Even with a Golden Globe under its belt, this controversial meditation on suicide-bomber politics was relegated to an "exclusive engagement" at Touchstar Cinemas' underdog Altamonte 8 calling into question the true extent of Orlando's commitment to alternative filmic messages. But that's nothing compared to the questions posed by the movie itself, which renders its twin protagonists' countdown to martyrdom as a suspense story that keeps reminding us of the parallels between terrorism and mass entertainment. For a while as perversely compelling as Spielberg's Munich, the film sadly deflates as a narrative around the same time that its fuzzy ideology finally plays into the hands of its detractors: Despite some obligatory hand-wringing about the futility of meeting violence with violence, director/co-writer Hany Abu-Assad tellingly awards the last word to one of the bombers, who argues that the sin of Israeli occupation puts his own tactics beyond judgment. Um, no.
We welcome readers to submit letters regarding articles and content in Orlando Weekly. Letters should be a minimum of 150 words, refer to content that has appeared on Orlando Weekly, and must include the writer's full name, address, and phone number for verification purposes. No attachments will be considered. Writers of letters selected for publication will be notified via email. Letters may be edited and shortened for space.
Email us at firstname.lastname@example.org.
Orlando Weekly works for you, and your support is essential.
Our small but mighty local team works tirelessly to bring you high-quality, uncensored news and cultural coverage of Central Florida.
Unlike many newspapers, ours is free – and we'd like to keep it that way, because we believe, now more than ever, everyone deserves access to accurate, independent coverage of their community.
Whether it's a one-time acknowledgement of this article or an ongoing pledge, your support helps keep Orlando’s true free press free.