Fahrenheit 9/11

Grade: A-

Michael Moore at his most unapologetically one-sided, tenacious, take-no-prisoners, go for the jugular best. Moore is always at his strongest when there is no pretense of unbiased or balanced reporting, and here he offers up a film with an unambiguous point-of-view and unabashed agenda to take down the administration of George W. Bush. It is manipulative to sure, it is also quite entertaining and undeniably convincing.

It is propaganda as propaganda is meant to be.

As presented by Moore, our President has protected and cultivated his familial relationships with the Saudis for personal power and increased wealth, while at the same time sent our children off to die in an unjust and immoral war. Mr. Bush is also a lazy, lackadaisical moron whose number of malapropisms during his first term in office is matched only by his number of golf swings. This may not change anyone’s mind about the President (although, while we’re being unapologetically opinionated, you’re an anti-woman, homophobic simpleton if you support the guy) but it is most certainly affirming, corroborating and energizing to the lefties among us as we enter the electoral season.

Moore is also stylistically at his best here, removing himself from much of the action and permitting the story, the voices, and the imagery to speak for itself. An Iraqi woman, tears streaming down her agonized face, begging, pleading to Allah to bring justice down upon our houses. An American mother, a devout patriot, tears streaming down her agonized face, standing in front of the White House mourning the loss of her son stationed in Iraq. “I didn’t think it would be this hard.” Moments will sear themselves into your mind. While there is an occasional misstep when Moore’s narration can’t help but take the low road – putting words and thoughts into people’s mouths and minds that may or may not have existed – Moore utilizes the facts at his disposal to build a vision of the truth that is profound, powerful and extraordinarily moving. Supported by a hauntingly taught score and superb editing, this is truly Moore’s finest hour.

The world changed for us all, both in 2000 when the Supreme Court became an undeniably politically biased entity, and in 2001 when the Towers fell. Moore doesn’t show us the planes slamming into the Trade Center – in fact, it is jarring to realize that the very sounds of planes crashing, glass breaking, and people screaming have become a part of our societal lexicon. We all know what it means. We all know what is happening. We all know the horror of people looking skyward.

What follows is a stunning tale of an immobile, conniving, vacationing President, color-coded terror warnings designed more to promote fear and allegiance than safety, a press willing to walk on eggshells and wave the American flag rather than do their jobs as reporters, and an agenda that has nothing to do with national security and all to do with personal profit. And a good yarn it is. Unfortunately, it is also a story of parents losing their children, a country despised by the world, and youthful minds whose innocence is lost far too early amidst blood, battle, testosterone and bravado.

The perspective Moore brings to his treatise is made all the more frightening set against the backdrop of a movie studio that forgot the meaning of free speech right around the same time our lawmakers forgot the meaning of the Bill of Rights. It gives one hope that there are Moores and Weinsteins courageous enough to take on the Bushes and Eisners of the world.

You will be haunted for days.

More Movie Info: http://imdb.com/title/tt0361596/