Too soon? It's a question that a lot of moviegoers were asking not long after the horrific tragedies of Sept. 11, 2001. While 2006 certainly isn't the first year that filmmakers have attempted to synthesize raw feelings into cohesive works of cinema, it is the first year where any mainstream films of note - Paul Greengrass' Flight 93 and Oliver Stone's World Trade Center will address barely fictionalized versions of that fateful morning. Many films have come before, however: the 2002 omnibus 11'09"01 or September 11 had a clutch of directors fictionally grappling with that terrible day while the documentaries 9/11, Fahrenheit 9/11 and Through a Child's Eyes: September 11, 2001, among others, have likewise dealt with those pivotal events in American history.

Where before there were few, now it seems there are many and into this ever-growing collection of works dealing with 9/11 comes John Touhey's sensitive, understated September 12th, a low-budget drama somewhat hampered by its non-professional cast, but which redeems itself with its narrative subtlety.

As the film opens, the family of Lori Riga is celebrating her life, some three years after she died in the collapse of the Twin Towers. Eddie Moyle (Ernest Mingione), a Manhattan lawyer who claims to have known Lori, confronts Rick (James Garrett), Lori's former fiance who still hasn't recovered from his loss, at the memorial. Lori's brother, Frank (Joe Iacovino) and Rick are soon butting heads as both men have differing views of Lori's life; the confrontation culminates in Frank journeying back to that wrenching day, forced to consider something he never thought possible.

Touhey, who co-wrote the script with Mark Lickona, does the best he can with his actors, although the occasional awkward camera angle doesn't help. It speaks to the power of the material and focus of Touhey and Lickona's script that September 12th packs the punch that it does. Grieving and letting go aren't easy, but acceptance and forgiveness are only marginally less difficult - perhaps that is one of the biggest lessons 9/11 could ever teach us.

The Video:

September 12th sports a very soft, noisy 1.78:1 anamorphic widescreen transfer - as the film was clearly shot on DV, there is an inherent graininess and noise to it, which keeps it from being razor-sharp. It's far from ideal but given the film's low budget origins, the image isn't as bad as it could be.

A film exclusively driven by dialogue, September 12th does not boast a flashy soundtrack - Dolby 2.0 stereo is all that's included. It's a very full and occasionally too loud mix that has punchy bass with slightly reedy highs; the actors' lines are heard clearly and without distortion. Optional English subtitles are also onboard.

The lone bonus feature are some production photos.

Awkward compositions and stilted acting notwithstanding, director John Touhey's September 12th is a thoughtful, subtle entry into the ever-growing canon of films dealing with 9/11. Fans of independent drama should seek this work out. Rent it.