Michael Moore's view on what happened to the United States after September 11; and how the Bush Administration allegedly used the tragic event to push forward its agenda for unjust wars in Afghanistan and Iraq.
At the height of his stardom, the world's biggest pop star, Michael Jackson, began long-running relationships with two boys, aged seven and ten, and their families. They now allege that he sexually abused them.
In 1980 New York, three young men who were all adopted meet each other and find out they're triplets who were separated at birth. But their quest to find out why turns into a bizarre and sinister mystery.
The film's title relies on U.S. date notation to refer to November 9, when Trump's 2016 presidential win was announced (the election took place the day prior). The title simultaneously serves as a callback to Moore's 2004 political documentary Fahrenheit 9/11, which refers to the date of the September 11 attacks in the United States. Both of Moore's documentary titles are an allusion to the 1953 dystopian novel Fahrenheit 451 by Ray Bradbury. See more »
More striking to me than the the film itself is its incredibly bi-modal retribution reveiwer scores, ALMOST ALL.NEARLY 1 or 2 OR 10 or 9. This not only strikingly illustrates the ideological/political character of user responses, but the limitations of mean scores as statistical summaries of viewer favor or disfavor. In this case no use, except as a benchmark for the polarized responses.
As for the film itself, think 11/9 is probably the best film of one of our most skilled cinemantic essayist. It's free of Moore's occasional gaffes (e.g. the cruel interrogation of Charlton Heston in Moore's critique of US gun use, the 9/11 shot of joyous Iraqies in Baghdad cafes just prior to Bush-II's military intervention into Iraq). It's polemical but conscientious, if not unselective, in its use of facts. It's a powerful piece of rhetoric, like say the Gettysburg Address or Reagan's "tear down that wall" speech.
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