donstuie
Lifetime Total
5+
Lifetime Filmo
1+
IMDb Member
22 years
Reviews
AVPR: Aliens vs Predator - Requiem (2007)
Requiem is an appropriate name
Against my own better judgment I went to see this film today, and God I wish I hadn't. Awful. The first AvP film looks like a classic compared to this, it's THAT bad. These guys actually make Paul WS Anderson look like a master storyteller. In fact, this is what I'd expect an Alien and/or Predator film to look like if it was made by Uwe Boll! This movie actually offended me, and Lord only knows what would transpire if Ridley Scott or HR Giger were ever forced to watch this piece of crap. I can't understand how any fan of either franchise could like this film.
Truly I don't know where to begin. I mean, the first AvP was poop, but it at least a semi-interesting story and setting, and occasionally some genuine tension. It didn't take itself overly seriously and it could at least be semi enjoyed on a purely "leave your brain at home" basis. But this one, it felt to me as though the people behind it thought they were making the next horror masterpiece. One after the other was a contrived 'suspenseful' scene in a dark room or corridor with creepy music playing, essentially bashing you over the head saying "be scared NOW". As James Cameron once said, you can't be told to be scared, you can only have your own senses heightened. The guys that made this film obviously weren't paying attention because they tried everything in the book to force you to be scared rather than letting you come to that level yourself. It's a cliché for internet nerds to say "God, I was so bored from this movie and felt like leaving", well this is exactly how I felt, even in the middle of the action scenes. They took this film totally seriously, which removed any possibility of enjoyment. Even the gag about how governments don't lie to their people was played without a hint of irony.
As for the characters, I knew going in that the human characters were going to be completely pointless to this film but seriously if they're going to be on-screen at least have them doing SOMETHING that is relevant to the story. I don't care about this guy being beaten up by his dreamgirl's boyfriend, I don't care about the mother who's "own daughter doesn't even know her, boo-hoo!" (a pair of night-vision goggles for a present? Give me a break!) or the released criminal just trying to make a decent living and set an example for his brother, what a guy. Hell, even the obligatory hot-chick-in-panties moment was more contrived than usual. I get the feeling they expected the audience to be so shocked at the ending, as well as seeing chestbursters come out of kids, expectant mothers being raped and the like, that that would make up for everything. I don't think so.
Then we move onto the stars of the film, and again very little to write home about. Were the aliens well-designed? I wouldn't have a clue because you can never see the damn things. All you see is one of a mouth, a head, a tail or a really dodgy cg outline climbing a wall, and barely enough to actually process that it is in fact an alien before Mr "I cut Marilyn Manson and NIN music videos, think I'll do the same thing here" Editor goes at it with the slice tool. Also, notice how hack action directors always set their films at night and in the rain? Hmmmm. The Predator could've been fighting giant sea monkeys for all we knew! Yes, the Predator was more impressive this time around, and I did think some of the new weaponry was cool, but that was about it. Also, since when does a Predator sound like a dinosaur from The Lost World? There were a couple of things that I kinda liked though. One was the use of sound effects and music from the original films (I also giggled a little bit at "Get to the chopper!"), although other references were stupid (The main character's name being Dallas, give me a break). I also liked the visual FX for the Predator's vision, as well as how the hybrid alien looked (certainly beat the one from Resurrection). But really, those are the only positive things.
Overall I found this movie inane, pointless, insulting and above all else offensive to the vision of the original creators of both creatures. That they've left the door open for another one leaves me almost depressed.
If they had any decency they'd remove Dan O'Bannon, Ron Schusett and HR Giger from the credits of this film. They've done nothing to deserve this.
Truly I don't know where to begin. I mean, the first AvP was poop, but it at least a semi-interesting story and setting, and occasionally some genuine tension. It didn't take itself overly seriously and it could at least be semi enjoyed on a purely "leave your brain at home" basis. But this one, it felt to me as though the people behind it thought they were making the next horror masterpiece. One after the other was a contrived 'suspenseful' scene in a dark room or corridor with creepy music playing, essentially bashing you over the head saying "be scared NOW". As James Cameron once said, you can't be told to be scared, you can only have your own senses heightened. The guys that made this film obviously weren't paying attention because they tried everything in the book to force you to be scared rather than letting you come to that level yourself. It's a cliché for internet nerds to say "God, I was so bored from this movie and felt like leaving", well this is exactly how I felt, even in the middle of the action scenes. They took this film totally seriously, which removed any possibility of enjoyment. Even the gag about how governments don't lie to their people was played without a hint of irony.
As for the characters, I knew going in that the human characters were going to be completely pointless to this film but seriously if they're going to be on-screen at least have them doing SOMETHING that is relevant to the story. I don't care about this guy being beaten up by his dreamgirl's boyfriend, I don't care about the mother who's "own daughter doesn't even know her, boo-hoo!" (a pair of night-vision goggles for a present? Give me a break!) or the released criminal just trying to make a decent living and set an example for his brother, what a guy. Hell, even the obligatory hot-chick-in-panties moment was more contrived than usual. I get the feeling they expected the audience to be so shocked at the ending, as well as seeing chestbursters come out of kids, expectant mothers being raped and the like, that that would make up for everything. I don't think so.
Then we move onto the stars of the film, and again very little to write home about. Were the aliens well-designed? I wouldn't have a clue because you can never see the damn things. All you see is one of a mouth, a head, a tail or a really dodgy cg outline climbing a wall, and barely enough to actually process that it is in fact an alien before Mr "I cut Marilyn Manson and NIN music videos, think I'll do the same thing here" Editor goes at it with the slice tool. Also, notice how hack action directors always set their films at night and in the rain? Hmmmm. The Predator could've been fighting giant sea monkeys for all we knew! Yes, the Predator was more impressive this time around, and I did think some of the new weaponry was cool, but that was about it. Also, since when does a Predator sound like a dinosaur from The Lost World? There were a couple of things that I kinda liked though. One was the use of sound effects and music from the original films (I also giggled a little bit at "Get to the chopper!"), although other references were stupid (The main character's name being Dallas, give me a break). I also liked the visual FX for the Predator's vision, as well as how the hybrid alien looked (certainly beat the one from Resurrection). But really, those are the only positive things.
Overall I found this movie inane, pointless, insulting and above all else offensive to the vision of the original creators of both creatures. That they've left the door open for another one leaves me almost depressed.
If they had any decency they'd remove Dan O'Bannon, Ron Schusett and HR Giger from the credits of this film. They've done nothing to deserve this.
Transformers (2007)
Michael Bay, I was wrong
Yes, I was one of those guys who thought this movie was doomed when Bay's name was mentioned. How wrong I was.
What a ****ing spectacular movie! Forget the rest, THIS is the movie extravaganza of the year, and without a doubt redeems Michael Bay in my eyes. As one of those fanboys who's bile caught in my throat when I heard Bay was the man in charge, I now humbly admit my mistake.
The film begins in spectacular fashion, with a brief voice-over from Optimus Prime going over the basics to get us going, followed by the attack on the army base in the middle east that we have seen in trailers. This opening scene for me is one of the most visually spectacular openings I've witness, and had great tension, followed by incredible action. It really gets you into the headspace for what to expect from this movie.
We then meet Sam Witwicky (Lebouf), who is searching for his first car with his old man (again, as seen in the trailer), with a great cameo from Bernie Mac. Lebouf is actually very strong in this film, and expertly plays the uncomfortable teen who at first seems out of his depth with what is happening around him, but gradually grows as the film progresses. As for Megan Fox, well, let's just say she had very little to do other than get dirty and sweaty, and occasionally show some girl power. Considering the subject matter, performances are pretty solid throughout. Especially from Turturro who plays what can only be described as a ****ing nut-job CIA type. Yes there is some tacky dialogue, way-too-obvious product placement and stuff that has you rolling your eyes in disbelief, but at the same time there is some great humour and really poignant moments at times. I thought the acting was perfect for the type of film this is.
But enough about the meatbags, onto the real stars. Visually these guys look incredible. Some of the best VFX you will ever see in a movie, and the action sequences left me speechless. My only beef is that we don't see a whole lot of the decepticons after the first 1/3 of the film, and Megatron and Starscream only appear at the end. Much more time is devoted to the autobots, and perhaps a bit too much time. But I can't lie and say I didn't feel giddy seeing that blue truck entering through the smokey darkness. The climax of the film is a sight to behold, as the autobots and decepticons tear the **** out of central LA. Overall the visual effects and action are truly unbelievable, and still have me more than a little speechless. I suggest you go and see for yourself.
No doubt this film will have its haters, but I absolutely loved every second of it. It was most definitely Transformers in body and spirit.
What a ****ing spectacular movie! Forget the rest, THIS is the movie extravaganza of the year, and without a doubt redeems Michael Bay in my eyes. As one of those fanboys who's bile caught in my throat when I heard Bay was the man in charge, I now humbly admit my mistake.
The film begins in spectacular fashion, with a brief voice-over from Optimus Prime going over the basics to get us going, followed by the attack on the army base in the middle east that we have seen in trailers. This opening scene for me is one of the most visually spectacular openings I've witness, and had great tension, followed by incredible action. It really gets you into the headspace for what to expect from this movie.
We then meet Sam Witwicky (Lebouf), who is searching for his first car with his old man (again, as seen in the trailer), with a great cameo from Bernie Mac. Lebouf is actually very strong in this film, and expertly plays the uncomfortable teen who at first seems out of his depth with what is happening around him, but gradually grows as the film progresses. As for Megan Fox, well, let's just say she had very little to do other than get dirty and sweaty, and occasionally show some girl power. Considering the subject matter, performances are pretty solid throughout. Especially from Turturro who plays what can only be described as a ****ing nut-job CIA type. Yes there is some tacky dialogue, way-too-obvious product placement and stuff that has you rolling your eyes in disbelief, but at the same time there is some great humour and really poignant moments at times. I thought the acting was perfect for the type of film this is.
But enough about the meatbags, onto the real stars. Visually these guys look incredible. Some of the best VFX you will ever see in a movie, and the action sequences left me speechless. My only beef is that we don't see a whole lot of the decepticons after the first 1/3 of the film, and Megatron and Starscream only appear at the end. Much more time is devoted to the autobots, and perhaps a bit too much time. But I can't lie and say I didn't feel giddy seeing that blue truck entering through the smokey darkness. The climax of the film is a sight to behold, as the autobots and decepticons tear the **** out of central LA. Overall the visual effects and action are truly unbelievable, and still have me more than a little speechless. I suggest you go and see for yourself.
No doubt this film will have its haters, but I absolutely loved every second of it. It was most definitely Transformers in body and spirit.
Zodiac (2007)
Fincher's finest moment as a filmmaker?
It bugged me to learn that this film was being marketed as "From the man who brought you Se7en", because I knew that it would possibly hurt the film because not only is Se7en a true masterpiece of the thriller genre that may never be eclipsed in our lifetime, but this is a different universe altogether, and a different time.
Forget the shocking thrills, and overall creepiness of the former. This is a film made by a director with complete control of his art, like the steady hand of a painter or sculptor. A measured look at the often forgotten victims of serial killers, the people that had to live with it daily as their lot in life. To add cheap scares or abrupt music-video style editing to such a human drama would greatly diminish the effect of this film. After this film Fincher is no longer just a master of thrills, but a master of storytelling.
The beginning of the film begins in expected fashion. A young couple sitting in lover's lane, gunned down in their car; the first victims (but ones that would have huge value even 20+ years later). From here we move to the life and times of those for whom the Zodiac would become their life, and it is through these eyes that this movie is played out. We see the wide-eyed wonder and utter determination and obsession of Gyllenhall's Graysmith, the cynical and drunken musings of Paul Avery (Downey Jnr was born to play this role) and the slow disintegration of Det Dave Toschi (Mark Ruffalo's best performance IMO). While the first 1/3 of the film does contain some very graphic and frightening murder scenes, the majority of the film strays away from that to the point where Zodiac is part of the furniture for these guys, and we can see in their frazzled faces (no doubt due to Fincher's meticulous need for perfection which famously rubbed the actors the wrong way).
We're with these guys every step of the way. Every dead-end, every empty alley, every frustrating act of red-tape and bureaucracy. Years pass with a simple fade-to-black, or in one case a time-lapse of the building of the TransAmerica building. While not much "happens" in this film, we are captivated throughout, and while we know what the final result would be it doesn't make the whole experience any less frustrating or heartbreaking. We're in it with these guys, and we feel their pain and frustration, and this is a credit to Fincher, and his need for perfection.
This definitely isn't a film for the Se7en/Fight Club "crowd", but for anyone who enjoys great storytelling and human drama in its most real and naked form, see Zodiac.
Mr Fincher, you've made a lot of believers out there.
Forget the shocking thrills, and overall creepiness of the former. This is a film made by a director with complete control of his art, like the steady hand of a painter or sculptor. A measured look at the often forgotten victims of serial killers, the people that had to live with it daily as their lot in life. To add cheap scares or abrupt music-video style editing to such a human drama would greatly diminish the effect of this film. After this film Fincher is no longer just a master of thrills, but a master of storytelling.
The beginning of the film begins in expected fashion. A young couple sitting in lover's lane, gunned down in their car; the first victims (but ones that would have huge value even 20+ years later). From here we move to the life and times of those for whom the Zodiac would become their life, and it is through these eyes that this movie is played out. We see the wide-eyed wonder and utter determination and obsession of Gyllenhall's Graysmith, the cynical and drunken musings of Paul Avery (Downey Jnr was born to play this role) and the slow disintegration of Det Dave Toschi (Mark Ruffalo's best performance IMO). While the first 1/3 of the film does contain some very graphic and frightening murder scenes, the majority of the film strays away from that to the point where Zodiac is part of the furniture for these guys, and we can see in their frazzled faces (no doubt due to Fincher's meticulous need for perfection which famously rubbed the actors the wrong way).
We're with these guys every step of the way. Every dead-end, every empty alley, every frustrating act of red-tape and bureaucracy. Years pass with a simple fade-to-black, or in one case a time-lapse of the building of the TransAmerica building. While not much "happens" in this film, we are captivated throughout, and while we know what the final result would be it doesn't make the whole experience any less frustrating or heartbreaking. We're in it with these guys, and we feel their pain and frustration, and this is a credit to Fincher, and his need for perfection.
This definitely isn't a film for the Se7en/Fight Club "crowd", but for anyone who enjoys great storytelling and human drama in its most real and naked form, see Zodiac.
Mr Fincher, you've made a lot of believers out there.
Alien³ (1992)
A flawed masterpiece
I first saw Alien 3 when I was 12 years old, and I admit that at the time I was one of many young guys weened on James Cameron's Aliens, and thus incredibly eager to see the continuation of the story. I thought to myself "Man, they had big cool guns, hordes of creepy Aliens, wisecracking marines. This has gotta blow that away surely!". And what I got was not Aliens on steroids as I was expecting (and sorry to admit now, hoping for) but a thoughtful, character-driven drama that not only didn't have lots of guns or Aliens, but had NO GUNS, and ONLY ONE ALIEN WHICH IS HARDLY SEEN FOR MOST OF THE MOVIE. WTF??? I still enjoyed the movie, but through my pubescant eyes couldn't see the real beauty of it. "Why are they just sitting around when there's an alien out there?? THEY KILLED HIX N NOOT!!! WHAAAA!!!"
Now I'm a 26 year-old student of film, and in my maturity and the passage of time I've learned to love this film more each time, seeing a new layer or different feeling with each subsequent viewing, reaching yet another level of appreciation with the DVD release of Fincher's intended cut of the film.
Much has been said about the turmoil that surrounded the making of this film (see making of...), but history has told us that what we've heard barely scratches the surface of the ordeal Fincher had to go through to get this film made. On one side he had Fox wanting to make Aliens 2, and on the other he had producers at Brandywine that wanted total control of the story and for Fincher to be little more than a hired hand. Fincher is an artist, and wasn't going to let ANYONE get in the way of him achieving his vision for this film, but it was this bravery on his part that proved to be the downfall both for him, and this film.
This film is unfairly maligned in the public's eyes, and is still seen by many through those same 12 year-old eyes that I grew out of a long time ago. For me now, I see each film in the trilogy (I regard Resurrection and AvP as a different universe altogether) as the logical continuation to the previous installment.
Alien: There's a monster killing us, we have nowhere to escape to. Aliens: We've got big guns, let's waste em! Alien3: I can't believe it, they're still not dead. No matter what I do this won't stop haunting me.
The story again centres on Ripley, this time crash landing on a maximum security "Double-Y chromosome" prison planet, her companions from the previous exploits dead. She is surrounded by murderers, rapists, thieves as well as company men. People that have turned their back on the world and taken on religion as a form of redemption for themselves. Long story short, an alien came back with her, and hijinks ensue.
From the moment Ripley lands on the planet, you get the sense immediately that there is no hope. The environment is grim, dirty and there is a sense of utter hopelessness about this place. Fury 161 is a beautifully designed and lit environment that is both sad as well as threatening. A major complaint from people about this film is that it's too depressing and dreary, but it adds to the overall theme of the film, hopelessness and redemption. Gone is the haunted house feel of the first film, and the video game action of the second, replaced by a character study of a person that has lost everything and how one copes with that. The alien is almost an afterthought, as more time is spent investigating how a person can continue to get themselves back up when all hope seems lost. The fact that she shares the danger with a group of prisoners makes it all the more poignant. They are here for the rest of their lives, they've got nothing to look forward to, but they still see the good in their simple isolation, and thus rally for one final chance at redemption. In terms of character development, this film far exceeds the first two, with Ripley and these prisoners affecting one another in very logical and emotional ways. The music is also brilliant, the best of the series, one moment screechingly terrifying, the next hauntingly beautiful.
There are other levels to the story also. There is a very strong religious theme, both with the faith of the prisoners as well as Ripley's lack of it. Why should she believe that good things are on the horizon? Everyone she has ever cared about is dead, and yet she continues to be hunted. Is there something wrong with her? Did she do something to deserve this fate? Sigourney Weaver again excels as Ripley, and IMO deserved an Oscar nom more for this performance than Aliens. She truly is one of the great actresses of our time.
Each viewing of this film brings forth something new and often wonderful, however flaws still remain. The shoddy rod puppet alien affects are severely dated, and characters changing personalities at different points (perfect example being Golic, going from a ranting "Charles Manson's British cousin" to "some guy from Liverpool") as well as the ever gnawing question of how the alien got on the ship to begin with. But really, these don't take away from the beauty of this story as long as one is prepared to scratch the surface.
Leave your pre-conceived notions at the door, take the time to do some homework about the making of this film and what Fincher was really trying to achieve, and then see this movie. Hopefully you'll come out the end in agreement with me that this is a wonderful movie, but sadly a missed opportunity at a classic. If only they left him alone.
Now I'm a 26 year-old student of film, and in my maturity and the passage of time I've learned to love this film more each time, seeing a new layer or different feeling with each subsequent viewing, reaching yet another level of appreciation with the DVD release of Fincher's intended cut of the film.
Much has been said about the turmoil that surrounded the making of this film (see making of...), but history has told us that what we've heard barely scratches the surface of the ordeal Fincher had to go through to get this film made. On one side he had Fox wanting to make Aliens 2, and on the other he had producers at Brandywine that wanted total control of the story and for Fincher to be little more than a hired hand. Fincher is an artist, and wasn't going to let ANYONE get in the way of him achieving his vision for this film, but it was this bravery on his part that proved to be the downfall both for him, and this film.
This film is unfairly maligned in the public's eyes, and is still seen by many through those same 12 year-old eyes that I grew out of a long time ago. For me now, I see each film in the trilogy (I regard Resurrection and AvP as a different universe altogether) as the logical continuation to the previous installment.
Alien: There's a monster killing us, we have nowhere to escape to. Aliens: We've got big guns, let's waste em! Alien3: I can't believe it, they're still not dead. No matter what I do this won't stop haunting me.
The story again centres on Ripley, this time crash landing on a maximum security "Double-Y chromosome" prison planet, her companions from the previous exploits dead. She is surrounded by murderers, rapists, thieves as well as company men. People that have turned their back on the world and taken on religion as a form of redemption for themselves. Long story short, an alien came back with her, and hijinks ensue.
From the moment Ripley lands on the planet, you get the sense immediately that there is no hope. The environment is grim, dirty and there is a sense of utter hopelessness about this place. Fury 161 is a beautifully designed and lit environment that is both sad as well as threatening. A major complaint from people about this film is that it's too depressing and dreary, but it adds to the overall theme of the film, hopelessness and redemption. Gone is the haunted house feel of the first film, and the video game action of the second, replaced by a character study of a person that has lost everything and how one copes with that. The alien is almost an afterthought, as more time is spent investigating how a person can continue to get themselves back up when all hope seems lost. The fact that she shares the danger with a group of prisoners makes it all the more poignant. They are here for the rest of their lives, they've got nothing to look forward to, but they still see the good in their simple isolation, and thus rally for one final chance at redemption. In terms of character development, this film far exceeds the first two, with Ripley and these prisoners affecting one another in very logical and emotional ways. The music is also brilliant, the best of the series, one moment screechingly terrifying, the next hauntingly beautiful.
There are other levels to the story also. There is a very strong religious theme, both with the faith of the prisoners as well as Ripley's lack of it. Why should she believe that good things are on the horizon? Everyone she has ever cared about is dead, and yet she continues to be hunted. Is there something wrong with her? Did she do something to deserve this fate? Sigourney Weaver again excels as Ripley, and IMO deserved an Oscar nom more for this performance than Aliens. She truly is one of the great actresses of our time.
Each viewing of this film brings forth something new and often wonderful, however flaws still remain. The shoddy rod puppet alien affects are severely dated, and characters changing personalities at different points (perfect example being Golic, going from a ranting "Charles Manson's British cousin" to "some guy from Liverpool") as well as the ever gnawing question of how the alien got on the ship to begin with. But really, these don't take away from the beauty of this story as long as one is prepared to scratch the surface.
Leave your pre-conceived notions at the door, take the time to do some homework about the making of this film and what Fincher was really trying to achieve, and then see this movie. Hopefully you'll come out the end in agreement with me that this is a wonderful movie, but sadly a missed opportunity at a classic. If only they left him alone.
9/11 (2002)
A must see...not just for Americans
I was one of many that expected to see a glorified, Yankee-doodle dandy portrayal of a day that (as famously quoted) should live in infamy, rather than glory. How wrong I was. These guys were there, right in the middle of it, and the pictures they returned are both amazing and heartbreaking. And yet it all occurred on a chance trip to the world trade centre on September 11, 2001.
Two French filmmakers were compiling a documentary about life as a NY firefighter, particularly from the perspective of a young rookie coming up through the ranks. At the beginning we see much of this footage, just to remind us that there was no thought to producing a film about terrorism. This was intended to be a film about regular people earning an honest living helping others, and the beauty of the film is that it never loses this edge.
While investigating a suspect gas line (I think, my memory's a little hazy on that), we suddenly hear a plane fly overhead. The camera pans up to reveal a commercial jet torpedoing itself into one of the towers. What must the cameraman have been thinking at this time? Recognising the importance of the footage the camera stays on, and possibly realizing the same thing, the FDNY allow the camera to follow them into the building.
What follows is a true view from the front-lines. We see the commitment of the FDNY, their reactions (the stunned silence after hearing the first person fall to their death is chilling) as well as the collapse of the one of the buildings from the inside, while a second camera captures the events from the outside.
If it wasn't for the horrific event they were covering, the footage alone would be any young doco-maker's dream come true. Quite simply, the footage deserves to be preserved for all time. But what really sets this film apart is the genuine humanity that it brings to the viewer. We see firefighters charging in without hesitation, people of different races helping one another escape to wave of rubble and even the concern of the filmmakers for one another (they are brothers) as they cannot reach one another in the confusion. There are amazing sights as well as amazing human stories in this film, something Hollywood could never duplicate (even though it's trying).
9/11 isn't a film about politics. Nor is it a film about religion, nationality or even jihad for that matter. 9/11 is a film about people, and a true indication of the best and worst that we are capable of. 9/11 is quite simply one of the most important films I've ever seen, and would be the only film to be born from this event if it were up to me. You can't duplicate this.
Two French filmmakers were compiling a documentary about life as a NY firefighter, particularly from the perspective of a young rookie coming up through the ranks. At the beginning we see much of this footage, just to remind us that there was no thought to producing a film about terrorism. This was intended to be a film about regular people earning an honest living helping others, and the beauty of the film is that it never loses this edge.
While investigating a suspect gas line (I think, my memory's a little hazy on that), we suddenly hear a plane fly overhead. The camera pans up to reveal a commercial jet torpedoing itself into one of the towers. What must the cameraman have been thinking at this time? Recognising the importance of the footage the camera stays on, and possibly realizing the same thing, the FDNY allow the camera to follow them into the building.
What follows is a true view from the front-lines. We see the commitment of the FDNY, their reactions (the stunned silence after hearing the first person fall to their death is chilling) as well as the collapse of the one of the buildings from the inside, while a second camera captures the events from the outside.
If it wasn't for the horrific event they were covering, the footage alone would be any young doco-maker's dream come true. Quite simply, the footage deserves to be preserved for all time. But what really sets this film apart is the genuine humanity that it brings to the viewer. We see firefighters charging in without hesitation, people of different races helping one another escape to wave of rubble and even the concern of the filmmakers for one another (they are brothers) as they cannot reach one another in the confusion. There are amazing sights as well as amazing human stories in this film, something Hollywood could never duplicate (even though it's trying).
9/11 isn't a film about politics. Nor is it a film about religion, nationality or even jihad for that matter. 9/11 is a film about people, and a true indication of the best and worst that we are capable of. 9/11 is quite simply one of the most important films I've ever seen, and would be the only film to be born from this event if it were up to me. You can't duplicate this.