More reviews of Moore film
Arnold White, NY Press:
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Arnold White, NY Press:
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To pretend that Fahrenheit 9/11 is a work of art is disingenuous. Moore himself is part of the punditocracy that, like unscrupulous politicians, solicits trite sentiment. His exploitative title doesn't measure temperature; it disgraces that sorrowful date just to inflame liberal guilt. For Moore, guilt covers everything that stemmed from Bush's election and is only eased by blame. Moore doesn't separate the election from the terrorists' attacks or from the war on Iraq. As in Bowling for Columbine, he lines up unrelated points for a domino effect of dissatisfaction. This is not historical context; it's a harangue.
But in the Tarantino era, film folk seldom look at movies intelligently—or politically. They become dupes for the sarcastic invective Moore offers in place of argument. His supposed "coup" of Bush visiting a Florida elementary school after being informed of the first World Trade tower hit turns out a dud. Moore times Bush's visit with a digital counter but clearly we're not watching Bush wallow in playtime or indecision. It's seven minutes of the most powerful man in the world suffering. He's miserably distracted. Moore's insensitivity—certain to the point of hostility that he alone is right—amounts to liberalism with a fascist face.
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These films play too loosely with the passions aroused by the war, pandering to liberal Americans' kick-me guilt. That partly explains the Cannes debacle—many liberals simply want their prejudices entertained....
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