Odds are if it's not about how fucked up Brazil is, it's got George Dubya showing up somewhere, ruining whatever he can. Moore's Rhetoric remains caveman crass but correct; I felt more when I watched Jon Stewart speak his mind without the straw-man visuals. B-
Koko: After many years dedicated to training their wits quietly in the liberal arts, Roman boys concluded their education with a last trial and grand rhetorical "fuck you": to take a belief they held dearly, summon a flawed argument in its favor, and then to reject its conclusion, thereby demonstrating that truth is not a matter of correct concepts but of reasonable premises.
The arguments in Capitalism: A Love Story are so vulgar, so lazy, and so wanton that I hesitate to call them liberal; bullshit is a better word. Moore's rhetorical presentation is cartoonish, and he uses stock-response strategies, common in propaganda, to goad his viewers into outrage rather than enlightenment. Moore doesn't aim to convince his opponents; that would take cunning and patience. Instead, he settles for riling the mob. He thinks he can get away with fraud because his audience already agrees with him. Why bother to interrogate his claims when you share his beliefs? Because, as the Romans taught their schoolboys--when they weren't otherwise raping them--truth has nothing to do with what you feel in your heart. It is a civic value, and it comes not by intuition or conviction but by consent. When he manufactures deceit, Moore betrays the very people who most ardently support his worldview. And that leaves me, his ideological tovarisch, in the nasty position of having to call his work what it is: cheap demagoguery. As I returned the disc to its sleeve, grateful never to watch it again, I realized why I so strenuously disliked it: its author is the liberal Glenn Beck. You think about that, and you tell me if I'm wrong.
Sometimes a guy with good intentions does the most harm. Your most dangerous enemy is the one who cares for you and speaks your language. D
Also, it's too long. I was already bored by the one-hour mark.
Koko: After many years dedicated to training their wits quietly in the liberal arts, Roman boys concluded their education with a last trial and grand rhetorical "fuck you": to take a belief they held dearly, summon a flawed argument in its favor, and then to reject its conclusion, thereby demonstrating that truth is not a matter of correct concepts but of reasonable premises.
The arguments in Capitalism: A Love Story are so vulgar, so lazy, and so wanton that I hesitate to call them liberal; bullshit is a better word. Moore's rhetorical presentation is cartoonish, and he uses stock-response strategies, common in propaganda, to goad his viewers into outrage rather than enlightenment. Moore doesn't aim to convince his opponents; that would take cunning and patience. Instead, he settles for riling the mob. He thinks he can get away with fraud because his audience already agrees with him. Why bother to interrogate his claims when you share his beliefs? Because, as the Romans taught their schoolboys--when they weren't otherwise raping them--truth has nothing to do with what you feel in your heart. It is a civic value, and it comes not by intuition or conviction but by consent. When he manufactures deceit, Moore betrays the very people who most ardently support his worldview. And that leaves me, his ideological tovarisch, in the nasty position of having to call his work what it is: cheap demagoguery. As I returned the disc to its sleeve, grateful never to watch it again, I realized why I so strenuously disliked it: its author is the liberal Glenn Beck. You think about that, and you tell me if I'm wrong.
Sometimes a guy with good intentions does the most harm. Your most dangerous enemy is the one who cares for you and speaks your language. D
Also, it's too long. I was already bored by the one-hour mark.
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