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100Greengrass has made not only a thoroughly fact-checked film but a film that uncontrovertibly comes from the heart.
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100Far from being exploitive, the effect is inspiring: This is the best of us.
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100This is a masterful and heartbreaking film, and it does honor to the memory of the victims.
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100The superb United 93, from the British writer-director Paul Greengrass, does not waste time defining the undefinable. Nor does it strain for poetry when, with this story, prose is enough.
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100It's Greengrass' way of asking a question that looms large in these post-9/11 days: Are we all praying to the same God, or is one man's God better than another, and one man's God vastly more terrifying?
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100One of the most harrowing, viscerally upsetting films ever made.
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100An unflinching, powerfully visceral and haunting portrait of the tragic events aboard one of the terrorist-commandeered flights on the fateful morning of Sept. 11, 2001.
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100United 93 is powerful not only in the way it provides hope through the actions of a few unlikely heroes, but in its ability to take us back through time to a day many of us would prefer not to remember, but will never forget.
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100You're unlikely to come across a more powerful film this year.
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100Impossible to recommend as a great Friday night out, yet agonisingly vital as thought-urging cinema.
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100There's no cheap uplift to their victory, no pop catharsis. What's great about United 93 is that you never feel it's just a movie - even though, as a movie, it's terrific.
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100What United 93 demonstrates, as if we needed proof, is that it is too soon - it may always be too soon - to sort out the feelings from that day.
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100I am here to tell you that Greengrass has fashioned one of the most powerful films I have ever seen, and that watching it makes you value your loved ones and your privileges more, perhaps, than you ever have. He has made a film that makes you feel, makes you think and makes you want to connect. And that, finally, might be the greatest thing that art can do.
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Brilliant, tightly focused, and momentous.
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100It is the highest compliment I can pay Greengrass to say that he is a master of the mundane, the routine and the everyday.
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100May be the most wrenching, profound and perfectly made movie nobody wants to see.
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100The controversial film that is unbearable--and unmissable.
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100Quite remarkably, though, its clear-eyed view of an unprecedented American tragedy leaves us with emotions that audiences of those earlier days would readily recognize -- love of country, bottomless grief, an appreciation of life's preciousness and fragility. A film that can do this and also teach is to be cherished. And seen. It's time.
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100Greengrass's movie is tightly wrapped, minutely drawn, and, no matter how frightening, superbly precise.
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91Pulling the bandage of sentiment cleanly away from oozing concepts like ''heroism'' and ''our nation's war on terror'' in the aftermath of recent wounds, here's a drama about the most politically charged crisis of our time that grants the dignity of autonomy to every soul involved.
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91A respectful, accomplished, non-exploitative piece of historical filmmaking and -- for audiences -- a gripping white-knuckle ride all the way.
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90The result is a tense, documentary-style drama that methodically builds a sense of dread despite the preordained outcome.
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90United 93 unfolds with the terrible inevitability of a modern-day "Battle of Algiers," with Greengrass exerting superb control of tone, structure and pace...United 93 may be the best movie I ever hated.
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89Instead of using actors, Greengrass employed many of the actual air traffic controllers and military commanders who were on the ground that day. Also aiding his film's universality is Greengrass' use of little known actors in the central roles, preventing stardom from affecting our ideas about heroism and patriotism.
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88There's nothing about United 93 that qualifies as entertainment in the traditional sense: It is an unpleasant, wrenching experience, which is just as it should be.
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88I wouldn't recommend the movie to anyone, but if the families of the victims take something positive from it, as their cooperation with Greengrass suggests they do, that's justification enough.
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88It's a long, brutal and honest look at a shattering event some Americans would apparently prefer not to see depicted - but also a respectful, inspiring one that's in no way exploitative or emotionally manipulative.
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88The movie is hard going, not least in the sense of powerlessness it leaves in an audience that knows exactly what will happen. And yet you come out feeling that the filmmakers have done the right thing by these people, and by this day.
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80It's an expertly made picture that I wish I could stamp out of my mind. What's the value of artistry that sucks the life out of you?
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80Best understood as a memorial…Like most memorials, it is respectful, premised on competing obligations to the dead and the living, and eager to stress that the deaths were not in vain. It not only tells us we should never forget but also illustrates how we should remember.
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80Intellectually, we know we should applaud the marvels United 93 has accomplished, and we do. But it is a film envisioned as a monument, a memorial tribute, and in our hearts we want something more. United 93 should have been made now, when memories and passions are still fresh, but it may play better in the future. If we have one.
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80This is first-rate, visceral filmmaking, no question: taut, watchful, free of false histrionics, as observant of the fear in the young terrorists' eyes as the hysteria in the passenger cabin, and smart enough to know this material doesn't need to be sensationalized or sentimentalized.
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80Greengrass takes pains to keep events believable and relatively unrhetorical, rejecting entertainment for the sake of sober reflection, though one has to ask how edifying this is apart from its reduction of the standard myths.
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75There's just nothing artful about it, and it's Greengrass who deserves the credit. These nonactors don't act the way most people do when playing themselves. They act the way people do when they're being themselves.
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75Greengrass's reluctance to unduly demonize the villains or overly sentimentalize the victims is commendable on the surface, but it tends to blur the two sides and to mask the gulf that separates them.
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75We all lived through this not so long ago; it's an odd thing to make a film whose most striking effect is its ability to bring the feelings of Sept. 11 flooding back, then close on a profoundly disturbing note. A crasser film would have been easier to digest and dismiss. It's hard to do either with United 93, and that's either its genius or its folly.
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70Its focus is purposely narrow. But that narrow focus, along with the lack of fully realized characters, and the absence of any historical or political context, raises the question of why, notwithstanding the usual (if shaky) commercial imperative, this particular movie was made.
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70To see the flight captain and co-pilot checking the plane before takeoff, to watch the varied passengers settling into their seats, is more agonizing than watching passengers board the ship in all those "Titanic" films. With United 93 we see these people unknowingly stepping into a history that is still in terrible process. But as a work in (let's call it) the Akhmatova mode, it does not and could not succeed.
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40United 93, as grueling as it was to sit through, left me feeling curiously unmoved and even slightly resentful.
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User score distribution:
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Positive: 110 out of 144
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Mixed: 9 out of 144
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Negative: 25 out of 144
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NickA.10
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D.J.Skippen5Good.