September 5 – A Tense But Unremarkable Thriller (Early Review)

In 1972, the Olympics were scheduled to take place in Munich, Germany, marking the first time since World War II that Germany would host the Games. The event carried significant political weight, as the Olympics serve not only as a global showcase of athletic talent but also as a platform for international diplomacy. For Germany, this was a critical opportunity to demonstrate progress and distance itself from its dark history. Special efforts were made to ensure the safety and inclusion of Jewish and Israeli athletes. However, the Games took a tragic turn when a terrorist group known as Black September infiltrated the Olympic Village. They kidnapped a group of Israeli athletes, plunging the event into a devastating hostage crisis that would ultimately overshadow the competition and leave a lasting scar on the history of the Olympics.

Steven Spielberg’s Munich told this story, receiving widespread acclaim as one of his most harrowing works. Now, director Tim Fehlbaum’s September 5 recounts this story through the eyes of the team of journalists at ABC Sports who broadcast the crisis on location, which was then, the most widely viewed television broadcast of all time. The team arrived in Munich to cover the Olympic Games and highlight the athletes, however, they found themselves thrust into uncharted territory as the tragedy unfolded. With ABC News and other networks vying for control of the live feed—and questioning whether the sports broadcasters were equipped to handle such a high-stakes story—ABC Sports remained the sole television outlet on the ground, capturing the crisis as it happened. The film seeks to immerse audiences in the tense environment that was their control room, offering a behind-the-scenes look at the broadcast that forever transformed the landscape of journalism.

September 5 wasn’t initially expected to be an awards contender this season, but a rapturous reception at the Venice and Telluride film festivals earlier this year changed its trajectory. Following its acquisition for North American distribution by Paramount Pictures, the film was propelled into the awards conversation. However, the heightened exposure can sometimes backfire if a film doesn’t fully deliver, and unfortunately, that may very well be the case here. The film is a well crafted exploration of an event that would change the course of broadcast journalism. It is tightly written, has an impressive ensemble of slightly under the radar actors, and follows a brisk rhythm that captures the anxiety that these journalists must have felt. Entertaining to watch, it leaves room for a few pivotal moments that do pack an emotional punch

That being said, the film focuses so intensely on the logistics of covering the Munich hostage crisis and the responsibility of broadcasting it, that it misses an opportunity to fully explore why this particular broadcast was so significant. The film tells the audiences that this broadcast changed journalism forever, but it does little to show us exactly how ABC News’ coverage differed from how a regular news station would have covered it. Meanwhile, the film also falters in its characterization. While the ensemble delivers strong performances, the script offers little insight into their motivations or personal stakes in covering the crisis. Audiences are given almost nothing about why these individuals are so invested in cover the story themselves. This lack of development makes it difficult to connect with any character in the film.

In the end, September 5 effectively captures the tension and chaos faced by the journalists of the ABC Sports team as they navigated uncharted territory. However, it remains relatively surface-level, lacking the urgency and depth that define some of the best journalism films. While a solid effort with moments of genuine intensity, it ultimately falls short of its true potential.

still courtesy of Paramount Pictures

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Tristan French