Where to Invade Next degrades satire; Payne brings the pain.
(The National Review)
Where to Invade Next offers no information because Moore is uninterested in modern Europe’s difficulties as depicted in the best European art films, like Rade Jude’s Aferim!, which traces Romania’s dystopia to its historic, Buñuelian roots, a philosophical view of a kind. Rather than empathize with those suffering from the vexing social conditions of class, crime, and unrest in America, he hits all the leftist high points, from Occupy to Ferguson to Free College for All. For a summation, Moore asks one European woman to lecture America on its lack of charity. And to patronize politically correct feminism, Moore features a montage of cherry-cheeked Caucasian women posing outdoors to somehow illustrate the notion that women make better rulers than men.
Rich and comfortable enough to devote his “comedy” to shaming the United States, Moore deliberately misrepresents — and misunderstands — how the melting pot boils. Moore’s apology tour is a trip through liberalism’s Cloud Cuckoo Land. He’s a purblind tourist who avoids looking at the personal and sociological issues that result in crime and make court and penal systems necessary across the globe. Essentially, Moore has no interest in examining human nature. Portrayals of our common humanity, citizenship, and morality are what’s missing from today’s me-against-you political satire. Moore and the Maher–Stewart–Colbert gang are only interested in assigning blame to their American opponents. Thus, contemporary political satire has become both self-flattering and hate-filled. Such polarization defies the idea that we all share a polity. Moore uses satire dishonestly, hoping to achieve small-minded ideological power.
Read the full article HERE.
(The National Review)
Where to Invade Next offers no information because Moore is uninterested in modern Europe’s difficulties as depicted in the best European art films, like Rade Jude’s Aferim!, which traces Romania’s dystopia to its historic, Buñuelian roots, a philosophical view of a kind. Rather than empathize with those suffering from the vexing social conditions of class, crime, and unrest in America, he hits all the leftist high points, from Occupy to Ferguson to Free College for All. For a summation, Moore asks one European woman to lecture America on its lack of charity. And to patronize politically correct feminism, Moore features a montage of cherry-cheeked Caucasian women posing outdoors to somehow illustrate the notion that women make better rulers than men.
Rich and comfortable enough to devote his “comedy” to shaming the United States, Moore deliberately misrepresents — and misunderstands — how the melting pot boils. Moore’s apology tour is a trip through liberalism’s Cloud Cuckoo Land. He’s a purblind tourist who avoids looking at the personal and sociological issues that result in crime and make court and penal systems necessary across the globe. Essentially, Moore has no interest in examining human nature. Portrayals of our common humanity, citizenship, and morality are what’s missing from today’s me-against-you political satire. Moore and the Maher–Stewart–Colbert gang are only interested in assigning blame to their American opponents. Thus, contemporary political satire has become both self-flattering and hate-filled. Such polarization defies the idea that we all share a polity. Moore uses satire dishonestly, hoping to achieve small-minded ideological power.
Read the full article HERE.
