other night at MoMA, an "inexorable tide of potential violence." (She meant, I think, reality; real violence.) It is also gorgeous, and successfully shot in a manner that is intentionally documentary-like yet artful and immersive (manipulatively [...]