Fahrenheit 9/11 is by far the scariest horror flick of the summer. In fact, the combined forces of Freddy, Jason, the ridiculous-looking Scream character and the Blair Witch don’t equal the terrifying qualities of a single government official presented in Fahrenheit 9/11. The ringleader, of course, is the president, presented by Michael Moore as an election thief, callous leader and uncouth liar.

It must be an election year.

The conservative sector is quick to point this fact out, contesting that Michael Moore is heading the group of anti-Bush supporters through the use of blatant propaganda.

However, to use the “P” word would mean that Moore is skewing the information he presents in his film across party lines, giving a load of half-truths in an attempt to convince the public that “Dubya” is the summer’s blockbuster monster.

It’s difficult to contend that Moore’s documentary is half of the truth when he presents facts and allows viewers to come to their own conclusions. In the same honest approach Moore used in Bowling for Columbine, he presents real families and real loss, introducing viewers to the realities of war — just in case anyone was ignorant to the fact that war is more ghastly than any cinematic fantastical fear.

The sadness of a mother who has lost her son in combat, just like the trials and tribulations of the mother of a six-year-old shooter in Bowling, is outlined with elegant brevity that provides depth without tediousness.

Moore goes to the Capitol, looks at the evidence, and holds the government officials completely responsible. He returns to Flint, Mich. to show how small-town America becomes a pawn in the chess game of politics. He provides a comprehensive set of viewpoints that leaves no single person without something with which to relate, without something to think about when the film comes to its end.

Then there is that classic Moore sarcasm. If documentaries were supposed to be boring, then the entertainment level of his film far exceeds the standard. Moore doesn’t forget that people want to laugh, regardless of how horrible viewers have allowed the world to become.

Moore prefaces the movie with a synopsis of the 2000 election debacle, with flashing images of Al Gore celebrating victory in Florida, and asks in a tone that at least makes you smile, if not outright laugh, “Was it all a dream?”

If this is a well-played orchestrated attempt on Moore’s behalf to manipulate the public, then he has found the correct medium in which to do so. Movies are more popular and much more enjoyable than campaign ads or newspaper editorials.

The buzz concerning Moore’s Fahrenheit 9/11 is not due to the fact that he is doing some despicable disservice to the American people by providing facts against the conservatives; the Republicans are just angry that they didn’t think of it first.

Actually, who is to say that they didn’t think of it first? From a war hero’s inspirational story to an insightful, conservative president on the silver screen, maybe the Republicans are just upset that the other side caught on to a very keen trick, this time incorporating a little bit of humor and a whole lot of horror.