Fahrenheit 451 (1966)

(Right now, there’s little Moore can’t take care of on his bellicose lonesome, unless you count Bush Senior, who gets trashed in the movie and has called him a “slimeball” for tarnishing his son’s image, or a cranky Ray Bradbury, who cussed out the filmmaker for stealing the title of his novel Fahrenheit 451 and then changing it without permission.)

The title is a play on "Fahrenheit 451," the temperature at which paper burns, and a Ray Bradbury novel about a future totalitarian state in which reading and independent thought are banned.

"Fahrenheit 9/11" takes its title from Ray Bradbury's novel "Fahrenheit 451," which takes place in a futuristic totalitarian state that prohibits reading -- and the independent thought it fosters.

For his novel Fahrenheit 451, Ray Bradbury took inspiration from Nazi book burnings, among other historical examples of censorship.

The rebel group in "Equilibrium" preserves art and music (there is a touching scene where Preston listens to a jazz record), and we are reminded of Bradbury and Truffaut's "Fahrenheit 451," where book lovers committed banned volumes to memory.

With its echoes of "1984" and "Fahrenheit 451," the screenplay by Pat Rushin, a writer and English professor at the University of Central Florida, hits many of the same dystopian notes as Gilliam's "Brazil."

This first feature written and directed by Gary Ross (who co-wrote "Big") starts out as a satirical fantasy about a teenage brother and sister (Tobey Maguire and Reese Witherspoon) projected into a black-and-white '50s sitcom and winds up as a somewhat heavy-handed parable of totalitarianism and racial discrimination, with deliberate echoes of "1984," "Fahrenheit 451" and Shirley Jackson's "The Lottery."