The amount of publicity being given to the opening of Michael Moore’s movie, Fahrenheit 9/11–still two days off–is simply unbelievable.
Today the New York Times reviewed Moore’s magnum opus, calling the fat filmmaker “a credit to the republic.”
Still, a moment of reality did intrude:
His case is synthetic rather than comprehensive, and it is not always internally consistent. He dwells on the connections between the Bush family and the Saudi Arabian elite (including the bin Laden family), and while he creates a strong impression of unseemly coziness, his larger point is not altogether clear.
After you leave the theater, some questions are likely to linger about Mr. Moore’s views on the war in Afghanistan, about whether he thinks the homeland security program has been too intrusive or not intrusive enough, and about how he thinks the government should have responded to the murderous jihadists who attacked the United States on Sept. 11.
Gosh. By an amazing coincidence, those are the very questions that occur to me whenever I hear a Democrat attacking the administration on foreign policy. Unfortunately, though, the moment of sanity passes. The Times couldn’t possibly admit that the Left has no idea what to do about Islamofascist terrorism.
With all of this publicity, Fahrenheit 9/11 can only be a mega-hit. I mean, the last cultural phenomenon to receive this kind of hype was Air America.