One key point I've read here and there is that Moore incorrectly asserts that the US let some Saudi nationals, including some of the Bin Laden clan, fly out of the US while most commercial traffic was grounded after 9/11. However, Moore specifically narrates that they were let out after September 13th, and seems mostly concerned, via an interview with an ex-FBI terror export, that many of them were not interviewed extensively enough given the magnitude of the attack. Yes, I know Richard Clarke was the official who ordered the evacuation. But I have to doubt the sanity of anyone who thinks the administration was unaware or did not approve of this action. IF they were unaware, that's actually a worse indictment than approval, don't you think?

The second half of the film drags on a little, although it has many jarring sequences of bombings in Iraq both during the invasion and after the carrier landing and the "Mission Accomplished" sign. Moore's use of footage showing happy Iraqi kids playing and flying kites may be his most off-key moment in the movie. He doesn't so much gloss over Saddam's atrocities as not go into them at all, though it's fair to say they have been covered extensively in other media reports, and here he is addressing other issues. Though I never met Moore, I'd probably most want to rip into him for this sequence. After this scene, one in particular of a grieving Iraqi woman is so raw it lets you know that we are definitely not in a light to heavy mockery of "the man" as in "Roger & Me", which as a film, definitely has more laughs. A sequence of Marine recruiters outside a Flint, Michigan mall hunting down potential recruits is probably the finniest scene in the film. They hunt them down like the salesmen in "Glengarry Glenn Ross" pick leads.

The use of one mom of a soldier provides what has to be the emotional core of the film, though it's not all in one sequence. One in particular of her breaking down outside the White House is almost unbearable in it's anguish. That the administration has not given deep thought to who it's attacking and why, is one of Moore's keynotes, and he makes a fairly convincing case in the context of the film. His known antiwar stances outside this film weaken this point somewhat.