The Graying of Black September: A Shot from the Other Side on Munich

At Salon.com Michelle Goldberg opines as follows:

Political critics are berating the movie for suggesting that the violence wracking the Middle East is a cycle that both sides have a part in perpetuating. Spielberg, ironically, is accused of being insufficiently Manichean, and the charge threatens to ossify into conventional wisdom before the movie's audience can get to theaters to see how misguided it is. . . . The analogy to our own time is obvious, and in some ways the argument about "Munich" is really one about America. Post-9/11 political correctness, which demands that stories about terrorism and counter-terrorism be limned in starkest black and white, seemed to have dissipated these last few years. In the debate over Spielberg's movie, though, it's returning with a vengeance. The result is not just the mischaracterization of a movie -- it’s the resurrection of the taboo against depicting the war on terror in shades of gray.

I haven't seen the movie, but she is definitely mischaracterizing the hostile reviews. I understand the hostile reviews to be complaining, not about shades of gray, but to the insistence that everything always be gray, and not only that, the same shade of gray. The objection, as I understand it, is to an inability to imagine any kind of complexity other than that which renders Black September gray.