World Trade Center (2006)
Directed by Oliver Stone
Two police officers struggle to survive when they become trapped beneath the rubble of the World Trade Center on September 11, 2001.
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What critics compared World Trade Center to
Perhaps it is even reminiscent of a particular Ron Howard movie: Backdraft, Howard’s 1991 tribute to the heroism of big-city first-responders who rush toward disaster scenes while everyone else rushes away.
And from the burgeoning temperaments of post-9/11 warmongering found in the finale of Oliver Stone’s “World Trade Center,” Boal’s screenplay eventually arrives at the uneasy mindset associated with a seemingly endless battle, echoing Bigelow’s own “The Hurt Locker.”
The last American film to present work-world dynamics this clearly was Oliver Stone’s World Trade Center .
This is the most affecting portrait of Americans at work since Oliver Stone’s World Trade Center.
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As John, William Mapother (2006's " World Trade Center ") falls not into the shadows of his co-star, but nevertheless plays second fiddle to her, essaying with quiet dignity and an underlying bitterness a man who has lost just about everything he ever cared about and needs to find something new to believe in.
Fortunately, it’s directed by Paul Greengrass, who has a string of terrific action films to his credit including the two Bourne films that were any good and 2006’s United 93, the only good film yet made about 9/11 (Oliver Stone’s try, 2006’s World Trade Center, was dismal to give it the best of it).
Director Oliver Stone's most inspired film since "Natural Born Killers" also turns out to be more political than his frustrating "World Trade Center" and "W." combined.
Because, at least formally, Savages kind of is that return: the first Oliver Stone narrative feature since the 1990s that looks pretty much like an Oliver Stone film: the energy that was completely absent from Wall Street: Money Never Sleeps , W. , and World Trade Center is back, and it's cinematically functional in ways Alexander never even thought about.
Adapting Don Winslow's novel, director/co-writer Oliver Stone ("Wall Street: Money Never Sleeps," "World Trade Center") ignores that "Savages" hardly represents the first movie about the drug trade, presenting the business and the risks involved as if no one understands that big money brings big power and, often, big guns.
Savages, a lurid thriller about the cross-border drug trade, is Oliver Stone’s latest entry in his “Current Events” phase, following his ode to 9/11 heroism World Trade Center (2006), his Dubya-years semi-satire W. (2008), and his corporate-shark sequel Wall Street: Money Never Sleeps (2010).
But after treading water with "World Trade Center," "W." and "Wall Street 2," Stone has caught a mighty wave with "Savages."
Of course the caveat that goes along with that statement is that his resume since 2000 includes films like Alexander, World Trade Center, W. and Savages, a frustrating filmography that found the director basically working as a shadow of his former self.
He has made films that bent over backwards to be topical, like the earnest and sentimental 9/11 requiem “World Trade Center,” or the goofy provocative political cartoon “W.,” or the cautionary-but-behind-the-curve financial thriller “Wall Street: Money Never Sleeps.”
When his film “World Trade Center” about the brave members of the New York Fire Dept.
Your mileage my vary, but I have to go all the way back to 1999’s Any Given Sunday to find a really great feature that bore his name, and after the loud flop of Alexander (a movie he’s recut and re-released into approximately forty-seven different version) and the odd detour of World Trade Center, he began what looks like a campaign, conscious or not, to recreate his past successes.
Though Snowden is Stone's third film to address the events or aftermath of September 11—2006's World Trade Center and 2008's engrossing but muddled Bush portrait W came first—it draws on an old formula, one the filmmaker developed in 1989's Vietnam classic Born on the Fourth of July: A young man (it's always a man) has lofty ideals about serving his country, enlists in some arm of the government or military and winds up disillusioned and disgusted with the myriad corruptions of the System.
Stone followed Natural Born Killers with the very good Nixon , another portrait of an American icon, and then went on to make a handful of sometimes interesting but lesser films — the bonkers genre flicks U-Turn and Savages , the football exposé Any Given Sunday , the Bush-biopic W. , the respectful 9/11 drama World Trade Center .
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It was kept hidden by an old crone, Mother Gothel (voice of Tony winner Donna Murphy, "World Trade Center"), who used it to retain her youth.