Authoritatively written and narrated by Francis Richard Conolly, the film begins its labyrinthine tale during the era of World War I, when the wealthiest and most powerful figures of industry discovered the immense profits to be had from a landscape of ongoing military conflict. The film presents a persuasive and exhaustively researched argument that these towering figures formed a secret society by which they could orchestrate or manipulate war-mongering policies to their advantage on a global scale, and maintain complete anonymity in their actions from an unsuspecting public. Conolly contends that these sinister puppet masters have functioned and thrived throughout history - from the formation of Nazism to the build-up and aftermath of September 11.
Public hearings of the Public Order Emergency Commission continue in Ottawa. The commission, led by Paul Rouleau, is studying the federal government’s use of the Emergencies Act in February 2022 to declare a public order emergency. The declaration of emergency came in response to protests, at a number of Canada–U.S. border crossings and in downtown Ottawa, opposing the government’s COVID-19 public-health measures. The Emergencies Act requires an inquiry to be held following any declaration of emergency, with the mandate of examining both the circumstances of the declaration and the measures taken under it. Appearing as witnesses are Patricia Ferguson (acting deputy chief of the Ottawa Police Service) and Craig Abrams (superintendent with the Ontario Provincial Police).
The Ultimate Western Spoof. A town where everyone seems to be named Johnson is in the way of the railroad. In order to grab their land, Hedley Lemar (Harvey Korman), a politically connected nasty person, sends in his henchmen to make the town unlivable. After the sheriff is killed, the town demands a new sheriff from the Governor (Mel Brooks). Hedley convinces him to send the town the first Black sheriff (Cleavon Little) in the west. Bart is a sophisticated urbanite who will have some difficulty winning over the townspeople.
Filmmaker Aaron Russo examines the process of taxation and the state of freedom in America. He seeks proof for his belief that there is no law requiring citizens to pay federal income taxes, and that current and proposed identity laws are eroding civil liberties and turning the U.S. into a fascist state.
Initial release: July 28, 2006
Director: Aaron Russo
Screenplay: Aaron Russo
Initial DVD release: December 12, 2006
Producers: Aaron Russo, Richard Whitley
Public hearings of the Public Order Emergency Commission continue in Ottawa. The commission, led by Paul Rouleau, is studying the federal government’s use of the Emergencies Act in February 2022 to declare a public order emergency. The declaration of emergency came in response to protests, at a number of Canada–U.S. border crossings and in downtown Ottawa, opposing the government’s COVID-19 public-health measures. The Emergencies Act requires an inquiry to be held following any declaration of emergency, with the mandate of examining both the circumstances of the declaration and the measures taken under it. Appearing as witnesses are Patricia Ferguson (acting deputy chief of the Ottawa Police Service) and Craig Abrams (superintendent with the Ontario Provincial Police).
Because Mazzucco has done such a thorough job making this documentary “September 11 – The New Pearl Harbor”, it comes in at 5 fact-filled hours. The film categories are broken down into 7 parts: Air Defence, The Hijackers, The Airplanes, The Pentagon, Flight 93, The Twin Towers, and Building 7. After each part, Mazzucco deals with the debunkers who try to discredit the narrative of the theory’s put forward.
Whereas there are excellent films treating the falsity of particular parts of the official account, such as the Twin Towers or WTC 7, Mazzucco has given us a comprehensive documentary treatment of 9/11, dealing with virtually all of the issues.
The Introduction, reflecting the film’s title, deals with 12 uncanny parallels between Pearl Harbor and September 11.
Mazzucco points out that his film covers 12 years of public debate about 9/11. People who have been promoting 9/11 truth for many of these years will see that their labors have been well-rewarded: There is now a high-quality, carefully-documented film that dramatically shows the official story about 9/11 to be a fabrication through and through.