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Why We Fight

Why We Fight

Documentary · History · 2005

Is American foreign policy dominated by the idea of military supremacy? Has the military become too important in American life? Jarecki's shrewd and intelligent polemic would seem to give an affirmative answer to each of these questions.

Movie details

Why We Fight

“It Is Nowhere Written That The American Empire Goes On Forever”

2005 Documentary · History 1h 38m

Critical arithmetic

The consensus, allegedly.

IMDb

8.0 / 10

10.3K votes

Rotten Tomatoes

78 %

Tomatometer

Metacritic

68 / 100

Metascore

TMDB

7.5 / 10

Community rating

External scores via OMDb · CC BY-NC 4.0. Values normalized for display; availability varies by title.

Is American foreign policy dominated by the idea of military supremacy? Has the military become too important in American life? Jarecki's shrewd and intelligent polemic would seem to give an affirmative answer to each of these questions.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Why We Fight?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Where it lives

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Names above the title

The people responsible.

Directed by

Eugene Jarecki

Written by

Eugene Jarecki

C

Chalmers Johnson

Self - CIA, 1967-1973

J

Joseph Cirincione

Self - Carnegie Endowment for Peace

Gore Vidal

Gore Vidal

Self - Author, "Imperial America"

C

Charles Lewis

Self - Center for Public Integrity

Richard Perle

Richard Perle

Self - Advisor, U.S. Dept. of Defense

William Kristol

William Kristol

Self - Project for the New American Century

John McCain

John McCain

Self - Senator (R/AZ)

Court is in session

Put Why We Fight on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Auteur Devotee

“Ambition earns the room.”

The film reaches for consequence and scale, accepting the risk of seriousness instead of shrinking from it.

The prosecution The Popcorn Loyalist

“Importance has entered the chat.”

The production keeps announcing its significance, as though awards-season posture were proof of insight.