With his latest films on the Iraq war, “”,  , is calling on the public to wake up and "Do Something."

John Cusack began working on his new film War, Inc., which premieres in LA and New York May 23, about a year into the US occupation of Iraq. From the moment US tanks rolled into Baghdad, Cusack was a voracious consumer of news about the war. He took it deadly seriously, regularly calling independent journalists and asking them questions as he sought as much independent information as he could.

Watching the insanity of the erection of the Green Zone and the advent of the era of McWar, complete with tens of thousands of "private contractors," Cusack set out to use the medium of film to unveil the madness. He wanted to do on the big screen what independent reporters like Naomi Klein, Nir Rosen and Dahr Jamail did in print. Over these years of war and occupation, Cusack has become one of the most insightful commentators on a far too seldom discussed aspect of the occupation: the corporate dominance of the US war machine.

Cusack is no parachute humanitarian. While he continues to do the Hollywood thing with big budget movies, he is simultaneously a fierce un-embedded actor/filmmaker who has been at the center of two of the best films to date dealing with the madness of the Iraq war. Without big money sponsors and the backing of powerful production companies, Cusack has spent a lot of his own money on these projects.

War, Inc. is a radically different from anything Cusack has done to date. In fact, it really defies genre. It is sort of like this generation's Dr. Strangelove, A Clockwork Orange and The Wizard of Oz mixed together with the un-embedded reporting of Naomi Klein, spiced up with a dash of South Park. It is a powerful, visionary response to the cheerleading culture of the corporate media and a pliant Hollywood afraid of its own shadow.

On the surface, War, Inc. appears to be a spoof of the corporatization of the occupation of Iraq. Cusack plays a hit man, named Hauser, deployed to Turaqistan with the mission of killing a Middle Eastern oil baron (named Omar Sharif). Hauser's employer is a secretive for-profit military corporation run by the former US vice president, played by Dan Aykroyd. We first meet Aykroyd's character as he sits, pants down, on a toilet seat during a closed-circuit satellite videoconference call to give Hauser his mission. Hauser arrives in the Turaqi capital and heads for the "Emerald City" (read: the Green Zone), where his cover is director of a trade show for the military corporation, Tamerlane, which is basically running the Turaqi occupation. Hauser soon falls for a progressive journalist, played by Marisa Tomei, who is in Turaqistan to investigate Tamerlane, and what follows is an insane ride through Cusack's interpretation of the radical corporatization of war.

Cusack and his co-writers, Mark Leyner and Jeremy Pikser (REDS/Bulworth), sought to tap into the extreme nature of the corporatized war and take it to another level, but anyone who thinks the premise behind War Inc. is "over-the-top" has not been paying attention to real life.

Cusack, Leyner and Pikser are not predicting the future, they are forcefully -- and with dark humor and wit -- branding the present for what it is: the Wal-Mart-ization of life (and death) represented in the new US model for waging war. With 630 corporations like Blackwater and Halliburton on the US government payroll in Iraq getting 40% of the more than $2 billion Washington spends every week on the occupation, Cusack's "futuristic" film is not far from the way things really are.

War Inc. is already an underground cult classic and will likely remain so for years to come.

Visit the official website of War, Inc. or John Cusack's website to view trailers, get info on tickets for the premieres and to read more about the film.

The Lang Report thanks Jeremy Scahill for excerpts of this wrticle. Be sure to check out his New York Times best seller, Blackwater: The Rise of the World's Most Powerful Mercenary Army,