Moore nonsense

Andrew Sullivan:

FAHRENHEIT TEDIUM: Well, I broke down and went to see the Michael Moore movie. I was expecting to be outraged, offended, maddened, etc etc. No one told me I'd be bored. The devices were so tired, the analysis worthy of something by an intern in the Nation online, the sad attempts to blame everything on Bush so strained and over-wrought even the most credulous of conspiracists would have a hard time giving them the time of day. This won the top Cannes prize? Only hatred of America can explain that. The one thing that did interest me was part of Moore's technique. Much of the movie focused on various objects of hatred: Bush, Cheney, Bush pere, et al. The camera lingered for ever on their facial tics, it used off-camera moments where anyone looks awkward and dumb, it moved in with grainy precision in order to help the audience sustain and nurture its hatred. It was like the "1984" hate sessions. Cheap shots would be an inadequate description. This was tedious propaganda, using the most ancient of devices, and reflective of a pathology that can only be described as unhinged. (In that respect, eerily similar to Mel Gibson's recent piece of hackneyed, manipulative pornography.) I'd address the arguments, if there were any. There weren't. There was just a transparently failed attempt to construct conspiracy theory after conspiracy theory on the flimsiest of circumstantial evidence, and when the entire framework was teetering into absurdity, the occasional necessary lie. I left before the end. A bar in Ptown on a Sunday night was more interesting.

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