Word: fahrenheit
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...reason for the cheers and fatwas: Fahrenheit 9/11, Moore's impassioned indictment of the Iraq invasion, which he made and starred in. It earned an astounding $119 million at the North American box office, nearly five times as much as the previous top-grossing nonfiction film - his own Bowling for Columbine. That fall Moore, never a shy guy, used his newfound political bulk to get out the youth vote for the Democratic presidential ticket, touring 62 venues, most of them college campuses, in the 45 days before the election. He was such a big target that his enemies and enviers...
...Counting Fahrenheit 9/11, Sicko and Bowling for Columbine, Moore is responsible for three of the five top-grossing documentaries of all time - it's Moore, Gore and the penguins. Slacker Uprising won't join this company, since it wasn't released in theaters, and it won't be a big moneymaking DVD (as of Sunday night, it was No. 2,829 on Amazon's best-seller list), because Moore is offering it free on his website. There it's sort of a sensation: 2 million hits in the first three days; it reached No. 1 on both iTunes and Amazon...
...Moore will somehow claim victory. He does it at the end by noting that young people, his target audience, voted in record numbers and that they were the only age group to go for Kerry. That's impressive, Pyrrhically, except that Moore's stated purpose in making Fahrenheit 9/11 was to end the Bush regime. Mission not accomplished. Maybe this time...
...Moore, though, is the main victim. The movie's take on him can be synopsized in the title of a book published within a few weeks of the Fahrenheit 9/11 opening: Michael Moore Is a Big Fat Stupid White Man. (That was a riff on Al Franken's best seller Rush Limbaugh Is a Big Fat Idiot and Other Observations.) Malone is more or less accused of treason: giving aid and comfort to the enemy by making movies that "hate America." One soldier back from Iraq says that he and his buddies found a lot of Malone DVDs when they...
...crowd, “My movies are the anti-propaganda!” For an ostensibly political film, the movie is overwhelmingly centered on its own documentarian. Part of the problem may lie in overlap; having already covered the Bush presidency in 2004’s “Fahrenheit 9/11,” Moore seems unable to find a focal point. Yet this film is so inexorably tied to that previous work—numerous scenes include fans gushing about “Fahrenheit 9/11”—that it still winds up feeling like...