In the wake of the 9-11 terrorists' attacks in New York City in 2003, Iraq has been referred to as the main supporter of those 'villains' who committed the atrocity. It is the US media that took part in demonising Iraq through a great deal of misconception and misrepresentation (Chomsky, 2003). Accordingly, the 2003 Gulf War was launched against Iraq to topple Saddam Hussein, America's major menace at that time, to help the helpless persecuted Iraqis, the very people who underwent some 13-year-old devastating economic sanctions (Resolution 1483 -UN Security Council). In order to tackle this misconception of facts and misrepresentation of Iraq and Iraqis, which we find notoriously unfair, this study is going to provide some insight into showing how the state of affairs can be institutionally distorted in order to affect the audiences' views through the medium of films. By focusing on written texts, Critical Discourse studies have not paid sufficient attention to textual Multimodality and left it almost unattended. This study will attempt to underline the Iraq War films as Multimodal analysable data. Succeeding its Vietnam predecessor, the Iraq War Films have become a distinctive genre used by Hollywood, the California-based giant film maker. From 1996-2014, Hollywood has produced about fifteen films on the Gulf wars that befell Iraq in 1991 (Operation Desert Storm) and 2003 (Operation Iraqi Freedom). The series of films started with Edward Zwick’s Courage Under Fire (1996) and ended, to the time of launching this study, with Clint Eastwood’s American Sniper (2014). The present study has only chosen three films to be analysed by adopting a Multimodal Critical Discourse Analysis framework. This Multimodal analysis will provide a relatively comprehensive toolkit to tackle the many semiotic resources films build upon in order to support their story line. In addition to exploring the various filmic semiotic resources, the multimodal type of analysis used in this study will have a critical nature to probe how the Iraqi identity is represented in the milieu of the selected films, taking into consideration that critical discourse studies have understudied the concept of identity and ideology in films. Moreover, this framework is going to employ a cognitive approach in analysing different scenes excerpted from the selected films. The interdisciplinary cognitive quality the adopted framework enjoys will definitely enhance the critical nature of the study per se.