worth movie review rotten tomatoes

Can you put a price tag on a life?

"Worth" delves into that question by telling the story of the 9/11 Victims' Compensation Fund. The fund was created by an act of Congress to ease the suffering of families who lost loved ones in the attack and (perhaps more importantly, from the government's standpoint) keep them from suing the two airlines whose planes were hijacked. 

Is a janitor's or schoolteacher's life worth less than a Fortune 500 CEO's because the CEO earns more money and owns multiple houses and cars and has stocks and so forth? That's the sort of question that the people in charge of the fund had to answer every day between the establishment of the fund and its two-year deadline for payout. Directed by Sara Colangelo (" Little Accidents ") and written by Max Borenstein ("Godzilla"), "Worth" seems overwhelmed by the questions it poses, and in the end, for all its intelligence and noble intentions, it retreats from them. 

A brisk opening section sets up the premise and major characters—notably Michael Keaton and Amy Ryan as Kenneth Feinberg and Camille Biros, the attorneys supervising the fund, and Stanley Tucci as Charles Wolf, a musician, pilot and businessman who lost his wife Katherine in the attacks, and started "FixtheFund.org" to address problems with the process. The midsection of the film is the strongest and most distinctive because it departs from the standard Hollywood formula of following the stars through a story, and instead gives the stage over to victims of the attacks. There are long sections of "Worth" where we're just watching and listening as people tell the stories of loved ones they lost. In these scenes we get a sense of the enormity of the tragedy as well as the impossibility of working out compensation in a way that will make everyone feel as if their needs were met and their feelings respected. 

A pleasant yet unsentimental tone is struck early by Feinberg, who is a big advocate for "objectivity" and removing emotion from situations. Whether that's really possible is a question that the film doesn't have the running time (or inclination) to get into. And while it's initially intriguing that Feinberg says that in mediations and lawsuits, "there is no winning," and insists that in the end, "no one walks away too happy, only happy enough to walk away," it eventually becomes clear that "Worth" is setting up a story about a guy who needs to have his eyes opened by the warm and complicated human realities of those who are suffering, and realize that a "one size fits all" formula isn't going to work.

Ryan's Biros is treated as a counterweight to Feinberg; if anything, she seems to take all of the stories personally, absorbing the grief of survivors and crying it out cathartically. Meanwhile, Tucci's Wolf orbits the edges of the story, serving as sort of a guru and sounding board, pushing the commission along on the right path. 

The big problem with the movie is that it doesn't really grapple with the questions it poses. The fact that the questions are unanswerable doesn't mean they shouldn't have been engaged with more fully, and in the mid-section of the movie, it does seem as if the film is going to try to do that and stick with it, even if it means that we get to the end of the story and feel frustrated that the film has thrown its hands up and said, "Sorry, folks, this is just too big—we're as overwhelmed as you are." As in real life, the fund initially seemed as if it was on the verge of failing to meet its mandate of enrolling 80% of eligible people by Dec. 3, 2003, only to get a last minute push thanks to the endorsement of Wolf, who essentially declared that he believed the fund had been "fixed" because he'd talked to Feinberg and endorsed him as a good person. It's all a little bit too pat and vague. There's nothing tangible onscreen to suggest that Feinberg had a change of heart or learned something he didn't know before (we see him talking to various survivors in person, something he didn't do early on, but that's about it). 

It's particularly frustrating because "Worth" is in every other way an excellent film, distributing its attentions democratically among a large cast of characters, and giving a number of supporting actors and bit players spotlight moments that don't just illuminate the issues involved (including Laura Benanti and Chris Tardio as, respectively, the wife and brother of a slain firefighter), but call the usual mechanisms of star-driven Hollywood storytelling into question. 

Borenstein's script and Colangelo's direction are constantly reminding us that this is the story of a community and a nation, taking care to stage moments in wide shots whenever possible, so that you're aware of the architecture of offices, hotels and family homes, and including lots of strangers in the background and/or foreground any time two characters are having an intimate conversation in a public or semi-public space. "Worth" seems to get it, all of it, in a way that films of this type rarely do, which makes it all the more irritating when it appears to retreat from the implications of the way it's telling its complex narrative. 

The reluctance to tear down restrictive storytelling templates rather than merely jostle them a bit is of a piece with the film's refusal to really engage with the question of whether a CEO's life is worth more financially than a janitor's. Certain hierarchies and structures end up being preserved here, despite the film's having made a point to call them into question. 

On Netflix today.

Matt Zoller Seitz

Matt Zoller Seitz is the Editor-at-Large of RogerEbert.com, TV critic for New York Magazine and Vulture.com, and a finalist for the Pulitzer Prize in criticism.

• Michael Keaton as Kenneth Feinberg
• Stanley Tucci as Charles Wolf
• Amy Ryan as Camille Biros
• Tate Donovan as Lee Quinn
• Laura Benanti as Karen
• Julia Bloch
• Max Borenstein

Cinematographer

• Pepe Avila del Pino
• Sara Colangelo

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Stream It Or Skip It: ‘Worth’ on Netflix, a Worthy 9/11 Drama Anchored by Michael Keaton

Where to stream:.

• Worth (2021)
• Michael Keaton

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Worth officially debuted at Sundance in 2020, but is finally being widely released by Netflix to coincide with the 20th anniversary of 9/11. The film is a Based On A True Story (or BOATS for the initiated) drama about real-life lawyer Kenneth Feinberg, who famously oversaw the September 11th Victim Compensation Fund; he’s played by Michael Keaton, who’s joined by Stanley Tucci and Amy Ryan. It’s a sensitive topic, yes, but here’s hoping the movie is about more than just how it took 9/11 for a slippery lawyer to find his soul.

WORTH : STREAM IT OR SKIP IT?

The Gist: We open on a heart-wrenching testimonial by the mother of a 9/11 victim, her words are tonally steady but still drenched in grief. She concludes, “How do you go on from there? How do you calculate that?” Cut to Ken Feinberg (Keaton), writing “What is life worth?” on a chalkboard, then setting up a hypothetical scenario for his students in which they’re asked to put a dollar value on the loss of a man’s life. Afterwards, we see Ken at the law firm office, commanding the place confidently like he owns the joint, because he does.

Later, we see Ken on a plane and at home, headphones on, immersing himself in classical opera. We see the morning bustle of a family, kids chattering, the mother declaring breakfast is ready, the father in firefighter garb running out the door. We see Charles Wolf (Tucci) at his kitchen table, typing on his computer, saying goodbye to his wife, who reminds him of the chicken piccata in the fridge. Then we see Ken on a commuter train wearing headphones, oblivious to the commotion among his fellow passengers — their cellphones are ringing and they appear distraught. The train stops. A plume of black smoke billows on the horizon.

Subtitle: SEPTEMBER 22, 2001. Ken sits in a meeting with D.C. politicians and lawyers. Someone has to help the United States mitigate lawsuits from 9/11 survivors and their families; the government will start a compensation fund, because, the politicians insist, if thousands of people sue, it’ll cripple the federal economy. Ken interviews with Attorney General John Ashcroft (Victor Slezak) and lands the gig — and he’ll do it pro bono. That’s his duty as an American. He wants to help. He’s an expert on calculating compensation values for human life; he and his firm handled asbestos and agent orange cases. He and his right hand Camille Biros (Ryan) assemble a team of lawyers to devise a formula that’ll arrive at a payout for victims. It involves income and debt and the laws in the state of residency and many other factors. Ken sets a deadline of Dec., 2003 for 80 percent of eligible recipients to file their claim. Easy. Neat. Tidy.

But not quite. Ken hosts an information session for victims, and beforehand, he’s confident. He’s too old to be cocky, so we’ll just say he’s a little brash. He soldiers through the session: People openly weep, and yell at him, and insult him. He says a lot of insensitive things. One guy, Charles Wolf, stands up: “Let’s hear him out.” They hear him out. Ken meets with Charles afterwards and Charles tells him point blank that the proposition is insulting. Cold. Calculated. His wife died on 9/11. He’s upset but carries on in a calm and reasonable manner. He hands out fliers promoting his website, titled Fix the Fund. The fund that funnels all these individuals and their stories and situations and unbearable grief into a formula and spits out a number. It might not be “fair,” but it’s a compromise, Ken insists. Charles shakes his head. And during the subsequent months, Ken digs in despite getting very few people to sign on. Meanwhile, Charles amasses the thousands of victims behind his humble campaign. Representatives of the families of rich stock traders who died pressure Ken to give them more money. Ashcroft says he isn’t applying any political pressure while he’s totally applying political pressure. Ken is getting it from all sides. Something has to give, doesn’t it?

What Movies Will It Remind You Of?: Worth tries to combine the emotional stories of World Trade Center with the issue-driven procedural drama of Spotlight .

Performance Worth Watching: Here’s where we gripe that too many movies fail to appreciate Amy Ryan, although she has a note or two more to play here than some other thankless supporting roles. And of course Keaton is the undeniable star, his work notable for his restraint despite plenty of opportunities to go flamboyantly charismatic — and it’s a smart move on his part, not overshadowing the power of the core material.

Memorable Dialogue: Ken unwittingly utters two contradictory statements when he says, “This is something I’m good at. This is something I can do to help.”

Sex and Skin: None.

Our Take: Worth is a conventionally structured film with a third act that’s too artificially rah-rah, track-the-numbers-on-the-whiteboard, down-to-the-wire suspenseful for its own good. Yet it balances such blandly crowd-pleasing elements with the moral wrestling match that occurs in the story’s big, smoky gray area. Ken wants to believe in his system, which adheres to the age-old philosophy that compromise pleases nobody on the way to its goal of simply resolving the conflict. It’s classic lawyer hot air just waiting for a righteous wind to blow it outta here — an easy dramatic target for the movie, although it finds some nuance in Keaton and Tucci’s thoughtful exchanges.

Whether or not it went down like that for Feinberg in real life doesn’t really matter, because the film cultivates a little optimism and hope that people are still capable of doing the right thing, even if it’s at the last possible minute. It’s never just about Ken and his internal struggle — on a deeper level, it addresses how a person of influence can wield power ethically and responsibly. (It’s no secret that Feinberg’s plan was successful, although I’ll leave the stones of the film’s dramatic details for you to turn over.)

Director Sara Colangelo ( The Kindergarten Teacher ) nicely orchestrates a lot of moving parts here, including Ken’s arc, the multiple players trying to influence his decisions and a handful of victims’ stories, including a grieving widow whose late husband harbored a devastating secret to a gay man who stands to get nothing because he and his partner weren’t married. It’s an engrossing watch, the film moving sure and steady through moments of conceptual discussion and raw emotion. It’s fine-tuned like an intricate wristwatch, its many narrative pieces functioning efficiently, its performances subtle, its tone stopping short of manipulative sentiment. It’s sometimes too well-heeled to truly tap into a collective moral ache like Spotlight did, but it’s nonetheless a strong, worthy drama.

Our Call: Worth is top-to-bottom sturdy — highly watchable, nicely acted and restrained in its poignancy. STREAM IT.

Will you stream or skip the compelling Michael Keaton drama #Worth on @netflix ? #SIOSI — Decider (@decider) September 4, 2021

John Serba is a freelance writer and film critic based in Grand Rapids, Michigan. Read more of his work at johnserbaatlarge.com or follow him on Twitter: @johnserba .

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Worth: why the reviews are so mixed.

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So far, reviews for Netflix's  Worth have been fairly mixed, with critics largely praising the film for respecting its serious political subject matter while lamenting the story's overall lack of direction. On the whole, the reviews skew positive, with a Rotten Tomatoes rating above 70% . However, while the number rating for  Worth is fairly impressive, the content of the positive reviews shares similar complaints with the film's negative reviews. This is to be expected for any film based on a true story, as the movie is judged not only on its cinematic merits but on its factual authenticity as well. For  Worth , a movie about a September 11th fund, the stakes are even higher.

Directed by Sara Colangelo ( The Kindergarten Teacher ),  Worth is a deeply emotional drama centered on the real-life creation of the September 11th Victim Compensation Fund (VCF), a fund that's still active to this day. As many reviewers have noted, the central question asked by  Worth is: what is the value of a life? Through Kenneth Feinberg (Michael Keaton), the 9/11 fund's pro-bono legal head , the process of answering that question is explored -- a process aided and obstructed by an ensemble cast of real-life characters and fictional composites.

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The film's contemporary feel compounded by the release date's closeness to the 20th anniversary of 9/11 makes  Worth a difficult movie to critique wholly objectively, let alone watch. No doubt, differences in opinion and political sensibilities are a divisive point with this film, though surprisingly most reviews released thus far have been fairly reasonable and mild-mannered. For the most part, critics enjoyed the actors' performances, namely that of Keaton and Tucci. Those who enjoyed the film seemed particularly impressed by Colangelo's ability to deftly weave an engaging narrative without disrespecting its subject matter. With that in mind, here's what some of the positive  Worth reviews are saying:

The Mercury News :

"What is a life worth? That moral dilemma looms large throughout this brilliantly acted, thoughtful feature that’s based on the troubling realization by Feinberg and his boss Camille Biros (Amy Adams) that a pat formula is insufficient when placing value on the life of a loved one. Colangelo has navigated tricky material before (“The Kindergarten Teacher”) and while screenwriter Max Borenstein plays by the rules a too closely near the end, Colangelo nudges the story and its actors — including Stanley Tucci as a skeptic to the government’s Victim Compensation Fund — to a higher, sometimes even profound, level."

New York Times :

"For all the ways in which it might give short shrift to the politics or policy of the fund, “Worth” is uncommonly moving by the standards of biopics and certainly by the standards of movies that risk addressing 9/11 so overtly."

The Hollywood Reporter :

"Whereas many directors would ratchet this high-stakes drama up as high as possible, Colangelo plays it pretty cool. Never does she sentimentalize, pander for audience sympathy or go for easy shots. It may not be easy for a man in his mid-50s to change his ways, but Feinberg is willing to listen and learn, a good trait to have at any age."

Los Angeles Times :

"It’s to 'Worth’s' credit that in its depiction of a couple of the families... there are complexities no three-act message in connecting is going to solve. What we’re left with is, thankfully, sharp exchanges about loss and conscience, a director’s sincere approach to potentially melodramatic material, and in-the-moment actors like Keaton, who makes the humbling weight of adding up lives into the stuff of compellingly sober contemplation."

While some critics enjoyed Colangelo's storytelling approach to depicting the creation of the VCF, others found the film to be either cheaply melodramatic or spread too thin in trying to keep tabs on the story's large cast. Despite the film's fairly clear, compelling, straightforward premise, those who didn't enjoy  Worth found it to be narratively unfocused and undercooked, at least script-wise. Others who took offense -- namely to the screenplay's use of the " race-against-the-clock " movie device as a cliché means to escalate tension -- found  Worth 's ending to be cheap and unearned. Here are the more negative reviews:

Screen Rant :

"On paper,  Worth  is a solid film: the performances are strong, the premise is unique, and Colangelo's direction is fantastic. Yet, somehow, the end product falls short of the sum of its parts. There are brilliant moments sprinkled throughout the movie, including some truly inspired directorial choices; unfortunately, the story — written by Max Borenstein  —  is unfocused and lacks a coherent arc."

"If the film exists to sell us on how great the fund was, it blew it, because we’re left with troubling and unanswered questions. If the film exists to raise those questions, it cops out by resorting to treacly melodrama. And it cannot effectively do both."

Paste Magazine :

"Making things even stranger, the race-against-the-clock structure... is exactly the kind of dehumanizing and trite framework that the story’s content rails against. If victims shouldn’t be numbers plugged into a spreadsheet, why should they live as a percentage on a whiteboard in a movie? Why should they exist as a plot engine hoping to make audience members tense, thinking 'Oh ho ho, they’re not going to make it!' until a last-minute reveal?"

Chicago Sun Times :

"Keaton ladles on the Massachusetts accent a bit too thick, but he’s always a compelling screen presence and he turns in fine work, as do Tucci, Ryan and the strong supporting cast. 'Worth' falls just short of having enough strength in the screenplay to warrant a recommendation."

Ultimately, the critical consensus on  Worth seems to be split between enjoying or detesting the film's direction in weaving together such a complex network of bureaucratic relationships and events. On the whole, most critics -- of both positive and negative reviews -- gave  Worth credit for attempting to respectfully detail the real-life events of the VCF, all while asking a genuinely compelling question about the measurable value of human life. If anything, the split critical reactions only offer further reflection of the turbulent post-9/11 era, to which  Worth serves as a timely testament.

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• SR Originals

• What Is Cinema?

Worth Review: A Beautifully Acted Study of Tragedy and Money

Like most films about the complexities of American bureaucracy, Sara Colangelo ’s new film Worth (which premiered here at the Sundance Film Festival on January 24) exposes itself to myriad inquiries and criticisms. Not so much for the filmmaking—though there are some nits to be picked there—but for what the movie represents, what it valorizes, what it frames as triumph, what it frames as injustice.

Worth is a movie about money, specifically the over $7 billion dispersed by the September 11th Victim Compensation Fund, meant to financially help those who’d lost loved ones or suffered injuries in the attacks of nearly 20 years ago. Any movie about money these days, especially the kind that involves government and mega-corporations, is going to sit uneasily for some viewers. Because nothing is ever quite right in these matters; pure fairness always loses to compromise, if such a thing as pure fairness even exists. What’s strong, intellectually and emotionally, about Worth is its keenness to that inevitable imbalance, its solemn assessment of an undertaking that could never yield ideal results.

This is a procedural movie, about famed attorney and mediator Kenneth Feinberg taking on the pro bono task of allotting compensation to thousands of grieving people in the immediate wake of 9/11. It’s a movie that puts the cold technicals of negotiation in dialogue with raw emotion, two inherently opposed forces that must, by Feinberg and his team, somehow be reconciled. The Victims Fund came to exist because the major airlines whose planes were involved in the attacks feared ruinous lawsuits, and the nascent Bush administration in turn feared what that would spell for an already precarious economy. Thus there was an amassing of government money, and a socialist program of a sort was created. Victims and victims’ families could accept their settlements on one condition: that they agree to not sue.

So was this program, in truth, more Washington protection of influential corporations? Maybe. But Worth is less concerned with sourcing the potential rot at the core of the idea, and more with the sorting out of the extant thing. The money is there, it comes with these strings attached, these sordid associations, so what is to be done with it? Enter Feinberg, who, in the movie’s argument, saw the job as a chance to help his country. Feinberg understands that because the fund’s compensation structure was modeled in line with the U.S. tort system—meaning any damages rewarded would be based on projected lifetime earnings of the deceased or injured—there will be outrage and worse, as mourning people come to realize that, in the government’s eyes, their loved one was of less value than a person they died alongside. His goal, then, is to get the best possible result from that discord.

The grace of Colangelo’s film is how supply and thoughtfully it susses out the individual humanity of nearly all involved parties, allowing for quiet moments of specific sorrow and introspection amid the grinding-gear din of imperfect American process. A less insightful director could have made this movie a schmaltz-fest, steeped in misguided patriotism and righteous monologuing. Colangelo’s assured, gentle direction allows for little of that, nor does Max Borenstein ’s soulful script. The movie somehow avoids cynicism, or charges through it, without coating anything in the sticky gloss of cloying sentimentality.

Which isn’t to say that the movie is lacking in the tear-jerking stuff. It’s chock full of it, mostly arriving in the form of testimonials from those grieving (played by a host of credible, natural actors), giving personal dimension to a tragedy that has long been wielded as a blunt and impersonal political cudgel. Though actual footage of the collapse of the World Trade Center towers is unfortunately shown in the film, those visual documents that are too often used as retraumatizing cinematic shorthand, Worth is otherwise careful about its 9/11 mythos. Regardless of the U.S. foreign policy cruelties that may have spurred on the attack (to say nothing of those that terribly ensued afterward), there were thousands of dead people in New York and Washington and Pennsylvania, and thousands more reeling from that loss. Worth chooses to focus on them, tasking itself with addressing their urgent and long-term needs, just as Feinberg aimed to do.

Worth is not so much a moralizing film as it is one of weary, hard-won ethics, wrestled out of an impossible rubble. To reach that kind of clarity, Colangelo required the right company of thinking actors, and she has found just that. Feinberg is played by Michael Keaton , putting on a Boston-area accent (Feinberg is from Brockton) that’s sharper than his Hahvahd Yahd tawk in the similarly toned Spotlight . More important than the accent work, though, is how vividly Keaton captures the bearing of a man trying to calibrate formal professionalism with compassion. It’s a subtle performance (again, despite the showy accent) and a really effective one. I don’t know that I’ve ever seen Keaton so palpably human.

He’s very well matched by Stanley Tucci as Charlie Wolf , a 9/11 widower who was an immediate and dogged critic of the Victims Fund’s calculus. Tucci gives his usual crispness a doleful wilt here, as Wolf butts heads with Feinberg over the compensation policy, urging him to see the true purpose of the fund’s efforts. These arguments are complex, hinged on tainted money that nonetheless may be of some vital importance. Neither man supposes that the cash will in and of itself heal anything; theirs is really a battle over its symbolism.

The gifted musical theater actress Laura Benanti is striking as a Staten Island firefighter’s widow who fears the finality that accepting the money would suggest. Amy Ryan does sensitive work as Feinberg’s second in command, Camille Biros , who, in particular, has to figure out how a gay man whose domestic partner was killed might receive compensation, despite their lack of a legal bond. Worth here again recognizes that this initiative will inevitably fail some people. It does not shy away from the bitterness of that fact in order to bathe the movie in a more triumphant glow.

Truthfully, I have reservations about a movie that could be seen as giving Feinberg a humble hero’s edit, considering that he has similarly mediated on behalf of many bad actors in this country, from the Catholic church during the sexual abuse scandal to environment-destroying oil companies. But in its measured way, Colangelo’s film allows for that potential criticism. It’s not a champion's story, really, but a delineation of how something worked, how it was received and handled by some people involved, what it maybe meant beyond simple victory or defeat. The title of the film refers to an idea that is, of course, utterly subjective. Colangelo grapples with all that is unfixed in this story with wise consideration. Worth finds its ultimate value in accepting what the film, and we, cannot ever determine for certain.

Richard Lawson

Chief critic.

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Critic’s Pick

‘Worth’ Review: Appraising Lives

Starring Michael Keaton, this is a surprisingly effective movie about a tricky subject — the creation of the Sept. 11 Victim Compensation Fund.

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By Ben Kenigsberg

The central question of “Worth” is whether it’s possible to reduce a life to a dollar value. The film, directed by Sara Colangelo ( the American remake of “The Kindergarten Teacher” ), dramatizes the creation of the Sept. 11 Victim Compensation Fund , which the federal government established after the attacks to limit lawsuits against the airlines. The lawsuits’ downstream effects, the reasoning went, could sink the United States economy.

“Worth” follows Kenneth R. Feinberg (an excellent, Boston-accented Michael Keaton ), the lawyer appointed as the special master of the fund, through the two-year process of defining the project’s parameters and of getting potential plaintiffs to sign on.

Notwithstanding skepticism from others, including Camille Biros (Amy Ryan), the business manager of Feinberg’s firm, it takes some time for the film’s Feinberg to understand he has underestimated the grief of the bereaved. Cold and imperious, he barely gets a word in at his first town hall with the victims. He discovers he won’t be able to farm out every interview or clerical assignment. A man who shuts out the world by listening to opera on headphones, he will have to leave his rarefied comfort zone.

Even assessing “Worth” as entertainment feels fraught. Only survivors can judge whether its Hollywoodized simplifications are appropriate. The screenplay, by Max Borenstein, substantially funnels the breadth of criticism directed at Feinberg into the character of Charles Wolf (a superb Stanley Tucci), who, as he did in real life , runs a website demanding fixes to the fund. The other potential beneficiaries are composites. Laura Benanti plays a firefighter’s wife whose husband left more obligations than she knew. Andy Schneeflock appears as a man whose same-sex partner died in the Pentagon attack. The deceased’s parents and Virginia law don’t recognize the relationship.

With most characters standing in for swaths of people who didn’t fit Feinberg’s formulations, “Worth” itself risks reducing individuals to types. Still, it’s probably impossible to make a mainstream movie without such streamlining, let alone to make a movie like “Worth,” on a subject that is not only challenging but superficially too technocratic for a two-hour movie. There are not many classic films about heroic legal settlements.

For all the ways in which it might give short shrift to the politics or policy of the fund, “Worth” is uncommonly moving by the standards of biopics and certainly by the standards of movies that risk addressing 9/11 so overtly. Colangelo directs with what appears to be conscious restraint, in ways by turns calculated and powerful. She keeps the faces of figures who will die in the attacks just out of view as they leave their spouses for work the morning of Sept. 11. She doesn’t re-create images of the burning towers except in a reflection in Feinberg’s train window. A lengthy pan gradually reveals the size of a wall of missing-persons posters.

The principal performances are uniformly strong, even with actors who do not resemble their real-life counterparts. Is it possible to reduce such complexities to an absorbing procedural? “Worth” argues yes.

Worth Rated PG-13. Trauma from the attacks . Running time: 1 hour 58 minutes. Watch on Netflix.

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