Moore has more than answered. He has responded with a vengeance in "Fahrenheit 9/11," a blistering documentary that charges the administration with aiding war profiteers in Iraq while failing its soldiers and was reportedly conceived expressly to drive Bush from the White House.
"The primary goal was to make a good movie," explains the director, whose documentary won top honors at the Cannes Film Festival last month.
"The secondary goal: the complete and entire removal of the Bush family and their associates from Washington come November."
Its salvos at the president and at his father-suggesting that the links between the Bush family and the Saudi royal family have put oil politics ahead of human rights-make "Fahrenheit" compulsory viewing for those on either side of the war in Iraq. But it's the undecideds whom Moore is courting.
"I've shown it to people of various political stripes, and those on the fence when they walk in are off the fence when they walk out," says the confrontational filmmaker, whose "Bowling for Columbine," a look at America's gun-crazy culture, won an Oscar in 2003 for best documentary.
The White House and the Republican National Committee have taken a "no comment" approach to Moore's film.
As of Wednesday, the film's distributor reported that "Fahrenheit" would open on more than 500 screens. The distributor has said that it hopes the movie will eventually reach 1,000 screens, a record number for a documentary.
Between the number of screens and the enormous level of publicity, some suggest that "Fahrenheit" could surpass "Columbine's" $22 million gross to become the most commercially successful documentary ever.
Whatever the public response to "Fahrenheit 9/11," the buzz surrounding the release is fascinating, says Tejaswini Ganti, who teaches anthropology of mass media at Connecticut College.
"What's interesting about Michael Moore is his personality, that he's able to attract this kind of attention," she says. "Other people are saying the same kind of thing. But he does it with humor."
Given government restrictions on the media covering the war, it was a challenge for Moore to assemble his material.
"Some footage was foreign-shot and shown on foreign television, but not on U.S. outlets," he begins. "Some footage was shot by U.S. television and not shown here, but obtained through people of conscience. Some of it was from freelancers, some from soldiers," Moore says.
"From day one, my attitude was [that] I would not be deterred, I was not going to let the military stage-manage the war, I was not going to participate in the ruse of being `embedded.' The media weren't embedded, they were `in bed with,'" Moore says.
"The media were cheerleaders for this war. No one asked the serious questions. It was disgraceful. So I figured out how to do end-runs around the system."
Moore's motivations in making "Fahrenheit" go back to his childhood in Michigan, where he saw how the media in different nations portray world affairs differently. "I grew up near the Canadian border and watched the Canadian reports about the Vietnam War, and it wasn't what Americans saw.... So the American audience, when they see this film, they've been kept in the dark. They're not showing these things on TV in America."
Perhaps the most upsetting sequences in "Fahrenheit" show American soldiers near Samarra in December, taunting caged and hooded Iraqi detainees in a holding tank.