Fahrenheit 9/11: Politics according to Michael Moore

While some media experts seem to decry Michael Moore's new film, Fahrenheit 9/11 as his latest propaganda machine spitting out rhetoric and bile, it's clear in the first few minutes of the film that Moore is merely having fun telling his version of major political events.

He starts in at the so-called election of George W. Bush and attacks Dubya's inaction on the morning of Sept. 11, 2001.

It doesn't get any better for Bush.

Moore takes heat for what his critics call "fabricating" a number of facts. He spoke last fall while on tour for his book, Dude Where's My Country?. He said he's never been sued for libel or slander.

It is the measure of Moore's success (the largest-ever opening for a documentary at $21.5 million, larger than Bowling For Columbine, also by Moore) that drives critics to complain about his accuracy and truth.

What is evident is that Moore is standing up and taking his turn at revealing what some Americans already know about the government, but don't have the voice to say: They've had enough of the spun stories, the lies and half-truths that many feel emits from the White House. They want change.

No one thinks Moore's film will have a devastating effect on the November election more than the Republican Party. The Republican Party is claiming that ads for Fahrenheit 9/11 are political advertising, demanding they be banned.

After watching the documentary, if you feel insulted by the obviousness of the message (sort of like watching a Dr. Phil show and saying "Duh!" at the end), you may realize that Moore is simply speaking out where many have chosen to remain silent.

Moore is trying to galvanize the American public, and he couldn't have chosen a more opportune time.