L.A. Weekly by Alan Scherstuhl
The film unfolds as a sort of first-person procedural, a vivid step-by-step account of a reporting trip to hell.
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United Kingdom · 2018
Rated R · 1h 30m
Director Chris Martin
Starring
Genre Documentary
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On February 12, 2012, two journalists entered war-ravaged Syria. One of them was celebrated Sunday Times war correspondent, Marie Colvin. The other was photographer, Paul Conroy. Their aim was to cover the plight of Syrian civilians trapped in Homs, a city under siege and relentless military attack from the Syrian army. Only one of them returned.
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L.A. Weekly by Alan Scherstuhl
The film unfolds as a sort of first-person procedural, a vivid step-by-step account of a reporting trip to hell.
Film Journal International by Gary M. Kramer
Under the Wirecements Colvin’s legacy as it illustrates the value of getting to the truth and making it public. In Martin’s hands, Conroy’s story is no less compelling.
The New York Times by Jeannette Catsoulis
While the movie is rightfully more interested in lauding her bravery than highlighting her sometimes abrasive personality, these small moments help to humanize a portrait that can at times seem more awestruck than enlightening.
The Hollywood Reporter by John DeFore
Suffice to say there are twists, physical perils and moments of self-sacrifice.
Los Angeles Times by Katie Walsh
Under the Wire brings a vivid immediacy to this tragic event. Conroy speaks candidly to the responsibility that he feels to survive and to tell the stories of the others, a task that he will carry with him for the rest of his life.
Martin’s film is a thoroughly sobering watch and leaves us with tough questions about how the West chose to deal – or rather not deal – with Assad and the refugee crisis.
The Guardian by Peter Bradshaw
This is a heart-stoppingly suspenseful story. Conroy is a superb commentator on war and all its cruelties and absurdities.
The harrowing nature of the work is the primary focus of this film and many others on this subject. But Colvin never comes off as the classic adrenaline junkie/Hemingway wannabe that too many of these films turn their heroes into.
Conroy wrote the book upon which the film is based and serves as the film’s central mouthpiece; full of twitchy, animated energy, he makes a terrific storyteller who’s boosted by Martin’s selection of found footage along with a minimum of jangly re-creations.
The Observer (UK) by Wendy Ide
It gives heart-in-the-mouth insights into the realities of war reporting, and is a testament to the value – and the price – of great journalism.
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