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Kritiker-Rezensionen
Fahrenheit 11/9
Michael Moore USA, 2018
Pop star recognizes pop star. When Moore’s targets were sequestered in ivory towers, his catapulted fireballs could do some real damage; as his targets have become fellow media darlings, the battle can’t help but seem feud-like, grudge-like, frankly more of a game than a battle.
November 02, 2018
11/9’s nadir is a segment replacing the audio in footage of Hitler speeches with Trumpisms voiced by an impersonator (it’s not Alec Baldwin–level bad, but it’s bad). In another ass-covering move, Moore includes a Yale professor who explains that while it is imperfect to compare the current situation to Nazi Germany, it is nonetheless useful.
September 21, 2018
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The cut screened for me and other critics ended with a contrived but emotionally effective coup de théâtre that dares the viewer to call it cheap. But the more I flirted with the dare, the more plausible Mr. Moore’s dramatic speculation felt. He’s still got it in the showmanship department.
September 20, 2018
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Much of this is fairly well-mined territory; it’s too bad that Moore wields it almost entirely for its ironic value, for his ability to scold our surprise, rather than to open up new avenues of discourse or incite more actionable feelings.
September 20, 2018
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The director’s comparisons between Trump and Adolf Hitler are overblown, but it’s useful to be reminded that demagogues and oligarchs do not, as he puts it, fall out of the sky—they are ruthless opportunists who identify weaknesses in the public’s political will, and then labor to crush that will altogether.
September 20, 2018
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Moore castigates the media for promoting Trump’s buffoonish vulgarity for ratings during the election, yet here he regularly falls back on montages of the president’s most asinine and crass statements for cheap shocks and mocking laughter.
September 14, 2018
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This being a Michael Moore film, Fahrenheit 11/9 is filled with many such pop-culture-fueled cheap shots, and it’s also all over the place structurally. . . . And yet the material about Flint—the director’s hometown, and the turf he defended 29 years ago in Roger & Me—is infuriating and powerful in a way that shows him at his indignant, muckraking best.
September 10, 2018
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Flawed as it is, it’s also fragile, and never more vulnerable than now. That’s what makes Fahrenheit 11/9 so powerful. It is a call to stand up and represent, a call that Michael Moore has answered consistently throughout these troubling times.
September 10, 2018
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