Anyone planning on seeing Steven Spielberg's Munich might be interested in reading this review by Ed Morrissey at Captain's Quarters. Here are Morrissey's opening paragraphs:
After giving the matter quite a bit of thought, I finally decided to see Munich at the theaters in order to make up my own mind about the film and the controversy that surrounds it. The film, which informs the audience that it was "Inspired By True Events", takes the bare bones of the Munich massacre and the Israeli intelligence operation which followed against the Black September organization which plotted it and turns it into ... well, an interesting if ultimately bankrupt morality play.
On its most facile level, Munich is a gripping film. Had it been based on complete fiction -- if Spielberg had had the sense to manufacture a hypothetical instead of hijacking history and twisting it -- then it might have even had a valid point to make. Spielberg has lost nothing as a film director in a technical sense, and apart from Schindler's List, this is his grittiest film ever. Eric Bana gives a wonderful performance as Avner, the leader of the team tasked with taking the battle against Black September to the streets. Ciaran Hinds and Geoffrey Rush are just as good -- Hinds just finished getting significant American exposure as Julius Caesar in the wonderful HBO series Rome, and he will whet appetites here for more.
The cinematography, music, mood, and all of the technical efforts put into the film are first rate, without a doubt. And every last bit of it gets wasted by a silly sense of moral equivalency that comes from a fundamental misrepresentation of the threat Israel faces, and in the strongly suggested allegorical sense, the threat that faces the US and the West now.
A number of pundits have already linked to the reports of historical and factual errors in the Spielberg/Kushner script, but I'm less interested in the details of these deviations than the reason Spielberg employs them. He has the assassination squad argue incessantly about the morality of their actions, the futility of violence, and so on, even while killing off the Black September terrorists one by one.
Most allegorically, they all wonder why they should bother when the PLO replaces the targets they kill with worse people than before. And while the movie gives a couple of references to the scores of terrorist attacks the PLO conducted through the 1970s, they never show any of them outside of the Munich massacre, and only then at the end of the movie after beating us over the head with the faux internalized guilt that springs entirely out of Spielberg's imagination.
You can find the rest of his review at the link.