Richard Roeper has an article in the Sun-Times that draws the right lines about F911 and what Moore is and isn’t:
Yes, “Fahrenheit 9/11” omits some facts and details that would add balance, and the truth sometimes gets stretched and bent to Moore’s convenience. … Michael Moore is a skilled editorialist and performance artist who advances his viewpoints though manipulation of news footage, music, cartoons and his own considerable, Woody Allen-esque comedic skills.
Link-generatrix Torri Oats sent me that one too. Sign of the times, I guess, when movie critics dive this deep into politics. In NYT, Nick Kristof’s alarm about partisan brawling spilling out of the clubhouse into the moviehouse is the only reasonable commentary I’ve seen on that issue. I still think it’s a good thing that Moore is bringing the fight up to the ramparts of pop culture, where the action seems to be, but Kristof is a rational voice about the implications of crossover between pop, punditry and polemic.
Roeper also points to a rebuttal of Hitchens by Chris Parry in Hollywood Bitchslap. Which rebuttal in turn proffers the chilling news that the Carlyle Group (Moore’s real-world equivalent of the Illuminati from a Dan Brown novel) has acquired Loews Theatres. “I wonder why,” quips Parry.