effectively presents how air traffic controllers, the military, and the FAA all pieced together what was going on as the hijackers executed their plan. Greengrass achieves remarkable verisimilitude thanks to his relentlessly handheld camerawork, outstanding use of file footage combined with special effects, the use of no-name actors, and the casting of some of the real people playing themselves. The faux cinéma vérité style helps underscore the facts of the situation. However, when dealing with the events on the title flight, Greengrass' approach is somewhat problematic. Since every person aboard the plane perished, there is no way to truly figure out what happened and how it happened. To be sure, these sequences are as well-researched as the rest of the film, but the film's cinéma vérité style hereof a plane. Concurrently he shows the four men, whose mission is to destroy 'the oppressors', prepare, pray, dress, and board. Then he moves into the planning rooms of air control, lets us feel the insidious progression of the hijacked planes, shows us the military response and paralysis, places us back in United 93, and unfolds the recognition by the crew and passengers of the danger in which they have been placed. The acts of heroism seem like natural permutations of human response all the way to the final abrupt dark screen when the plane goes down. The degree of tension Greengrass and his superlative cast and crew convey is almost intolerable: magnify that times infinity power and we have a glimpse of what it was like to