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We saw the promise in The Loveless and Blue Steel and the genius in Near Dark and Strange Days , defended Point Break and K The Widowmaker against detractors who saw them as nothing more than shallow pandering to the mainstream action movie market, and now watch with satisfaction the triumph of The Hurt Locker and with amusement the teapot tempest over the implications of a Best Director Oscar for Kathryn Bigelow. Bigelow is compellingly drawn to the things that make men and women different, the things that separate them. When her films focus on predominantly or exclusively male communities, they betray an interest in how the absence or rejection of women affects male behavior and consciousness. In almost equal proportion, Bigelow is also fascinated with the things that separate women from one another.
IT'S a terrible thing, being born too late. But their nostalgia expresses itself no more interestingly than through a lot of silly, lifeless posturing, plus the use of colors like chartreuse. This movie, a slavish homage to ''The Wild One,'' is full of peach and aqua luncheonette scenes, which give it some minuscule visual edge over the original. But otherwise, it's no improvement. Its evocation of tough- guy glamour is ridiculously stilted. And it regards the past with absolutely no perspective or wit. The motorcycle toughs who come tearing into a small town - actually, no one moves very quickly in this painfully slow exercise - are dressed in white T-shirts and black leather, to be sure.