News junkies will find much to love in “September 5,” a fictionalized account of ABC’s live coverage of the hostage crisis during the 1972 Munich Olympics. There are spirited debates about reporting with only one source, use of words like “terrorism” and what to do if violence breaks out during a live shot. There are negotiations with rival networks over satellite usage, disguises and fake badges made to get reels of 16mm film in and out of the locked down Olympic village and plenty of confused men (and a few women) trying to keep up with an ever-escalating situation.

The film is a moment by moment retelling of how a group of sports broadcasters brought this story to the world in real time, despite the technical limitations and their own inexperience across a confusing 22 hours. Everyone came to the studio that night ready for breaking sports news, scores and pre-packaged interviews. Even that was going to be a test for the man running the control room for the first time. Geoffrey Mason, portrayed by John Magaro, was a 28-year-old coordinating producer. Someone wonders about his experience and is assured that he’s covered minor league baseball games.

But in the early hours of Sept. 5, 1972, eight members of a Palestinian group called Black September broke into the Olympic village and attacked the Israeli delegation killing wrestling coach Moshe Weinberg and weightlifter Yossi Romano. Some escaped, but nine others were taken hostage.

While the tragedy of the Munich Olympics has certainly been told many times, writer and director Tim Fehlbaum saw an opportunity in the team behind the live broadcast. And he commits fully to staying in the newsroom, with all of its glorious old technologies, from the walkie-talkies they used to stay in touch and to taking time to show how they had to manually add text to the screens. He and his screenwriter were able to reconstruct the events almost minute-by-minute, which helped shape the screenplay.

The players are many in this large ensemble. Peter Sarsgaard, who’s looked right in a newsroom since “Shattered Glass,” gives gravitas to Roone Arledge, then-president of ABC Sports, and Ben Chaplin is operations engineer Marvin Bader. Leonie Benesch is Marianne Gebhardt, a German-speaking interpreter who is the only person there able to understand the language of the country. She might be a bit of a composite who checks off a lot of boxes as both an entrepreneurial woman and a younger German offering perspective and insight into what this moment might mean for the country trying to put on a good front in the aftermath of World War II. An actor (Benjamin Walker) plays broadcaster Peter Jennings, and real archival footage of anchor Jim McKay from that day is used in the film.

And while they all rise to the occasion, mistakes are made – including a rather big one at the end, following imperfect secondhand information from the Fuerstenfeldbruck airfield. They don’t call it the first draft of history for nothing, after all, and it may be illuminating for audiences to see how it’s handled.

The film looks of its time, but it also feels fairly modern in its sensibilities which makes it always seem more like a re-telling than an in-the-moment experience. This may be to its detriment, yet it’s still an undeniably riveting and compelling watch. The word thrilling doesn’t seem appropriate, however. This is not “Apollo 13” after all. The end is not a happy one.

But at time when trust in the media is in crisis, this film is a great humanizer, reminding audiences that the media is far from a monolith, but a group of individuals under immense pressure to get the story right, get the story out and go back and do it again the next day.

“September 5,” a Paramount Pictures release in theaters Friday, is rated R by the Motion Picture Association for language. Running time: 94. Three stars out of four.

Thangalaan is a historical drama set in the 18th century, directed by Pa Ranjith. Starring Vikram in the lead role, the film depicts the struggles of a tribal community against colonial forces, set against the backdrop of gold mines. Initially released in theaters on August 15, 2024, it became available on OTT platforms starting December 10, 2024, in Tamil, Telugu, Malayalam, and Kannada.

Plot
The story is set in a tribal village under North Arcot’s jurisdiction during the British era. The village chief, Thangalaan (Vikram), and his wife Jangamma (Parvathi Thiruvothu) lead their community amidst dire challenges. When their land is seized and they are forced into bonded labor, the situation escalates.

Meanwhile, British officer Lord Clement (Daniel Caltagirone) is determined to discover hidden gold mines in the region. Believing the tribal knowledge holds the key, he offers Thangalaan a share of the gold in exchange for his assistance. Motivated by the hope of a better future, Thangalaan agrees but warns Clement about the mystical guard of the mines, Aarathi (Malavika Mohanan), a sorceress.

The narrative unfolds with the tribe’s journey to the gold mines, their struggles, and Thangalaan’s connection with Aarathi. What challenges await them? What is Aarathi’s true role? These questions drive the plot forward.

Analysis
The story of Thangalaan is penned by Tamil Prabha, focusing on a tribal community’s struggle to escape bonded labor and confront mystical forces and venomous snakes. Set against the backdrop of forests and hills, the narrative is rooted in the 18th century during the British colonial era. While the story is set in this period, the presence of British officers on screen is minimal. However, the tribal village setup feels natural and authentic.

Given the forest-centric narrative, the director did not face significant challenges in recreating the atmospheric setting. Particular attention has been paid to costumes and makeup, enhancing the authenticity of the characters. The involvement of established actors like Vikram and Parvathi Thiruvothu adds credibility and interest, making their on-screen presence commendable.

The director maintains a serious tone throughout the film, presenting it as a unique piece of content. However, this approach distances the film from mainstream entertainment, offering limited moments of joy or light-heartedness. Consequently, it feels closer to a documentary in certain parts.

There are a few controversial scenes and dialogues, and the Telugu dubbing fails to align seamlessly with the characters. For instance, the protagonist, a tribal leader, uses formal phrases like “Niksheptamai,” “Sanrakshinchu,” and “Mitrama,” which feel out of place for the character and setting, reducing the impact of the dialogues.

Performances
Vikram shines as Thangalaan, delivering a performance that elevates the film. His physical transformation and intense acting make the character memorable.
Parvathi Thiruvothu impresses in a supportive yet pivotal role as Thangalaan’s wife.
Malavika Mohanan and Daniel Caltagirone bring depth to their respective roles, adding intrigue to the narrative.
Supporting cast members, including Pasupathy, justify their parts well.

Technical Aspects
Cinematography: Kishore Kumar captures the rugged terrains and tribal life beautifully, adding a layer of realism to the narrative.
Music: G.V. Prakash Kumar’s background score is adequate, and the songs blend well with the period setting.
Editing: Selva’s editing maintains a steady pace but struggles to make the lengthy runtime feel engaging.

Strengths
Authentic depiction of tribal life and struggles.
Vikram’s stellar performance.
Strong technical execution, especially in costume design and cinematography.

Drawbacks
Slow-paced narrative with limited entertainment value.
Overly serious tone, making it feel more like a documentary.
Lack of emotional depth in certain scenes.

Verdict
Thangalaan is not your typical commercial entertainer. It is a serious, visually compelling drama that highlights the struggles of a tribal community during the colonial era. While it may not have performed well in theaters, its unique content and historical backdrop may find a niche audience on OTT platforms. For viewers seeking a raw, unglamorous cinematic experience rooted in history, Thangalaan offers a distinct take.

The premise of Steffen Haars’ latest collaboration with Nick Frost (the two have also worked together on Krazy House, which premiered at Sundance earlier this year and received less-than-favorable reviews) in Get Away seems oddly familiar with its primary inspiration: Ari Aster’s Midsommar. The movie, written by Frost, tracks a typical family on holiday in Sweden, and things go predictably wrong. We quickly learn that they long to take the ferry to Svälta, where, every year, the inhabitants of its ‘commune’ craft an eight-hour play to remember their darkest day, known as Karantan. Expectedly so, when they arrive, the family, comprised of Richard (Frost), Susan (Aisling Bea), Sam (Sebastian Croft), and Jessie (Maisie Ayres), is unwelcome on the island. 

First, they are warned by a restaurant owner not to step foot in Svälta (if they want to remain alive, thus the title, “Get Away”). Then, they are told to leave by its inhabitants. However, they did rent an Airbnb and are, thus, reluctantly permitted to stay. There’s a political subtext that explains why they’re unwelcomed, but this doesn’t get exploited to its fullest extent. What instead follows rehashes plenty of narrative (and thematic) beats we have seen in a film like Midsommar, where the family is constantly frightened by Svälta’s community, whether being observed in secret or in planting a dead animal carcass at their front door. 

Suffice it to say things aren’t going well for this family…until Haars takes an abrupt right turn before its climax with one hell of a twist. Initially, the presentation of that reveal is respectable enough and relatively fun to watch. Haars saves all of the carnage (and a sick Iron Maiden needle-drop) for that part of the movie where the emotional connection with the protagonists is now at its highest because we now understand why they are here at this specific moment in Svälta. It’s something this reviewer won’t give away because many won’t see it coming, even if some clues in its opening section may point some astute viewers in this direction. 

After such a scene where the film’s blood-soaked gore is exacerbated by nifty practical effects and comically twisted violence, Get Away abruptly stops giving its central twist momentum and begins to peter out. The comedic punchline of that sequence is well-executed, and it gets undoubtedly over-the-top. Still, there’s an incessant disconnection with the protagonists that we begin to feel as soon as Haars takes that abrupt right turn and does nothing of interest with it. Perhaps the Midsommar sections of ‘bad things happening to certain family members who are gaslighted by others in thinking everything’s fine when it is not’ aren’t particularly inspired, but it at least puts the audience in a relatively safe place where they can attach themselves to the protagonists, because they know what’s coming. 

Because of this, the twist looks bold and certainly leans us forward to the screen once it occurs. However, when doing something like this, Haars (and, by extension, Frost) must commit to that abrupt shift and consistently make it a part of the movie’s identity. Unfortunately, it only seems to exist to distract audiences from the fact that its setting (and plot) feels awfully close to another – and better – movie. 

That said, the core relationship of Richard’s family in its pre-twist section is entertaining enough. Frost, in particular, is quite adequate, even if he plays an extension of the figures he portrayed in Edgar Wright’s Cornetto trilogy. Only when the movie reaches that twist does this character relationship become less interesting because it boxes all of the protagonists inside one-note attributes without ever fleshing them out. As a result, when Get Away reaches its comical ending, it doesn’t land with the emotional – or cathartic – feeling that it should. 

The funny thing about this is how the film’s pre-twist half set up a rather intriguing rivalry between the family and commune, with its leader (played by Anitta Suikkari) wanting to resurrect an age-old tradition that Svälta’s inhabitants are opposed to. There’s a debate within the village that could’ve truly fractured them and led the film to a subversively fun climax where, in any event, practical blood will pour down like there’s no tomorrow. It does, but not in the way you think. Of course, Haars definitely has fun killing people with as many vintage effects as he can, and we are also primed to enjoy watching this deliciously twisted feast of blood and guts. But at what emotional cost?

SCORE: ★★

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