FAHRENHEIT 11/9

Director: Michael Moore

Rating: M (Offensive language)

Running time: 128 minutes

Verdict: Witty and worth it, but unlikely to alter anyone’s outlook. OSCAR-WINNING

documentarian Michael Moore (Bowling for Columbine) takes on Donald Trump in a new film that makes its points effectively without bringing anything especially new to the argument.

The title, a play on his 2004 film Fahrenheit 9/11, itself a play on Ray Bradbury’s novel Fahrenheit 451, refers to November 9, 2016, the night Trump was elected.

Although the orange one gets a lot of attention, Moore paints a broader portrait of America in crisis, but not without hope.

Relative to some of his previous works, this failed to make a significant impact in its American theatrical release earlier this year, which is indicative of how the filmmaker’s agitational documentary style has been so influential that innumerable TV outlets now cover politics in a comparable manner.

Moore still possesses a singular sense of humour and a talent for emotive urgency that makes this film worth watching.

The opening sequence replays the events of election night in a darkly comedic style heavily informed by hindsight. As the outcome becomes apparent, Moore hilariously layers in audio from the great tragic opera Pagliacci. You know, the one about the clown. He goes on to depict how American politics became its own tragic opera, indicting the media, disproportionate electoral representation, and himself when he plays talk show footage of him coddling Trump.

Even Obama doesn’t emerge unscathed when Moore delves into the deadly drinking water crisis in Flint, Michigan. Bernie Sanders features, as does the Parkland shooting and striking teachers.

It’s entertaining and emotionally captivating, if never really surprising. Dominic Corry