blogitive
Well, I feel like I might be back on the blog track. Look at me, blogging two days in a row! Honestly, Jack, it was you that inspired me -- suggesting that I might be the Blogavator, wow! How can you flatter me more??? To be honest, work was a little tedious today. I really wanted to get out. Tomorrow and Thursday will be long days - looks like 10 hours at least each day. Bummer. But I will blog on, folks, just for my loyal readers. Went to the Y after work, talked to my friend Kyle on the phone for a bit. I finished reading Harry Potter 5. You know, my heart just breaks for the poor kid. I will say no more, because I know you haven't read it, Eric, but for you loyal readers - you will know why I am in mourning once again. I couldn't bring myself to touch the book since I finished it last summer, but I thought I needed some resolution so I read it again. So, so sad. Anyway, Eric has arrived and Cold Mountain is waiting for us. I must depart.
2 Comments:
ME, ran across the following observations about how critics view 911 versus Passion. Seems the same thing in one is seen very differently in the other. Interesting.
PS, it's Jack, not Natalie making this post. N has been using this machine.
The Critics Rave
Blogger Jeff Percifield collects blurbs from the same reviewers on Mel Gibson's "The Passion of the Christ" and Michael Moore's "Fahrenheit 9/11," and the results are often hilarious, as the critics laud Moore for the same reasons they damned Gibson.
A.O. Scott, New York Times:
"Fahrenheit": "Mr. Moore's populist instincts have never been sharper. . . . He is a credit to the republic."
"Passion": "Gibson has exploited the popular appetite for terror and gore for what he and his allies see as a higher end."
Ty Burr, Boston Globe:
"Fahrenheit": "Should be seen because it takes off the gloves and wades into the fray, because it synthesizes the anti-Bush argument like no other work before it, and because it forces you to decide for yourself exactly where passion starts to warp point of view."
"Passion": "If you come seeking theological subtlety, let alone such modern inventions as psychological depth, you'll walk away battered and empty-handed."
David Edelstein, Slate:
"Fahrenheit": After the screening, a friend railed that Moore was exploiting a mother's grief. I suggested that the scene made moral sense in the context of the director's universe, that the exploitation is justified if it saves the lives of other mothers' sons.
"Passion": "A two-hour-and-six-minute snuff movie--The Jesus Chainsaw Massacre--that thinks it's an act of faith."
Eric Harrison, Houston Chronicle:
"Fahrenheit": "[Moore] is an indispensable treasure, and his imperfections are part of the reason, because they mark him as real."
"Passion": "It's awful because everything he knows about storytelling has been swept aside by proselytizing zeal."
Geoff Pevre, Toronto Star:
"Fahrenheit": "A plea for America's deliverance. . . . It may not be an argument one agrees with, and it may be unbalanced and propagandistic, but it is both convincingly argued and sincerely motivated."
"Passion": "A work of fundamentalist pornography."
David Sterrit, Christian Science Monitor:
"Fahrenheit": "Is the label 'documentary' appropriate for this openly activist movie? Of course it is, unless you cling to some idealized notion of 'objective' film."
"Passion": "The highly selective screenplay includes only a few of Jesus' words, spoken in occasional flashback scenes."
James Verniere, Boston Herald:
"Fahrenheit": "At a time when the film industry is turning out sugarcoated, content-free junk, Moore has given American viewers a renewed taste for raw meat."
"Passion": "An exercise in sadomasochistic bullying.
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