Weeks ago, when we heard that moviegoers were complaining about the "United 93" trailer, we were incredulous.  Some were quoted in the news as wondering if it wasn't too soon.  Others whined that they didn't want to be reminded.  What?  They've forgotten?

How can it be too soon?  If it's not too soon for the United 93 families—who unanimously support the movie—or the families of the men and women of our armed forces who are in harm's way around the globe, then it's not too soon for those who have been called upon to sacrifice so very little.   

Furthermore, if people need to be reminded, maybe it's already too late.  We have been at war with these Islamo-fascist thugs since long before 9/11.  They have told us—repeatedly and clearly—what their intentions are.  Why can't we accept them at their word?  Especially after 9/11? 

Osama bin Laden, Al-Zawahiri, the Iranian ayatollahs, among others, have echoed Muhammad's words from his farewell address in 632: "I was ordered to fight all men until they say 'There is no god but Allah.'"  The ultimate goal of these hateful tyrants is a universal Islamic empire governed not by secular law but by divine law.  That leaves no place for freedom. 

And, since our enemies have no intention of quitting, retreat is a certain prescription for defeat.  Nearly three thousand Americans died on 9/11 because we had been in denial (and retreat) for two decades.  "United 93" is a poignant—and timely—reminder of the perils of wishful thinking. 

"United 93" is, above all, a powerful film—one of the most powerful we've seen in some time.  Director and writer Paul Greengrass ("The Bourne Supremacy") has managed to be sensitive to the victims' families and faithful to the truth—at least as much of the truth as is known.  Much remains—and will forever remain—unknown about the events onboard the doomed planes, but otherwise, Greengrass has meticulously reconstructed the events of that fateful morning. 

"United 93" starts slowly—as that warm, clear, early September day surely did—as unsuspecting passengers arrive at airports along the Eastern seaboard for early flights and air traffic controllers prepare to handle the rush hour traffic.  The shifting scenes—a glorious sunrise, city traffic, casual conversations--invoke a sense of ordinariness, but we know this will be no ordinary day.  There is irony in the images. 

Soon enough, the day begins to go to hell, and the pacing quickly moves from surreally ordinary to just plain surreal.  There is initial confusion as planes are reported hijacked; then, controlled chaos as officials (civilian and military) try to make sense of what's happening; and finally, stunned recognition as the planes begin to fly into their targets.

Onboard United 93, the last of the four planes hijacked that day, the passengers use their cell phones to learn of the fate of the other planes.  Their fear is manifest, but there is no panic.  A handful of genuine heroes swallow their fear and begin planning to assault the cockpit.  Other passengers call their loved ones to say tragic goodbyes.  They, too, have looked into the abyss and somehow summon the will to act with dignity.  

The end comes with a rush.  "Let's roll."  We know they won't make it.  We knew all along.  But, they don't retreat.  They don't quit because the situation is bleak.  The final scene is horrific—no cliché seems adequate.  The movie ends abruptly—as life did onboard United 93— and the theater goes dark and silent except for quiet sobs all around.  This, we think, is what evil looks like.  And, heroism. 

Greengrass uses relatively unknown actors—and it seems a wise choice since "United 93" is first and foremost a collective story—and even some non-actors.  The pilot of United 93 is played by United Airlines pilot J.J. Johnson, and the head flight attendant, Sandy Bradshaw, is played by United flight attendant Trish Gates.  Johnson is quietly efficient and Gates is superb, displaying a range of emotions as she struggles to contend with anyone's worst nightmare. The biggest surprise is Ben Sliney, national operations manager for the FAA, who plays himself in a remarkably nuanced performance. 

We owe Greengrass a debt of gratitude for making "United 93."  Making this film was enormously risky for him, and we think that the finished product should put to rest any questions about commercial exploitation.  We hope that it's a commercial success because that will mean that it attracted a large audience—perhaps including some of those people who would rather not have their safe, comfortable lives disturbed by harsh truths.   

We owe Greengrass an even larger debt for making the film with grace and unflinching honesty.  This is an important film, and arrives at a crucial juncture in the Long War.  Too many Americans seem to have forgotten who and why we are fighting.  George Bush and Donald Rumsfeld are not the enemy.  When they are gone, the enemy will still be there, hiding in the shadows, plotting our deaths.   

No, "United 93" didn't come too soon.  Perhaps it came just in time.  If you see only one film this year, it should be this one.  Military.com Rating: ****

Military.com's Movie Rating Scale

* As entertaining as an Article 15 (Best to avoid if possible)
** A weekend pass (O.K., but you might not remember it Monday morning)
*** On a par with a promotion (Don't pass it up)
**** DEROS (It doesn't get much better than this)