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These are rapid-fire sequences that don't need any beefing up, and Stone handles them perfectly. Most of the scenes that you've seen in the trailers - men in rescue worker helmets and coats running for their lives as the towers literally fall down on top of them - are taken from the film's first 20 or 30 minutes.
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The movie is based on the real-life story of Port Authority police officers John McLoughlin (played by Nicolas Cage) and Will Jimeno (Michael Pena), and even when he's sticking close to the facts, Stone's manipulating is undeniable. Obviously, 95 percent of all romantic comedies fall into this category, and, granted, movie making is about manipulation. A film can be well written, acted, shot, edited and directed, but when I feel a filmmaker is inventing drama for the sole purpose of an emotional reaction from me, I rebel and resist. I do not suffer lightly a director trying to manipulate my emotions with the subtlety of a sledgehammer. This is a film made up almost entirely of small, intimate moments, and thanks to a remarkable cast and a story almost impossible to get wrong, Stone pulls off about half of a great movie. In fact, huge chunks of this film take place in just a few square feet occupied by two very brave and lucky men, buried under tons of rubble. Its focus is a small, extremely narrow sliver of the world on September 11, 2001.
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But World Trade Center isn't really about the big picture. When I consider Stone's bull-in-a-china-shop approach to directing and existing, he seems an unlikely candidate to use kid gloves in a film about the downing of the World Trade Center towers. I'll admit, there's a part of me that wants to rewatch Alexander just to see if it's as god-awful as I remember it. For whatever reason (because it certainly isn't because his movies are no damn good), he is a whipping boy among many film critics and at least one half of the political demographic of this country (probably more). It goes without saying that Oliver Stone is an easy target.