Oh yeah, I forgot to mention ........................

It sure felt good when that dirty muzlim got his face smashed in by the
passengers!

:-)

Have any of you muzzies seen the movie yet?

"Liberty DEFEATS Islam!" <dontcalluswellcallyou1@xxxxxxxxxxxxxxx> wrote in
message news:1j85g.185$0y2.22@xxxxxxxxxxx
It even had that filthy muzlim animal shout "Allahu Akbar" as he slit the
throat of a stewardess.


"Liberty DEFEATS Islam!" <dontcalluswellcallyou1@xxxxxxxxxxxxxxx> wrote in
message news:2h85g.178$0y2.47@xxxxxxxxxxx
I just saw the movie "United 93".

Anyone else see it yet?


"Liberty DEFEATS Islam!" <dontcalluswellcallyou1@xxxxxxxxxxxxxxx> wrote
in
message news:Of85g.172$0y2.56@xxxxxxxxxxx
Flight 93 movie tells it like it was

By MARGARET CARLSON
GUEST COLUMNIST

The movie "United 93"' had its world premiere Tuesday as the opening
film
of
the Tribeca Film Festival in New York. Started after 9/11 by actor
Robert
De
Niro, the festival was launched to restore life to the battered city.

Five years later, it is a glittery Manhattan extravaganza held at the
Ziegfeld Theater with many boldface names among the invited guests.

Usually, the event leads with a big-budget crowd pleaser, with stars
such
as
Nicole Kidman and Sean Penn to sate the appetite of the entertainment
media
two deep along the red carpet. But this year, the organizers chose the
year's most controversial film, blasted for exploiting a national
tragedy
and the families who endured it.

Not a far-fetched charge when Hollywood is involved. The dust-up over
the
trailer was well-deserved. No one wants an ad about a national tragedy
intruding unannounced into our living rooms. Was director Paul
Greengrass
out to memorialize the tragedy or make a buck off it? My guess was the
latter.

That was my bias and I tried to stick with it. I failed.

The first surprise was how many families of Flight 93 victims were
present.
They filled the balcony of the 1,000-seat theater. They were given a
standing ovation before the curtain went up and honored with complete
silence, broken only by their sobs, at the end.

People streamed out as if they'd been to a funeral, passing up the rich
opportunities for networking among the glitterati. It's surprising
anyone
went to the gathering afterward at the Four Seasons, a get-together with
lobster and caviar that ended up more like the casserole and Jell-O mold
wakes of my youth than a Manhattan party.

"'United 93" has no big-name stars; it has, instead, a cast so unknown
you
can barely separate the officials who play themselves from the
professional
actors. It borrows from the television series "24" in that what happens
on
the plane takes as long in the film as it did in real life.

Much of it is slow, even tedious, as you watch passengers filing through
security, boarding the plane, stowing their carry-ons in overhead bins.
Yet
that mundane exposition makes us all passengers with them.

Every great Hitch*** film elicits a "call the police"' moment. "United
93"
has at least four such moments. Though there is no way to view the
unfolding
events except in hindsight, the accomplishment of British director
Greengrass, who previously directed "Bloody Sunday" and "The Bourne
Supremacy," is that against all that you know, you still think things
may
turn out differently.

The tension begins as the movie cuts between officials on the ground and
the
chitchat aboard the delayed flight. So much everyday conversation is in
the
future tense: an anniversary trip to London, a family outing to
Yosemite,
a
cutback on work, a weekend with the kids.

As the chatter goes on, American Airlines Flight 11 disappears from
radar
and a raft of government agencies is slow to react. You're yelling to
yourself "call the Marines," "call the president," "call the FAA."
Actually,
the bureaucrats thought of that last one and it proved to be a fruitless
call. Only the jockeys monitoring the green screens are appropriately
alarmed.

But not enough. Flight 93 is cleared for takeoff. The universal relief
air
warriors feel about an on-time arrival sweeps through the aircraft. It
is
one of the last happy moments they will have.

The rest of the movie vividly portrays the mindless, disciplined enemy
America is up against. You think briefly the terrorists sitting in first
class might be hesitating. They sweat, they get antsy and move about the
cabin. But they quickly return to praying to Allah, no doubt mindful of
the
virgins awaiting them. When the pilot among the terrorists, trained to
fly
but not to land, gives the signal, they spring into action. The
passengers
are herded to the back cabin, and the carnage, mostly off camera,
begins.

The film's most poignant scenes -- those last, furtive calls to loved
ones
from air phones -- lead to its most thrilling ones. Passengers learning
that
other hijacked planes have already ripped into American landmarks
realize
there will be no ransom demands or landing in Cuba.

As word passes quietly from seat to seat, a group of men joins the
flight
attendants in back to take up arms -- plastic utensils, the beverage
cart,
a
fire extinguisher -- for storming the cockpit. Against all we know, we
root
for them and feel shocked when they don't succeed. It's a movie, isn't
it?

Not the kind we're used to. America's war movies don't usually come this
soon after the fact or this realistically. It took more than 70 years to
make "Gone With the Wind." Most World War II films that weren't pure
propaganda came years later and the hero's buddy, rarely the hero, got
killed.

Hollywood took almost no notice of the Korean War, unless you count the
television series "M*A*S*H," which made war itself absurd. Movies about
Vietnam reflected the country's ambivalence about our first losing
conflict.
It's a rare film that risks having its heroes die.

Like all good movies, this one strives for mythmaking, to make sense of
death, to make it worth the sacrifice and to touch our tenderest places.
Through one lens, "United 93" is the first strike back against the evil
that
killed almost 3,000 people at the World Trade Center.

Through another, it stirs our deepest fears about how we would face
death
with an hour to think about it. Would I be brave, or calm enough to
reach
out to those around me? Could I find the right words to give comfort to
the
loved ones I was leaving behind?

Still, why would the families do this to themselves? They said they
trusted
Greengrass, who met with each of them and promised to treat their
recollections and the answering-machine tapes of last words with
reverence.
They thought he could keep alive the memory of fallen parents and
spouses,
children and siblings, and thereby counter the natural desire of
everyone
else to move on.

Going in, I thought they were wrong. Now I hope I would have done the
same.

http://seattlepi.nwsource.com/opinion/268284_carlson30.html










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