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On September, 11th 2001, four United Airlines American domestic flights are hijacked by terrorists. After the collision of two planes against the World Trade Center and one against the Pentagon, the passengers and crew of United Flight 93 unsuccessfully decide to struggle against the four terrorist to take back the control of the airplane.
UNITED 93, director Paul Greengrass's meticulous reconstruction of the events surrounding the crash--the result of a heroic struggle between the passengers and hijackers--of the fourth plane to be hijacked on September 11, 2001, is a landmark in filmmaking. Greengrass has chosen the most politically and emotionally charged source material available to an artist in the early 21st century, and shaped it into a psychologically draining, terrifyingly real, and technically brilliant film. Like his first feature-length work, BLOODY SUNDAY, UNITED 93 doesn't follow a traditional cinematic narrative structure; via hand-h...
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eld cameras, grainy DV stock, and frenetic editing, it instead presents a visceral (at times sickening) in-the-moment documentary-style experience that maximizes the film's unavoidable air of tension and dread without being crassly manipulative. Yet for all of its precision and craft, UNITED 93 still depicts one of the most terrifying ordeals the United States has ever had to face--and that it was released less than five years after those events took place plays an undeniably enormous role in how the film is received. It is impossible to watch UNITED 93 and not be profoundly moved, whether that emotion is fear, sadness, anxiety, or pure rage. And it is an emotional catharsis far removed from what is the filmmaker's delicate hand and deft touch. Greengrass, though, is quite fearless in his depiction of the chaos of the day--the President is frustratingly missing; the FAC, NORAD, and local air-traffic control centers are shown in a disoriented panic; and the terrorists are brutal and remorseless--and, to his credit, he avoids soft-pedaling any political agenda and doesn't blindly canonize the flight's passengers. Rather, their heroism is treated as the product of a logical decision made by ordinary men and women who found themselves in the most extraordinary and illogical of situations. And that, ultimately, is where the power of UNITED 93 lies.
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Bloody Sunday director Paul Greengrass marks the five-year anniversary on the September 11, 2001, terrorist attacks on the United States with this speculative meditation on the events that took place onboard the fourth hijacked plane, and the actions of the passengers who gave their lives to ensure the safety of others. Told in real time and acted out by a cast of unknowns who were provided with detailed studies of their real-life counterparts, United 93 attempts to reconstruct the airborne tragedy from the view of the ground and flight controllers, the passengers, and their nervous families awaiting word on the ...
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fate of their loved ones. As the terrified travelers and crew gradually become aware of the historical events taking place on the ground so far beneath them, the 90 minutes in which a random collection of strangers realized their fate and came together to confront an unthinkable threat are re-created.
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De film gaat over United Airlines vlucht 93 van 11 september 2001 die door terroristen werd overgenomen. De passagiers kwamen er door gesprekken op hun mobiele telefoons achter dat andere vliegtuigen al in de torens van het WTC waren gevlogen en dat hun vliegtuig op weg was naar Washington D.C. De film laat zien hoe de passagiers besloten in opstand te komen tegen de kapers in een wanhopige poging te voorkomen dat het vliegtuig zou neerstorten.
United 93 News Articles
September 11th, like any tragedy, can be easily exploited. It can be exploited for profit, for political gain, and for an easy strike at your emotional soft spots. But it can also be handled in a mature, thoughtful manner like Paul Greengrass ' United 93 . It's been over ten years since 9/11 and we must start accepting that the event can be used in a story that's not directly about 9/11. That's an incredibly tricky proposition because of the easy route to exploiting our national tragedy, and that's where Stephen Daldry 's adaptation of Extremely Loud and Incredibly Close seems to be going at its outset. Daldry has to scale a mountain of negative expectations as we struggle to see how 9/11 could be absolutely essential to the story. We must also contend with a painfully affected character played by a child actor gives a off-putting, robotic performance. But Daldry's brilliant direction ultimately
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