The film 2021 Worth completely evokes the feeling of living in America after 9/11 America that it is hard to believe the events that took place twenty years ago. The film is directed by Sara Colangelo, who approaches the topic with taste and insight. With small visual reminders – fashion, CD players, and even large cell phones – Colangelo gradually turns viewers back in time, first stopping the preparation, and then showing a dramatic change in daily life following a horrific attack. Worth a dramatic drama that respects its theme – but in doing so, it creates a film, for many, that will be difficult to watch.
‘Worth’ History & Drama Movie
Audiences are asked a surprisingly intriguing question at Worth: What is the value of life? This was a challenge for plaintiffs who were actually living after the tragedy, who were asked to formulate a formula to decide how to pay the families. Finally, the U.S. government established the September 11th Victim Compensation Fund (VCF), to this day, to pay victims of the attacks, as well as the families of those who died. Worth explores the process involved in building the VCF, focusing on the experience of the “master special” project manager, Kenneth Feinberg.
Michael Keaton plays Mr. Feinberg (or Ken, as he pleases), an aggressive lawyer who focuses on criminal courts. After the events of 9/11, Feinberg promises to take on the difficult task of managing the proposed compensation fund – an act passed by the conference, in part, to prevent victims from suing for flights. The attorney’s intentions are pure, as the man is taking the pro bono case in an effort to help the worst-case scenario in the best possible way. As Feinberg (and the audience) are repeatedly reminded, the classification of survivors can be devastating; as one Congressman put it wrong, that would be like “letting the terrorists win.”
Keaton has joined the participating team at Worth. There are many unforgettable scenes in the film, but the most obvious is Stanley Tucci as a loyal and hardworking Charles Wolf. Unlike many of the characters in the movie – who are the creators of various human characters – Tucci’s Wolf is based on a real person who found the promotional group “Fix the Fund”.
The chemistry on the screen of Tucci and Keaton shines through in the film; It is a shame that their communication is limited to just a few scenes. Most of the film is a reunion of Feinberg’s team with the most frustrated and anxious families of survivors, and this strategy is almost ineffective, but it fails to make sense. The proper struggle to balance its main characters, and as a result, the momentum remains. Seeing Feinberg and Wolf respectfully head over heels is compelling and new, but the constant launch of separate sites delays the story.
On paper, Worth is a solid film: these games are powerful, the concept is unique, and Colangelo’s direction is good. However, somehow, the final product does not reach the level of its components. There are good moments sprinkled throughout the movie, including some really inspired director options; Unfortunately, this story – written by Max Borenstein – is not well-established and has no corresponding arc. Is this Feinberg’s story, or is it a memory of the survivors? Does the movie argue about the importance of empathy, or adherence to human values? The story asks “what is life worth?” but the answer he gives is unclean.
Worth is quick to dismiss high-paid victims and their lawyers as greedy people, but he also portrays his protagonist in building a watery dream house and visiting the opera – while the “heroic” victims are primarily family families who are proud to take money or the most vulnerable to get anything. There is a disconnect between your assets and the notes that Worth is not handling properly.
What should, unfortunately, come from Netflix at a very bad time. The movie first premiered at the 2020 Sundance Film Festival, and possibly, the real deal was that the streaming platform released the movie in 20 years of attack. This makes sense, and it would generally be a wise strategy to remember the American catastrophe; however, the U.S. and the rest of the world are still in the throes of a new catastrophe – the COVID-19 epidemic – which makes the grief and misery associated with Worth feel so common. This is not a sign against Worth in terms of quality, but it makes the movie less popular with viewers.
There are some problems with tone and movement with the ability to hold back. One of the tools used to communicate over time is Feinberg building his aforementioned dream home, which clashes with scenes such as his meeting with working mother Karen Abate, or his partner Camille Biros telling the families of undocumented workers that they each receive compensation and are not expected to split up.
Not all times the emotional payoff of the world, either. The movie often goes back to the device of the character making an unforgettable statement to set them to repeat that feeling – but with a changed meaning – later in the story. Such designs are excused in small quantities, but is repeated over and over again it becomes a nuisance to ignore.
A movie about the emotional release of 9/11 was unlikely, with good taste, to be a fun film to watch, and Worth did an excellent job of prioritizing empathy and integrity rather than giving the national disaster a compelling, encouraging environment. If the structure of its story were strong, Worth would be a member of the Oscar. As it stands, Worth is a lovely deal for a very stressful time – one that, for many, still feels very raw.
Worth is available for streaming on Netflix, and other theaters, from September 3, 2021. The movie is 118 minutes long and rated
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