As the US invasion of Iraq looms in 2003, a team of dogged reporters probes the Bush administration's claims of WMDs, exposing the blurred lines between politics and propaganda in a gripping drama that probes the nature of truth and accountability.
Does Shock and Awe have end credit scenes?
No!
Shock and Awe does not have end credit scenes. You can leave when the credits roll.
Explore the complete cast of Shock and Awe, including both lead and supporting actors. Learn who plays each character, discover their past roles and achievements, and find out what makes this ensemble cast stand out in the world of film and television.
Richard Schiff
The Usual
Tommy Lee Jones
Joe Galloway
Woody Harrelson
Jonathan Landay
James Marsden
Warren Strobel
Rob Reiner
John Walcott
Al Sapienza
Arthur
Jessica Biel
Lisa Mayr
Milla Jovovich
Vlatka Landay
Steve Coulter
Looney Tunes
Terence Rosemore
Mr. Green
Kate Butler
Nancy Walcott
Luke Tennie
Adam Green
Margo Moorer
Mrs. Green
Stephanie Honore
Teri Wyble
Pam
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47
Metascore
5.7
User Score
28%
TOMATOMETER
42%
User Score
6.4 /10
IMDb Rating
64
%
User Score
2.8
4.80/5
From 5 fan ratings
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Read the complete plot summary of Shock and Awe, including all major events, twists, and the full ending explained in detail. Explore key characters, themes, hidden meanings, and everything you need to understand the story from beginning to end.
In 2006, the Senate Committee on Veteran Affairs convenes to deliberate the future funding of the Veteran Affairs, and at this pivotal moment, we meet retired Army veteran Adam Green, a young man who lost his legs while serving his country. Adam, who enlisted in the military at the tender age of 19 and was deployed to Iraq, bravely shares his harrowing experience of how just hours after arriving in Iraq, his transport vehicle was struck by an IED, causing a life-altering injury that left him wanting answers about the true reasons behind the war in Iraq.
As Adam’s testimony unfolds, another narrative takes shape: a group of dedicated journalists, including Warren Strobel and Jonathan Landay, are on a mission to probe the claims made by the Bush Administration regarding Saddam Hussein’s purported possession of weapons of mass destruction, which served as a justification for the 2003 invasion of Iraq, ominously dubbed “Shock and Awe.” President George Bush asserted that this war was essential to safeguard the world from a looming threat, aiming to dethrone Saddam and spread democracy throughout the Middle East.
In this backdrop, we flash back to September 2001, when the tragic events of 9/11 send shockwaves through the nation. Amidst this turmoil, John Walcott, the bureau head for the Knight Ridder news service—a collective of 31 newspapers—dispatches reporters Warren Strobel and Jonathan Landay to scrutinize the unfolding story. Despite the State Department’s insistence on Iraq’s involvement in the attacks, a burgeoning narrative suggests that Al-Qaeda, led by Osama bin Laden, is the true perpetrator.
Walcott is adamant that the State Department’s approach to instilling democracy in the Middle East is misguided, rooted in nationalism rather than genuine patriotism. This sentiment is echoed by Vlatka Landay, Jonathan’s wife, who expresses her skepticism towards the administration’s justifications. Meanwhile, Lisa Mayr, who resides in the same building as Strobel, begins a romantic relationship with him, providing a personal dimension to the unfolding investigation.
As the investigation deepens, it is revealed that the Defense Department has sent an ex-service member to Europe with the objectives of tracing links between Iraq and the 1993 World Trade Center bombing. Walcott’s sources in Afghanistan reveal a worrying trend: U.S. military assets are being diverted to Iraq, hindering efforts to locate Osama bin Laden, who evades capture by slipping into Pakistan.
During this tumultuous time, Walcott encounters Joe Galloway, a seasoned war correspondent from the Vietnam War era who is now entangled with the administration’s narratives. He proposes a collaboration that could potentially amplify their pursuit of the truth regarding the war. Walcott speculates an invasion’s repercussions, arguing that the push to install Ahmed Chalabi as Iraq’s leader could fracture Iraq into warring factions, leading U.S. troops into a quagmire of civil unrest.
As tensions mount, an analyst from the Pentagon discloses that Donald Rumsfeld is orchestrating a parallel intelligence operation, in collaboration with Chalabi and Israeli sources, to fabricate justifications for the invasion. A crucial concern arises over Washington’s journalistic integrity, highlighting a troubling addiction to political access that compromises the factual basis of reporting.
Walcott firmly believes in the reliability of his sources, standing in contrast to the narratives pushed by others, such as Judith Miller. He recalls first encountering Ahmed Chalabi many years prior, characterizing him as a figure devoid of genuine war experience. Despite the overwhelming support of mainstream networks for the administration’s claims, Walcott’s team perseveres, ensuring they rigorously question and investigate the available facts.
As evidence mounts that the administration neglects expert advice on the Middle East and nuclear capabilities, their commitment to factual journalism seems to deliver results. In stark opposition to the administration’s claims of WMDs, their investigation ultimately lays bare a fabric of deception. Despite their own moments of doubt, Walcott, Strobel, and Landay emerge as champions of integrity, leading to a sobering conclusion that 17 years of war have resulted in staggering consequences: $2 trillion in expenditures, 36,000 American lives lost, 1 million Iraqi casualties, and no weapons of mass destruction found.
The tireless work of Knight Ridder’s journalists culminates in recognition when they receive the Raymond Clapper Memorial award from the Senate Press Gallery on February 5, 2004, underscoring their dedication to illuminating the truth behind the complex and often murky justifications for the Iraq war.
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