2006, Paramount Pictures, Dir. Oliver Stone - Starring Nicolas Cage, Michael Peña, Maria Bello, Maggie Gyllenhaal, Jay Hernandez, Armando Riesco, Donna Murphy, Patti D’Arbanville, Brad William Henke, Lucia Brawley, Stephen Dorff, Michael Shannon, John Bernthal, Wass Stevens

Ever since the day it was greenlit by Paramount, Oliver Stone’s World Trade Center has been the recipient of pummelling left and right. “Disrespectful” and “Political” are words that have been stapled to the film - all which can be easily disposed. This is not a trademark Stone film, as the director shies away from the writer’s desk and rather showcases his movie-making abilities. However, this is a tricky move. Despite his past experiences dealing with controversial political events and figures, Stone knew WTC would require a steady hand and a careful eye as to not glorify or exploit anything dealing with September 11th. The movie works, but not close to the same startling degree as this year’s United 93, a much more skilled and riveting piece. World Trade Center is a slow-moving, sentimental piece that has heart, but may not connect with audiences. The public are so accustomed to 9/11 as a dark day, but Stone gives a sense of hope from the destruction. However, the performances (which again, may provide disconnect) and its overall tone are commendable in their own right. But for those moviegoers wary of watching the movie industry “profitting off 9/11″, you may all be surprised at the outcome of Stone’s film.

World Trade Center follows two Port Authority police officers, Sgt. John McLoughlin (Cage) and Officer Will Jimeno (Peña), on that fateful day. The day starts off like any other ordinary day, until their ground is shaken by the two hijacked jetliners. Rushing to the scene, McLoughlin, Jimeno, and their fellow troops Pezzulo (Hernandez) and Rodrigues (Riesco) head to the lower concourse below both towers. But once the north tower collapses, the four jump into a doorway and black out. Before they know it, they’re trapped beneath layers of rubble, broken wires, and other debris from the destruction. And due to cabin fever and the loss of hope, the premises lead Pezzulo to immediate suicide and Rodrigues dead, with John and Will stuck together with no way out. They can’t force themselves out, but begin to contact with one another to keep alive. Back at their respective houses, Will’s pregnant wife Allison (Gyllenhaal) worries for the safety for Will - wanting him to be alive for their second child. And Donna McLoughlin (Bello) remains pensive as John’s disappearance begins to affect her and the entire family. The story delves into the narratives of both families, while a faithful Marine (Shannon), put on a test of faith, attempts to rescue the missing officers.

Nicolas Cage’s performance of Sgt. McLoughlin is outstanding, furthering himself as one of the era’s most accomplished actors. Although audiences may have a hard time connecting Cage with the events of September 11th, he does his best to be as persuasive as possible - focusing on realism rather than traditional staging. Also commendable is Michael Peña, coming fresh from a equally brilliant role in Crash, to an encore performance in WTC. Peña feels comfortable in the role, allowing him to soak up the paternal attributes of Officer Jimeno, as well as provide a lighter, more hopeful side to the story. Stone captures only the smudged, aching faces of both officers, limiting the damage and focusing intently on personal hope and courage. The two make a great team, and win over the audience with some heartwarming performances. Maria Bello pales in comparison from past roles, as she does not explore the character enough. Donna is generally silent (and I can’t argue that), but Stone never gives her a good opportunity to tell her side of the story. Only towards the end of the film, there is a dream sequence between her and Cage that really strikes cinematic gold. Maggie Gyllenhaal also gives a splendid performance as Allison Jimeno, Will’s wife. Her neurotic behavior gives the role a new dimension, as her fretting mind releases much subconcious thought - and the audiences get a good glimpse of this.

Don’t expect any talk about Al-Qaeda, terrorism, or criminals in World Trade Center. Unlike the larger perspective that United 93 offered of the day, Stone provides exactly what the movie’s tagline promises: “a true story of courage and survival.” The audience will be shaken by the chaos near Wall Street, as innocent people are seen lying dead on sidewalks and running for cover. But the director recognizes the wounds are still raw, and his intent is not to cut any deeper. Audiences who argue that they’re not ready to see 9/11-related films may be troubled by the sense of loss, but WTC argues for hope. Again, I say, no time is too soon - to look evil in the eye and grit your teeth. Stone is not afraid to handle this, and after his spectular failure with Alexander, he’s back on track. The film has an orderly Hollywood feel, which is what I believe makes it simply a “good” film. It was easy to connect with Greengrass’ United 93 because it’s what we all saw - not two officers in the rubble. No matter which, it’s harder to connect with a personal story rather a worldwide crisis. I watch, try to imagine what it’s like, but Hollywood is still pumping its veins.

World Trade Center is a fine film, if not a celebratory piece for those embraced their loved ones after that terrible day. Stone’s objective is not nationalism or patriotism, but of brotherhood - how two strangers can help each other out in times of need. The final product is a new - but respectful and reverent take on that warm September morning.