![]() ![]() So, who is going to help save the nation? Moore argues that it’s first-time candidates, many of them women, like New York’s Alexandria Ocasio-Cortez, or striking teachers in West Virginia, unifying to win key concessions.Īnd it’s student activists in Parkland, Florida. Moore also argues that support for Bernie Sanders was suppressed. ![]() Congressional leaders like Nancy Pelosi and Chuck Schumer come in for harsh treatment. It’s part of a broader criticism Moore is making of the Democratic establishment, which he says has been too willing to compromise, shifting the party to the right in defiance of popular will. He shows perplexed Flint citizens reacting to a moment when Obama, whose visit was eagerly anticipated, appears tone-deaf to the depth of their concerns. More surprising is Moore’s criticism of a prominent visitor to Flint: then-President Barack Obama. Using his familiar ambush technique, Moore tries to make “a citizen’s arrest” at Snyder’s office, then tries to get an aide to drink a glass of Flint water. He blames Snyder for the crisis in which lead-tainted water was pumped from the Flint River into homes and businesses, leading to elevated lead levels in children’s blood. So how do we get to Flint? Well, Moore tells us that Trump loves dictators - North Korea’s Kim Jong Un, for one - and that brings him to Rick Snyder, the Michigan governor, to whom Moore attributes dictatorial tendencies. The candidate was their cash cow, he says, showing none other than Les Moonves - the recently deposed CBS chief - saying, “It may not be good for America, but it’s darned good for CBS.” ![]() Only later, he says, adoring rally crowds convinced Trump that maybe this president thing was an OK idea. When Trump realized NBC was paying her more on “The Voice” than he was getting on “The Apprentice,” Moore posits, he announced a “fake” presidential run to raise his profile with the network. HOW? Yes, it was the Russians, Moore says, and James Comey, but really, it was Gwen Stefani. Moore begins with a whiplash-fast sequence that, to Democrats, will indeed play like a horror film, and a too-familiar one: the near-universal assumption that Hillary Clinton would win, giving way to election night shock. But you may cry when listening to the grieving, angry citizens of Flint. You may not cry when Moore unleashes a “Jaws"-like score as Trump takes the presidential oath. That’s why “Fahrenheit 11/9" is best when Moore turns his camera on his hometown of Flint, Michigan, and its devastating water crisis. Moore’s at his best when hitting a subject dear to his heart. He sort of has a point.Īnd whether Moore’s frenetic but absorbing work here - the cinematic equivalent of a Jackson Pollock painting, where you throw everything and some of it sticks - pleases or frustrates you, one thing is clear. ![]() Is it effective? That depends on whether you accept the implicit argument that you can’t truly illustrate our messy, chaotic, disjointed times without, well, a messy, chaotic, disjointed movie. He spends two full hours trying to answer that question. ![]()
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