Ajouter une intrigue dans votre langueMore chilling than Syriana and United 93, events highlighted in the best selling report from the 9/11 commission expose a string of missed opportunities that lead to our nation's greatest tr... Tout lireMore chilling than Syriana and United 93, events highlighted in the best selling report from the 9/11 commission expose a string of missed opportunities that lead to our nation's greatest tragedy.More chilling than Syriana and United 93, events highlighted in the best selling report from the 9/11 commission expose a string of missed opportunities that lead to our nation's greatest tragedy.
- Réalisation
- Scénario
- Casting principal
- Ali
- (as Alby Castro)
- Moussaoui
- (as Jason Gray)
- Clancy
- (as Dean Arevalo)
Avis à la une
1) The video quality appears to be something from an entry level consumer video camera.
2) Shots taken on the streets have massive camera bobbing and make you feel sick and unable to focus.
3)The audio almost never syncs with the video. In fact sometimes it's a full second off.
4) The volume must often be turned way up to hear certain scenes.
5) The actors dialog always seems muffled.
6) There are no subtitles to understand extremely muffled scenes which makes it hard to follow the plot.
7) Even shots taken from a stationary point have an unsteady camera view. They never bothered buying a tripod I suppose.
As for the quality of the story... I really can't give that an honest opinion because I simply couldn't catch it all due to the above technical flaws. I really wish it had subtitles it would be possible to follow.
All-in-all: Rent something else. This is too difficult to watch. The parts you can actually hear seem interesting, but you just can't follow most of it without subtitles --which aren't present.
You can sense Scott emulating Greengrass's technique for realism, but it becomes rather lame-brained halfway in. Meanwhile the film comes off less a "Traffic" take off, and more a take off on "Law & Order" in which we'll have the disclaimer notifying us the names have been changed, the logo almost reminiscent of the "Law & Order" logo, and then ninety minutes of the actors pumping their chests and discussing politics.
Neither of which are ever as compelling as it tries to be. And then when the film seems as if its attempting to be an adult drama, Scott relies on his old failsafe, the sex scene. Scott's new film looks like it really wants to be thought of as a low budget "Munich" but it's not, and it manages to be underwhelming on every such occasion possible. "The 9/11 Commission Report" falls flat, and that's because its limited in its attempts to imitate other films.
While I appreciate the ambition inherent behind the camera, this new perspective of the events leading up to 9/11 is flat, and dull. Hard as it may try to be a low-budget "Munich" it's only really as entertaining as a normal Dolph Lundgren film you'd find on Cinemax.
Instead, I got an almost incomprehensible, violent movie. The only good thing about it for me, was that it made me want to read the report, to figure out what the heck this movie was about.
I wrote this because I am shocked that we have become so immune to violence in films and on TV, that it was not even worth commenting on by the bloggers whose reviews that I read.
While the film may present some info from the report in the drama, you're taking the word of the producers - there's no reference to the commission report anywhere in the film. Not one.
The acting, all around, is pretty bad - pretty much all of the stereotypes of 'hot shot' bitchy foul mouthed government agents, each thinking they know more than everyone else. There may be some truth to it, but it really has a bad Hollywood stereotype smell to it.
IMDb's user community ratings & comments tend to be more right than wrong, and I have started to glance at the ratings before renting whenever I can.
I wish I had on this one.
Le saviez-vous
- AnecdotesThe film was released to capitalize on Vol 93 (2006) and World Trade Center (2006), which were films that also focused on the attacks of September 11th, 2001.
- Citations
Jamie: Any ideas what to do with Moussaoui?
Gary: Ben says deport him. Get him the fuck out of here.
Jamie: At least that way he can't do anything to us.
Rosalind: No, we can't do that. He's part of something bigger. I know it.
Jamie: How do you know it's something bigger?
Rosalind: I don't know. I... don't know. It's like a sixth sense or something. Why does a cop check the trunk of a car in a routine traffic stop only to find a kilo of cocaine?
Jamie: Legally we can't. That's the point.
Gary: I'm curious. What do you think he's up to? Do you have some kind of detailed idea?
Rosalind: Yes. Yes, I do.
Jamie: I'm all ears.
Rosalind: Okay, we've received memos from headquarters and the FAA. There were two of them that stuck out in my mind. One was from Arizona about Arab men attending flight schools. So we assume that there are more men like Moussaoui out there. The second was about possible hijackings. They uncovered a plot to negotiate the release of the blind sheik in New York who masterminded the 1993 bombing of the World Trade Center.
Jamie: Go on.
Rosalind: Well, Moussaoui joined a gym, right? Took kickboxing classes. His roommate said that they practiced wrestling. Yet he had shin guards and knifes when we arrested him. Think about this. Moussaoui is part of a hijacking plot here in the US. Small teams of five maybe six Arab men. One of them is a pilot. They take control of a plane. Subdue the crew. Because of FAA instructions, the crew and passengers are told not to resist because the hijackers are gonna negotiate. Right? Only this is no ordinary hijacking. They don't negotiate. Once these Arab hijackers have control of the plane, they change the flight patterns. Instead of flying to another country or another state where they land the plane to negotiate with the authorities, they turn commercial airlines into weapons of mass destruction. Manned missiles. They crash the airliner into a building with the deliberate intent to kill themselves and all the passengers on-board and as many civilians on the ground. They leave behind no claim of responsibility. Osama Bin Laden and the other masterminds behind this who recruited the hijackers publicly issue plausible deny ability. Nothing to connect them to the Arab hijackers. It's too perfect.
Jamie: I remember the World Trade Center terrorists discussing a plan to trash a small plane into CIA Headquarters. This whole idea is not that far fetched.
Gary: That's why Moussaoui wanted to know so much about fuel payloads.
Rosalind: And they train far from their targets. They're not a lot of landmarks in Arizona or Oklahoma or here in Minnesota, but there are sure a lot of them in New York, LA, Chicago, Washington DC.
Jamie: We can't just deport this guy. We need to follow it up.
Gary: What if we do deport him? We deport him now, but we deport his belongings later.
Jamie: What's that gonna do?
Gary: The airlines are constantly loosing my luggage. So it's not that inconceivable that we, a bureaucracy like the FBI, might loose a couple of things.
Rosalind: Okay, so if we search his belongings over international waters or in France, we're not breaking any laws.
Jamie: I like it. So first thing tomorrow, we push for deportation.
Gary: It's a pretty quick process without putting him on a plane in two or three weeks.
Jamie: Okay, lets shoot for three weeks from now, which is September 17.
Rosalind: Wait. Moussaoui paid for two weeks of flight training. Only two weeks. We have to do this immediately.
Jamie: First of all we cannot just put this guy on a plane. There's a procedure here and it's called the Constitution.
Rosalind: But the Constitution is not a suicide pack. Whatever that Moussoui is planning is happening soon.
Gary: Hold on here. This is the best plan we have on the table. Do you have a better idea?
Jamie: Who's got friends in France?
Rosalind: There's an agent I know who is pretty helpful.
Gary: Okay, call them. Let them know what we're up to. Tell them about Moussaoui. But not everything.
Jamie: I think we're doing a good thing there. At least we can agree on that.
- ConnexionsReferenced in Dead Meat Podcast: The Asylum Movie Title Game (2019)
Meilleurs choix
Détails
Box-office
- Budget
- 1 000 000 $US (estimé)