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We gave him a B
Finding the staff in politics – and making it pop – has been Michael Moore's trademark since it was released in 1989 Roger and me. Fahrenheit 11/9 feels a bit like a Moore-ness sounding course or a great success; the title refers to the consideration of the 2016 elections the day after tomorrow, but Donald Trump is above all a touchstone (or a guide if you will) for a discursive and talkative trip through the news, from the water crisis at Virginia Teachers Strike.
As such, he feels both the best and the worst of his approach as a filmmaker. There is a desire to make headlines: you may have seen the attention that the film has already generated claiming that Gwen Stefani triggered the race for the presidency of Trump; it's a fun hook, and it makes as much sense as 27 other theories. (He also works some cheap stuff with Hitler images that seem far too vivid for their very real implications.)
And as always, Moore preached the choir; Even if you already wear the dresses and you hold the songbook, you can not help but wish to reach the hallway a little further. But when he's good – like in the segments with student activists at Stoneman-Douglas High School and the victims of the first poisoning in Michigan – he's very, very good. He also turns more than ever to the force of his criticism (mainly for his too friendly treatment of future fighters like Jared Kushner and Kelly Anne Conway), and does not yield to the sacred cows; Former President Barack Obama is particularly severe in his confused behavior of Flint.
Most, F aims to educate, entertain and congratulate his audience for being smart enough to be on the right side. What sticks, however, is the wider message of the film: Run, vote, pay attention. Yes, it's easy to despair. But it is possible and powerful to defend oneself. B
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