| 88 |
Chicago Tribune
An often brilliant, always revelatory, deeply interesting omnibus film.
|
| 80 |
The New Republic
Obviously the variety that was bound to result was part of Brigand's plan. The astonishment is that almost all of the assemblage is fascinating, very little is poor, and one segment is superb.
|
| 75 |
New York Daily News
Some segments are anti-American, but to concentrate on that is to miss the variety, depth of opinion, and fierceness of the emotions that drive each director.
|
| 75 |
Christian Science Monitor
They vary enormously in style, quality, and ideas, but the best of them -- by Gitai, Chahine, and Iñárritu, among others -- pack an enormous emotional and intellectual punch.
|
| 75 |
Seattle Post-Intelligencer
D. Parvaz
Overall, the film contains personal and political stories, as well as the macrocosm and the microcosm of chaos, rage, sadness and confusion.
|
| 75 |
Chicago Sun-Times
9/11 was a savage and heartless crime, and after the symbolism and the history and the imagery and the analysis, that is a point that must be made.
|
| 75 |
The Globe and Mail (Toronto)
The results are not monumental, but they are a variety of sober responses to the tragedy that help place the event in a global context. Some of the films may be, as has been suggested, anti-American in tone, but none come anywhere near defending the attacks.
|
| 70 |
Chicago Reader
They're all instructive and interesting in one way or another, and they're indispensable viewing for residents of isolationist, or at least isolated, countries such as this one.
|
| 70 |
TV Guide
The filmmakers' attempts come to terms with a recent catastrophe of indeterminate meaning but global consequences are often fascinating.
|
| 70 |
Variety
A sober, thought-provoking response to a tragedy of worldwide import and a much better film than one might expect from the pre-release publicity.
|
| 70 |
New York Magazine
An ungainly, intermittently harrowing omnibus filled with moments of piercing sorrow and rage.
|
| 70 |
The Onion (A.V. Club)
Until filmmakers get a little distance, maybe they'd be better off ignoring such projects.
|
| 67 |
Entertainment Weekly
In the most shocking contribution to this self-conscious but fascinating sampling of art challenged by life, Mexico's Alejandro González Iñárritu (''Amores Perros'') makes a horrifying suspense story.
|
| 67 |
Austin Chronicle
As a whole, September 11 never reaches any conclusions or ready insights. But as a collection of moments, the film often soars.
|
| 63 |
Boston Globe
Taken as a whole, the film says, "We grieve too, but like this, and this, and this."
|
| 60 |
LA Weekly
The films, both narrative and nonfictional, range from the engagingly elliptical...to the simple-minded... to the cloying and incomprehensible.
|
| 60 |
Los Angeles Times
It's no surprise that Imamura has directed the best film in September 11, which is doubtless why the producer saved it for last.
|
| 60 |
The New York Times
Most impressive, and the only segment that dares to criticize the terrorists directly, is Mr. Imamura's contribution, the last part of the film.
|
| 50 |
San Francisco Chronicle
The results are mixed. Many of the films are too long, and even worse, the collection as a whole doesn't come to grips with the human scale of the tragedy.
|
| 50 |
Washington Post
Of the pieces, two are first-rate, a few more are amusing or provocative, and the rest are actively annoying.
|
| 30 |
Washington Post
A crashing letdown.
|
| 30 |
Village Voice
It's hard to say if this devastating, nakedly exploitative work has a larger point beyond the evocation and infliction of trauma. A repeat viewing might clear that up, but it's an experience I'd rather not relive -- and one that I cannot in good faith recommend to anyone.
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