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Film review by Colin Fraser

FAHRENHEIT 9/11

9/11
Michael Moore's scathing documentary that questions the response by the US administration to attacks on September 11, 2001. score

4+
moviereview rates films from
1 (unwatchable) to 5 (unmissable)
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Cast
George W. Bush, Michael Moore

Director
Michael Moore

Screenwriter
Michael Moore

Country
USA

Rating / Running Time
M / 122 minutes

Australian Release
July 2004

Official Site




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Readers of Michael Moore’s Hey Dude, Where’s My Country? will be familiar with two thirds of this film. Expanding on a belief that the Bush, Bin Laden and Saudi Royal families have more in common than any wish to reveal, Moore’s scathing documentary charts recent history from the attack on New York to the battle for Baghdad. It starts with the appointment of ‘President’ George W. Bush, his response to the September attack and subsequent pinning of Al Qaeda’s crimes on Saddam Hussein. Revelation upon revelation is presented with his branded fervour and humour; at one point Moore button-holes the Senate to see if they would draft their own family members - only one US Congressman has a son in service.


Fahrenheit 9/11
is less successful than Moore’s Academy Award winning Bowling For Columbine in two critical areas. First, polemic frequently overwhelms the honesty of his documentary: he is often heard leading his subjects and denying them credible independence. Secondly, it lacks much of the surprise that informed Columbine: this is a subject most Australian audiences know well. What distinguishes it is barely contained outrage and detail that confirms our worst fears (John Howard – why weren’t you listening?) The remainder not covered in Hey Dude focuses on the real intention and consequence of their actions. As with previous films, Moore returns to Flint, Michigan to reveal the impact on ordinary American lives. Compared to the impact on ordinary Iraqi’s, it seems the only people to prevail were those who in Bush’s disgusting phrase represent “the haves and the have mores”. Essential viewing.

// COLIN FRASER