United 93

The unreservedly enthusiastic foreign responses did not lie. In the beginning, Greengrass brilliantly gives the viewer a glimpse into the 9/11 shock and awe of what's going on in the flight centers (I guarantee that although you've seen the second plane crash into one of the Twin Towers at least a hundred times, Greengrass's rendition of the visually haunting footage will give you the chills again). The last 40 minutes, starting with the hijacking of the plane, is an incredible emotional ride, at the end of which, in the scene where the passengers break into the cockpit, I had a heart rate of about 220 and was picking my dropped jaw up off the floor; this despite knowing how it all turns out. Brilliant! And if you're worried about the pathos, with shots full of stars and blue-red stripes, you fear is unwarranted, Greengrass is just too good for that. PS: Given the incredible courage shown by some of the passengers, which the film captures so powerfully, I believe their survivors could not have asked for a better cinematic epitaph. (05/06/2006)

In a way, it is a second Schindler's List. It is equally artistically precise, with thematic weight added. These two aspects together form a unique work that certainly deserves nothing less than full appreciation. Paul Greengrass is able to create incredible authenticity with a smart use of handheld camera, aided by excellently chosen (completely unknown) actors. The tension escalates, the situation intensifies, and the viewer is left astounded in a truly unprecedented way. One of the most suggestive, rawest, and definitely best films of the year, which won't win an Oscar simply because it feels too unlike a movie throughout its entire running time. (22/06/2006)

Today it’s five years since “it" happened, but right now I feel like I just experienced it again. Just like being there. I don’t think I ever saw a more real-life movie. Greengrass captured the events of 9/11 brilliantly, at the same time erecting a movie memorial to all victims of those attacks. Powell’s music just goes to augment the whole situation and instills a storm of emotions inside you which you might not find pleasant at all. (12/09/2006)

During the film I was convinced of a final four-star rating (the confusion in the control centre was wonderfully directed, but wasn’t that much fun), but the last half hour is something so incredibly and brilliantly impressive that I’m giving it five stars without any remorse. I’ve never seen a stronger “historical” film. 93% (28/12/2008)

Greengrass applies the successful recipe from Bloody Sunday here as well (especially his trademark immersion technique, making you one of the passengers) - and again it works out exceedingly well. Almost everything here follows the same pattern and yet it’s so very different. The first 75 minutes are dedicated to reconstructing the chaos surrounding the first plane crashes, and then during the final quarter hour absolutely drains you emotionally onboard United 93. Again, where possible, he uses real characters "as themselves". Once again he revels in unobtrusive yet impressive music, in maximum detail using hand held cameras, and totally apolitically. Impressive, although as a movie it is difficult to evaluate, but the experience is truly powerful. ♫ OST score: 4/5 (25/08/2006)