What a moving experience watching this movie. You get a great idea of the troubles Northern Ireland went through, and how it affected England itself and Northern Ireland as well.You also get a glimpse of how it affected families of the dead and what they had to go through just to get recognition for these bombings. Gerard McSorley was superb in this film. It was almost surreal how good this man was in this film. Overall, this had to be the greatest film I have ever seen. And I was only 14 when I saw this film (15 at this moment) and I'm still touched by this movie.I recommend this movie to everyone not only interested in Northern Ireland and the troubles, but for someone who wants to see a moving, touching, and amazing movie.

In 1998 the so-called Real IRA (a split from the original IRA that didn't agree with the peace process in Northern Ireland) exploded a 200 kg bomb in one of the most crowded streets of the city of Omagh. More than 30 dead, hundreds of wounded people... No one were judged for those crimes. The politicians were afraid that the peace process might end and just "let it be"."Omagh" approaches to those facts from the point of view of the victims. The initial shock, the confusion, the anxiety... The first half hour of the movie is just hair-raising, and if you're a very sensitive person you should't see it. For the rest of you: the film is just superb, and it isn't gruesome at all. Pete Travis shows the facts as they were, but so carefully and with a style that makes the movie look like a documentary.The work of the actors is outstanding, for it's so hard to play that kind of characters (they're so emotional).*My rate: 8/10

Fortunately I had the opportunity to see this film in Mexico. Its powerful recreation of an actual event was underscored by its sympathetic portrayal of everyday life in Northern Ireland. I was impressed that the violence on screen was limited to the explosion. The sequencing of the movie was outstanding, beginning with the assassins driving through the hills to Omagh, shifting to a father and son working together in the town, and then into the center of the town itself. Although the locale was one small town, of course its theme applies to all too many parts of the world these days. One interesting detail is that the faces looked familiar but that isn't surprising because many Americans are descended from the Scotch-Irish who settled in Northern Ireland.

The most salient fact about this TV movie is that its two hours' running time includes 65 speaking parts. Torn between focusing on one or two human stories behind Northern Ireland's worst terrorist outrage and giving a panorama of the politics that led to it, the production settles for wheeling on almost every Ulster character actor you ever saw and others besides. Even an Oscar winner, Brenda Fricker, is in there somewhere, so she is: blink and you'll miss her. This jittery kaleidoscope creates confusion and dissipates sympathy; as soon as we begin to dig into one victim's backstory, we're off at another tangent. Neither good art nor good commerce, such worthy exercises in the reconstruction of recent events fall between the stools of documentary and drama. Like many, "Omagh" is shot in "swivelvision" in the common but quite mistaken belief that this makes it look more "real"-- as though documentarists had never learned to use Steadicam. It tiptoes delicately through the minefield of libel that bedevils moveimakers trying to portray unresolved situations: a title at the end tells us that the suspected bombers all deny involvement, so there is no catharsis to be obtained by showing them going to jail. Making us feel sorry for the bereaved is easy meat; but like many an American "issue" movie, all this one will generate in viewers outside Northern Ireland is smug relief at being hors de combat.