MAX BOOT IS REVIEWING MOVIES about the war on terror:

“Osama,” the first film made in liberated Afghanistan, opens with a scene of Taliban enforcers breaking up a demonstration by burka-clad women upset about their inability to work. The action then shifts to a hospital that is being closed, throwing a female doctor out of work. Without a male wage earner in the family — both her husband and brother have been killed — starvation looms. So she cuts her 12-year-old daughter’s hair and sends her out to work disguised as a boy called Osama. . . .

Ultimately, Osama’s masquerade unravels, and she faces a gruesome punishment from an Islamic court. The ending, which I won’t give away, is enough to make anyone shudder — and give thanks that U.S. troops have toppled the Taliban. Yet I don’t recall a single Hollywood feminist expressing gratitude to the U.S. military or its commander in chief for the liberation of Afghan women. No doubt Streisand, Sarandon & Co. were too busy inveighing against the horrors perpetrated by John Ashcroft.

“Voices of Iraq” is one of the most gripping documentaries I have ever seen. Most of the footage was created by distributing 150 digital camcorders to let ordinary Iraqis record their own lives and thoughts from April to September 2004. . . .

While “Fahrenheit 9/11” presents antebellum Iraq as an idyllic place where children cavorted with kites, “Voices of Iraq” shows the grim reality: Hussein’s henchmen throwing bound prisoners off buildings, raping girls, massacring Kurds. One horrifying video clip (shot by Hussein’s own people) shows a man’s hand being cut off for the crime of being caught with an American $5 bill.

Funny that these aren’t getting more attention.

UPDATE: Matthew Yglesias says that Boot isn’t giving the American feminists enough credit, though the gratitude he outlines seems to have been short-lived.