Spoilers herein.
I'm not sure I have a good handle on the difference between documentaries and performance art. It is blurred enough whenever Michael Moore or Ken Burns take control. Here, the situation is even more confusing. I think that is the intent and why this little thing has appeal.
The documentary half of this Frankenstein concerns the international epidemic of obesity that is overwhelming the industrialized world. The numbers and images are memorable enough to form the basis of an essay.
The complexity of this half evaporates when it is reduced to a matter of blame, as is always the case (the reduction to blame and the unworthiness of the result). Pictures of chunky kids notwithstanding, there are some interesting fundamental problems here revolving around whether we are capable as a society of making decisions; whether 'freedom' doesn't, even can't work.
But the other half of this is performance art. A professional actor binges on McFood and tells us (as effectively as Chris Guest might) about getting the McTingles and the McPukes. His doctors raise the alarm. Will he abandon the project, his mother begs. His girlfriend testifies that she can tell that McErections aren't as good.
All this is amusing enough to occupy your time, I suppose, if you don't have much of a life. The problem is that the latter half masquerades as the first. Unhappily, we cannot tell the difference, and the reason is the real scandal: political 'education' (and talk radio) has taught us that anecdote and metaphor are reasonable substitute for the real thing.
So one leaves the theater feeling that just like McDonalds brands its product with a clown, so has this film branded the case against McDonalds with a clown. Same same.
Ted's Evaluation -- 2 of 3: Has some interesting elements.
I'm not sure I have a good handle on the difference between documentaries and performance art. It is blurred enough whenever Michael Moore or Ken Burns take control. Here, the situation is even more confusing. I think that is the intent and why this little thing has appeal.
The documentary half of this Frankenstein concerns the international epidemic of obesity that is overwhelming the industrialized world. The numbers and images are memorable enough to form the basis of an essay.
The complexity of this half evaporates when it is reduced to a matter of blame, as is always the case (the reduction to blame and the unworthiness of the result). Pictures of chunky kids notwithstanding, there are some interesting fundamental problems here revolving around whether we are capable as a society of making decisions; whether 'freedom' doesn't, even can't work.
But the other half of this is performance art. A professional actor binges on McFood and tells us (as effectively as Chris Guest might) about getting the McTingles and the McPukes. His doctors raise the alarm. Will he abandon the project, his mother begs. His girlfriend testifies that she can tell that McErections aren't as good.
All this is amusing enough to occupy your time, I suppose, if you don't have much of a life. The problem is that the latter half masquerades as the first. Unhappily, we cannot tell the difference, and the reason is the real scandal: political 'education' (and talk radio) has taught us that anecdote and metaphor are reasonable substitute for the real thing.
So one leaves the theater feeling that just like McDonalds brands its product with a clown, so has this film branded the case against McDonalds with a clown. Same same.
Ted's Evaluation -- 2 of 3: Has some interesting elements.