Co-producer Stacey Sher told CBS News, "They wanted the theatre owners to know that people might inquire at the box office whether or not the trailer would be shown and then it would be their decision whether they wanted to see it or not." Michael Shamberg, another producer of the film, said, "I think it's an intense recreation of what happened that day and that might be disturbing for people."Presumably, they're trying to drum up interest in their movie. You can watch the trailer here. Do you see disturbingly "intense," gritty realism or disturbingly saccharine melodrama? From the slow-moving, over-clean cops getting up the gumption to volunteer to rescue people to the woman smelling the extra-white sheets of her missing loved one to the trapped man scrawling "I [heart] U" on a scrap of paper it is old-fashioned, maudlin dreck. Appalling.
IN THE COMMENTS: Troy expresses puzzlement: "maudlin and sentimental don't seem [Stone's] style...." I offer this explanation:
I believe that in this case "maudlin and sentimental" is an expression of Stone's low opinion of the intelligence and sensibility of Americans. He's talking down to us and thinks 9/11 has turned us into simple-minded sentimentalists. He may also have that attitude that Americans were admirable right after 9/11, in the immediate pain of the events, when we concentrated on grief and helping victims, but that we subsequently lost our way (by fighting back). The sentimentalism thus essentially expresses opposition to the war on terrorism.
UPDATE: Chris simulblogs the trailer. A taste:
"Okay, listen up. We've got to evacuate the tower." The police stand still; there is a moment of them silently looking at him and pouting. Finally, one officer breaks the silence, saying, "I got it, Sarge." He then steps forward--much like the scene in Jerry Maguire, where the office sits in silence after Tom Cruise's speech, and Renee Zellweger eventually gets up, and says, "I will go with you!"