Directed by Michael Moore, whose aura of controversy only grew after his Oscar acceptance speech at the 2003 Academy Awards, Fahrenheit 9/11, like Moore’s Bowling For Columbine and Roger & Me, promises to expose the corporate wrongdoings and big-money scandals perpetrated by America’s financial elite. This movie, however, looks beyond the inner echelons of General Motors and Lockheed Martin in hopes of outing the evildoers in the White House, particularly in regards to the 43rd President of the United States, George W. Bush.

In addition to criticizing the administration’s handling of the September 11, 2001, terrorist attacks on the Pentagon and World Trade Center, Moore digs deep into the surprising relationship with the Bin Laden family held by both Bush administrations, and questions whether or not potential Saudi involvement with the attacks has been ignored.

As Fahrenheit 9/11’s Cannes Film Festival debut approached, marking only the second time in 48 years that a documentary has been included among the festival’s main competition, Miramax’s parent company Disney announced it would not be distributing the film due to its partisan nature, and, according to Moore, out of trepidation that the Florida-based Goliath’s multi-million-dollar tax breaks might be negatively affected by Florida Governor Jeb Bush, whose review within Fahrenheit 9/11 is less than favorable. (Barnes & Noble)

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To anyone who truly understands what it means to be an American, Michael Moore’s Fahrenheit 9/11 should be seen as a triumph of patriotic freedom.

Rarely has the First Amendment been exercised with such fervor and forthrightness of purpose: After subjecting himself to charges of factual errors in his gun-lobby exposé Bowling For Columbine, Moore armed himself with a platoon of reputable fact-checkers, an abundance of indisputable film and video footage, and his own ironically comedic sense of righteous indignation, with the singular intention of toppling the war-ravaged administration of President George W. Bush.

It’s the Bush presidency that Moore, with his provocative array of facts and figures, blames for corporate corruption, senseless death, unnecessary war, and political favoritism toward Osama Bin Laden’s family and Saudi oil partners following the terrorist attacks of September 11, 2001.

Moore’s incendiary film earned Palme d’Or honors at Cannes and a predictable legion of detractors, but do yourself a favor: Ignore those who condemn the film without seeing it, and let the facts speak for themselves. By honoring American soldiers and the victims of 9/11 while condemning Bush’s rationale for war in Iraq, Fahrenheit 9/11 may actually succeed in turning the tides of history. (Amazon)