Produced by Miramax Films and Dog Eat Dog Films
Written and directed by Michael Moore
Distributed by Lions Gate Films, Inc.
Michael Moore’s Fahrenheit 9/11 is shallow, manipulative, and malicious. It is also the slickest piece of cinematic propaganda since Sergei Eisenstein made Battleship Potemkin in 1925. Like Eisenstein’s film, Fahrenheit 9/11’s political impact is proving devastatingly effective. Tens of millions of people have seen it. Many are members of Moore’s choir, of course, and they are already in the bag. It is Moore’s success with the undecideds that is proving his cinematic mettle. Ordinary folks enter the theater uneasy about our Iraqi adventure and emerge two hours later raving for a pullout pronto.
If George W. Bush’s presidency goes under this November, Moore will be able to crow that he did his part. This will be a shame—not because Bush hasn’t earned his walking papers but because the demerits Moore brandishes with such blimpish glee are either minor or untrue. Worse, he flatly ignores the bull elephant in the room. The unexamined tusker is the neocon notion that we had to go to war to make the Middle East safe for Israel, our 51st state. It is odd that Moore should have chosen to ignore the beast since his 2003...