---
title: "Fahrenheit 11/9"
year: 2018
kind: "film"
canonical: "https://film.one/film/fahrenheit-11-9"
fi1m_id: "fahrenheit-11-9"
imdb_id: "tt8632862"
tmdb_id: 532908
wikidata_id: "Q30000531"
fi1m_score: 60
critics_score: 64
critics_reviews: 25
published: "2026-10-04T18:57:00.378018+00:00"
updated: "2026-10-04T18:57:14.317396+00:00"
region: "RO"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Fahrenheit 11/9 (2018)

Directed by Michael Moore · 2h 08m · Documentary

## Identity

Fahrenheit 11/9

- **Canonical:** https://film.one/film/fahrenheit-11-9
- **Type:** Film
- **Fi1m ID:** fahrenheit-11-9
- **IMDb ID:** tt8632862
- **TMDB ID:** 532908
- **Wikidata ID:** Q30000531
- **Same entity:** https://www.imdb.com/title/tt8632862/, https://www.themoviedb.org/movie/532908, https://www.wikidata.org/wiki/Q30000531

**Fi1m score: 60** · Critics 64 from 25 reviews

*In a sentence:* A film about Trump that is best when it forgets him and goes home to Flint

> Michael Moore’s angriest film since *Fahrenheit 9/11* is a sprawl of stunts, montages and arguments he starts and does not finish. In the middle of it is forty minutes on the poisoning of Flint that is as good as anything he has made.

## Synopsis

It is the early hours of 9 November 2016 and the television anchors who have spent the evening waiting to call it for Hillary Clinton have gone quiet. Donald Trump (in archive footage) walks out to accept. Michael Moore asks how it happened and starts with himself, with a clip of Moore and Trump sharing a sofa on Roseanne Barr’s chat show. He goes after the networks for the free airtime, and after the Democrats for the candidate they chose over Bernie Sanders. Then he drives home to Flint, Michigan, where the state has switched the city’s water supply and poisoned it.

## Review

Michael Moore has never been a tidy filmmaker, and *Fahrenheit 11/9* is his untidiest. It opens in the early hours of 9 November 2016, with the cable anchors who had waited all evening to call it for Hillary Clinton staring at their screens, and asks how that night came about. The answer takes 128 minutes and goes by way of Flint, a school in Florida and a teachers’ strike in West Virginia. Some of it is the best work Moore has done since *Fahrenheit 9/11* (2004). A good deal of it is a man changing the subject.

The opening stretch is the weakest and the most Moore. He blames the networks for the free airtime, then admits he sat beside Trump on Roseanne Barr’s sofa and found him pleasant. He blames the Democrats for choosing a candidate people did not want, and shows Bernie Sanders winning the West Virginia primary and the state’s delegates going to Clinton anyway. Each is a fair point and none is pursued. Pablo Proenza and Doug Abel cut the first half hour as a run of accusations, each landing before the last has been explained, like a man emptying a drawer onto a table.

Then Moore goes home. Flint, Michigan, is where he grew up and where he made [*Roger & Me*](https://film.one/film/roger-and-me) (1989), and in 2014 the state switched the city’s water supply to the Flint river to save money and put lead into its children. Jayme Roy and Luke Geissbühler shoot the city in flat winter light: brown water in a glass, a clinic waiting room, empty streets. Moore drives a tanker of Flint water to the governor’s residence and turns a hose on the lawn, and for once the stunt is not the point. We were angry watching this, in a way none of the Trump material managed, because Moore stops talking and lets the doctors and the mothers say what lead does to a five-year-old. When Barack Obama arrives, asks for a glass of Flint water and takes a sip for the cameras, the film simply watches the faces around him fall, and it is the most damning minute in it.

The second half finds its hope in people who did not wait to be asked. West Virginia teachers walk out over pay and health cover and stay out until they win. The Parkland students, David Hogg among them, organise a national march within weeks of the shooting at their school. Alexandria Ocasio-Cortez knocks on doors in the Bronx before anyone outside it knows her name. These stretches moved us in the ordinary way, because the people in them are doing something rather than describing it, and Moore, wisely, gets out of their way.

Then he reaches for history. Late on, the film draws the parallel between Trump and Hitler that others have drawn before it, at length and with a straight face, and the stretch is the film’s most discussed and its least useful. The people he is speaking to have already made the comparison; the people he wants to reach will switch off the moment the name comes up. The showman gets the better of the reporter here, and we found ourselves checking the time.

Moore’s case against the news channels, with Brooke Baldwin, Ashleigh Banfield and Joy Behar cut together as one long open mouth, is the film’s other good idea. It is dropped after ten minutes. Moore is heard throughout and seen less than he used to be, which is an improvement. He sounds tired, and he says so.

*Roger & Me* had one town and one man. [*Bowling for Columbine*](https://film.one/film/bowling-for-columbine) (2002) had one question and followed it to the end. This has one country and every grievance in it, and finishes a third of them. Most critics have been kinder to the whole than we are, and we can see why; Flint carries a lot of goodwill forward. Not all of it.

See it for Flint, a documentary of its own and a fine one, and treat the rest as the price of admission. At home you can pause when Moore starts on Hitler and pick it up again with the teachers.

*Fi1m score 60, published 4 October 2026.*

## What the critics say

Most critics come out in favour, though few of them without reservation. The praise clusters on the Flint water section, singled out again and again as the strongest and most upsetting stretch, and on the passages with young activists and the Parkland students, which many find give the film its hope. A good number credit Moore for turning his anger on the Democrats and on American society at large rather than solely on Trump, and several call it his most effective work in years.

The reservations are nearly unanimous in kind: scattershot, rambling, too many targets, too little focus. The spread is wide. The Times and Vulture rate it among his best; The Telegraph finds a sloppy rant with an overdone Hitler analogy; Slant goes further and calls Moore’s showmanship as self-promoting as Trump’s own. Several say it preaches to the converted, and Collider complains that it offers no concrete ideas for change.

## Straight answers

**Is Fahrenheit 11/9 worth watching?**

*Fahrenheit 11/9* is worth watching for its reporting on Flint’s poisoned water, though the wider political documentary is scattered; we score it 60 out of 100. We recommend it to viewers interested in Moore’s reporting, with the caveat that his stunts and unfinished accusations make the 128 minutes feel longer than they need to.

**How long is Fahrenheit 11/9, and what is it rated?**

*Fahrenheit 11/9* runs 2h 08m. It is a documentary film.

**Where can I watch Fahrenheit 11/9 in Romania?**

*Fahrenheit 11/9* is not on any streaming or rental service in Romania at the moment. It is available in 17 other countries; change your country at the top of the page to see where. Availability is checked daily.

**How violent or frightening is Fahrenheit 11/9, and is it suitable for children?**

*Fahrenheit 11/9* has a UK 15 certificate and is unsuitable for children under 15; its account of lead poisoning in Flint makes for distressing viewing. Doctors and mothers describe the harm to children, which we find more upsetting than the political material. The certificate also warrants caution for sensitive older teenagers.

**How does Fahrenheit 11/9 compare to Roger & Me?**

*Fahrenheit 11/9* is less disciplined than [*Roger & Me*](https://film.one/film/roger-and-me), which we recommend as the stronger, more focused introduction to Moore’s work. Both find powerful material in Flint, but the earlier film stays with one town and one man, while *Fahrenheit 11/9* moves between national grievances without pursuing enough of them properly.

**What should I watch after Fahrenheit 11/9?**

After *Fahrenheit 11/9*, try [*Roger & Me*](https://film.one/film/roger-and-me) (1989, Fi1m 78): Moore’s first film, one town and one man, and still his most disciplined. Then [*Weiner*](https://film.one/film/weiner) (2016, Fi1m 75): A politician destroys himself on camera and keeps letting the crew film; and [*The Act of Killing*](https://film.one/film/the-act-of-killing) (2012, Fi1m 88): Indonesian death squad veterans restage their crimes; horrifying and impossible to stop watching.

### Reviews we read (25)

- **The Times**, Kevin Maher (★★★★☆): Moore is reinvigorated and potent in this analysis of Trump's rise, demolishing targets including Democrats and using effective stunts and montages, with a strong section on parallels to Hitler. [Read](https://www.thetimes.com/world/us-world/article/film-review-fahrenheit-11-9-3tvw2zj2g)
- **Vulture** (90/100, inferred): Moore has about the right number of irons in the fire and strikes the living hell out of every one in this fullest, most original and urgent film, one of the most urgent ever made. [Read](https://www.vulture.com/2018/09/tiff-review-michael-moores-fahrenheit-11-9-is-a-must-see.html)
- **IndieWire**, Eric Kohn (70/100, inferred): Moore strikes an alarming tone rooted in grim realities but this angry movie spotlights the potential for a new chapter of activism and resistance. [Read](https://www.indiewire.com/features/general/fahrenheit-11-9-review-michael-moore-tiff-2018-1202001496/)
- **Los Angeles Times**, Robert Abele (70/100, inferred): Moore channels outrage in a messy but powerful way that shames the left as often as it demonizes the right. The film is a dire warning and impassioned call to action that leaves one feeling the best course is to get out and fight rather than wish or hope. [Read](https://www.latimes.com/entertainment/movies/la-et-mn-fahrenheit-11-9-review-20180920-story.html)
- **RogerEbert.com**, Brian Tallerico (70/100, inferred): Moore is angrier than ever but directs much of his outrage at American society as a whole for enabling Trump rather than solely at the president. The film is scattershot but ultimately Moore’s best in years for its simple, nonpartisan call to get mad and take action, with strong sections on the Flint water crisis. [Read](https://www.rogerebert.com/reviews/fahrenheit-119-2018)
- **Sight and Sound**, Tom Charity (70/100, inferred): Moore places the blame for Trump's election, prospects the consequences and exhorts the resistance. The film is most compelling on the Flint water scandal and the betrayal of Moore's hometown. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/fahrenheit-119-first-look-michael-moore-reclaims-american-populism)
- **The AV Club**, A.A. Dowd (B-): Moore's enraged but scattered documentary replays the 2016 election shock and explores broader issues like the Flint water crisis with righteous anger, but feels unfocused and behind the times. [Read](https://www.avclub.com/michael-moore-looks-at-and-beyond-trump-in-the-enraged-1829171712)
- **The New York Times** (NYT Critic’s Pick): Moore’s showmanship is intact as he targets Trump and the broader failures of American politics and media. The sections on the Flint water scandal are infuriating while the hope offered by young activists provides some relief amid the existential dread. [Read](https://www.nytimes.com/2018/09/20/movies/fahrenheit-11-9-review-michael-moore.html)
- **Variety**, Owen Gleiberman (70/100, inferred): The film starts as nose-thumbing satire then dives into the Flint horror before becoming a powerful warning about fascism and the destruction of democracy. It is not a screed but a wise call to take action now or risk losing the opportunity. [Read](https://variety.com/2018/film/reviews/toronto-film-review-michael-moores-fahrenheit-11-9-1202931641/)
- **Empire**, Dan Jolin (65/100, inferred): The critic finds the film an uneven but rousing attack on Trump that makes its main points with upsetting potency about the slow-burn failure of American democracy. It is praised for its examples of grass-roots insurgency but criticised for being scattershot, protracted and losing focus by including tangential elements like the Flint water crisis. [Read](https://www.empireonline.com/movies/reviews/fahrenheit-11-9-review/)
- **Little White Lies**, Adam Woodward (2/3/3): Moore takes aim at both sides of the political establishment in a scattershot survey of Trump’s America. Segments on gun violence and grassroots activism hit their stride, with a strong message of hope offsetting the horror. [Read](https://lwlies.com/reviews/fahrenheit-11-9)
- **Screen Daily** (50/100, inferred): Moore tackles a wide range of America's ills in a roving overview that frustrates as much as it rouses by bouncing from topic to topic. It grows more confident on the Flint water crisis and Moore’s empathy for the victims. [Read](https://www.screendaily.com/reviews/fahrenheit-11/9-toronto-review/5132378.article)
- **The Guardian**, Peter Bradshaw (50/100, inferred): The critic finds Moore's fury at Trump evident but the film incoherent and rambling, failing to deliver a focused counterattack despite strong sections on Flint's water crisis. [Read](https://www.theguardian.com/film/2018/oct/17/fahrenheit-119-review-michael-moore-donald-trump-documentary)
- **The Hollywood Reporter**, Deborah Young (50/100, inferred): Moore's film is a jumpy state-of-the-union review with multiple targets, less focused than his previous docs, but offers food for thought with passion and humor; criticizes Democratic establishment and draws provocative Trump-Hitler parallels. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/fahrenheit-11-9-1140767/)
- **The New Yorker**, Anthony Lane (50/100, inferred): Moore’s saddened, irate, and scattershot film tries to understand Trump’s victory but represents an opportunity missed. It is stirred by his rueful awareness that in an emergency the call to action should override the pleasures of irreverence. [Read](https://www.newyorker.com/magazine/2018/10/01/the-vexing-analogies-of-fahrenheit-11-9)
- **The Telegraph** (2/5): The film is a sloppy, scattergun rant that proves Moore's best days are behind him, with an overdone Hitler analogy and preaching to the converted. [Read](https://www.telegraph.co.uk/films/0/fahrenheit119-michael-moores-sloppy-trump-doc-proves-best-days/)
- **Slant Magazine**, Jake Cole (30/100, inferred): Moore's circus-showman duplicity is as crass and abhorrently self-promoting as that of Donald Trump, though the film offers a more coherent overview of Democratic Party machinations and a strong section on the Flint water crisis. [Read](https://www.slantmagazine.com/film/fahrenheit-11-9/)
- **The Playlist**, Victor Stiff (A-): The critic calls it one of Moore’s most effective films in years, an angry, provocative and rousing conversation starter that mixes hope and heartbreak, uses music and editing masterfully, and deconstructs corruption across the political system while inspiring action. [Read](https://theplaylist.net/fahrenheit-11-9-michael-moore-review-20180908/)
- **Deadline**, Pete Hammond (70/100, inferred): The review notes that the film goes beyond a direct attack on Trump to explore the Flint water crisis, Parkland student activism, and a West Virginia teachers' strike, while also critiquing Democrats and the broader system. It calls the documentary one of Moore's most powerful since Fahrenheit 9/11 and praises its timely call to action ahead of the midterms. [Read](https://deadline.com/video/fahrenheit-11-9-review-michael-moore-donald-trump-america/)
- **Den of Geek**, David Crow (3.5/5): The critic sees the film as a mixed indictment of Trump that is strongest when focusing on the Flint water crisis and Moore's advocacy style from earlier works. It is described as cluttered and free-wheeling but gripping, serving as a clarion call for its audience. [Read](https://www.denofgeek.com/movies/fahrenheit-119-review/)
- **Paste**, Oktay Ege Kozak (8.0): The critic sees the film as a necessary intervention that holds the audience accountable for complicity in the political system rather than just attacking Trump. It singles out the hopeful focus on young activists and Parkland survivors for praise, calling it Moore's most engaging doc in years. [Read](https://www.pastemagazine.com/movies/michael-moore/fahrenheit-119)
- **The Ringer**, Sean Fennessey (70/100, inferred): The critic questions Moore's relevance in the current noisy political climate but finds the film a timely return to form and a committed call to arms. It singles out the unsparing examination of Trump's rise and Moore's classic style for praise. [Read](https://www.theringer.com/2018/09/21/movies/michael-moore-fahrenheit-11-9-documentaries-donald-trump-roger-and-me-bowling-for-columbine)
- **The Wrap**, Steve Pond (70/100, inferred): The critic describes the film as bigger, messier, and more sprawling than anticipated, shifting focus from Trump to a broader indictment of the American system and a rousing call for citizen action. It singles out extended segments on Flint, West Virginia teachers, and Parkland students as the emotional core while noting the enthusiastic TIFF audience response. [Read](https://www.thewrap.com/fahrenheit-11-9-review-michael-moores-new-movie-lot-donald-trump/)
- **HeyUGuys**, Linda Marric (3/5): The critic views it as an interesting and at times hugely entertaining narrative that preaches to the converted and fails to bring anything tangible to the discourse or fully expose certain issues, while praising its moving sections on Parkland survivors and moments uniting people against greed, racism and inequality. [Read](https://www.heyuguys.com/fahrenheit-11-9-review/)
- **Collider**, Matt Goldberg (C): The critic views the film as agitprop that mixes strong emotional segments on the Flint water crisis with weak, overly simplistic political arguments. It praises Moore's ability to elicit responses but complains about the lack of concrete ideas for change. [Read](https://collider.com/fahrenheit-11-9-review/)

## Details

- **Director:** Michael Moore
- **Director:** Michael Moore
- **Writer:** Michael Moore
- **Cinematography:** Jayme Roy, Luke Geissbühler
- **Editor:** Doug Abel, Pablo Proenza
- **Producer:** Meghan O'Hara, Carl Deal, Michael Moore
- **Cast:** Michael Moore as Self; Alexandria Ocasio-Cortez as Self; Bernie Sanders as Self; David Hogg as Self; Donald Trump as Self (archive footage); Steve Bannon as Self; Roseanne Barr as Self; Roger Ailes as Self (archive footage)
- **Runtime:** 2h 08m
- **First release (Canada):** 6 September 2018
- **Genres:** Documentary
- **Trailer:** https://www.youtube.com/watch?v=fnQ8VU0uQXI

## Where to watch in Romania

Not streaming, renting or buying in Romania at the last check.

Also available in: AT, AU, CA, CH, DE, DK, FI, FR, GB, IE, IT, JP, NO, NZ, SE, TH, US. Add `?region=XX` to this URL for another country.

## If you liked this

- *Roger & Me* (1989), Fi1m 78: Moore’s first film, one town and one man, and still his most disciplined — [Fi1m page](https://film.one/film/roger-and-me.md)
- *The War Room* (1993): A campaign from the inside, without a narrator telling you what to think
- *Weiner* (2016), Fi1m 75: A politician destroys himself on camera and keeps letting the crew film — [Fi1m page](https://film.one/film/weiner.md)
- *Flint Town* (2018): The same poisoned city, seen through its police department over two years
- *The Act of Killing* (2012), Fi1m 88: Indonesian death squad veterans restage their crimes; horrifying and impossible to stop watching — [Fi1m page](https://film.one/film/the-act-of-killing.md)

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/fahrenheit-11-9