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Andrew Niccol's "Lord of War" gets under way with the story of a bullet. The camera takes us inside an armaments factory, where, from the cartridge's point of view, we see a brass casing filled, sealed, picked up and inspected, thrown back into a pile, and crated. The box is then turned over to a Russian officer and shipped to African thugs, who take the cartridge out of its crate and give it to a fighter, who fires it into the head of an unsuspecting young boy. This sequence--at first nifty, then horrifying--is composed of many separate shots, but the editor, Zach Staenberg, cut the material in such a way that the bullet's progression feels continuous and inexorable. At ...