Because it covers so much ground, it's difficult to sum up this movie in a few paragraphs. But easily the most powerful sequence is a visit with Peter Damon, a soldier who lost both arms in the Iraq war. In a transparent attempt to elicit pity, Moore in Fahrenheit 9/11 included footage (taken from an NBC News report about a new painkiller) of Damon in the hospital while he was recuperating from his grievous wounds.

In MMHA we see a recovered Damon at home with his family, enjoying life, proud of his service. Damon has no patience for those who feel sorry for him. The only anger he feels is at Moore for exploiting him.

Asked by Wilson what he would like to say to Moore, Damon addresses the camera: "I don't want any part of your propaganda. I don't agree with what you're doing."

At the movie's recent premiere at the American Film Renaissance in Dallas, Wilson said, the audience grew really quiet during this scene: "You could hear a pin drop." But that changed when Wilson asks Damon if Moore had the right to make his movie.

Despite his obvious distaste for Moore's film, Damon says without hesitation, "That's the reason we go off to fight — to defend his right to make a movie."

At that, Wilson said, the audience erupted into the loudest cheers of the evening.