Fahrenheit 9/11 (2004)
Directed by Michael Moore
Michael Moore's view on how the Bush administration allegedly used the tragic events on 9/11 to push forward its agenda for unjust wars in Afghanistan and Iraq.
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What critics compared Fahrenheit 9/11 to
(Right now, thereâs little Moore canât take care of on his bellicose lonesome, unless you count Bush Senior, who gets trashed in the movie and has called him a âslimeballâ for tarnishing his sonâs 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 Ray Bradbury's science-fiction classic "Fahrenheit 451," in which "firemen" burn books and serve a totalitarian regime that tolerates no dissent.
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 the title is a play on the Ray Bradbury novel (and Francois Truffaut film) Fahrenheit 451, about a future totalitarian state where reading, and thus independent thinking, has been outlawed has news value beyond its financing and distribution tangles.
"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.
This harkens back to the scene in Michael Moore’s Fahrenheit 9/11 that caused some to callously misunderstand George W. Bush’s momentary perplexity immediately after learning of the attack, when he was reading a story to a roomful of children.
The last time such a device was used to evoke that tragic day without relying on explicit images of burning buildings was Michael Moore’s “Fahrenheit 9/11,” which utilized reaction shots to underscore the human element of the devastation.
The nutso rhetoric around this film reminds me of last decade when my fellow liberals rubber-stamped countless cruddy anti-Bush documentaries (betcha the Cannes jury wishes they could get a do-over on that Fahrenheit 9/11 Palme d’Or) or when evangelical audiences applaud the latest pile of crap from Kevin Sorbo or Kirk Cameron.
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As you reflect on that, and on 13 Hours's 2016 release date, it's natural to come to the conclusion that this was Bay's Fahrenheit 9/11 -style attempt to nudge the results of the American presidential election away from Clinton.
But it’s more than that: Not only is it Star Wars and The Matrix, it’s also John Smith and Pocahontas, Dances With Wolves and Fahrenheit 9/11, Edgar Rice Burroughs and Rider Haggard, Hayao Miyazaki and Jack Kirby, Ferngully: The Last Rainforest and Battle for Terra, Jurassic Park and Aliens.
And while the plot about kings and noblemen socking it to the middle class and poor with higher taxes resonates today — for tea party loyalists, this “Robin Hood” could become a rallying point like “Fahrenheit 9/11” was for Iraq war protesters — the screenplay never really knows what it wants to say about it.
There hasn't been a movie this anti-America (note that I'm not saying it's unamerican, since Gaghan is as entitled to his opinions as anyone), since Fahrenheit 9/11.