Chuck, I’m not sure I’m entirely following you — you’re suggesting that the film is intentionally scattershot, but nonetheless fails in what it was aiming at via that scattershot-ness? I think I might agree with that, given the ways that Moore attempts (not entirely successfully) to tie together a wide range of Bush & Co. failures into one complex polemic. But I also think of that scattershot-ness as a kind of discursive equivalent to buckshot — if you spray lead over a wide enough area, you’re bound to hit something. The failure for me is less in the scatteredness of the shot, and less in the way the shots/dots are connected, than in the way that Moore implies without asserting connection. It’s less the “over here you’ve got a dot… and over here you’ve got another dot” part that’s troubling to me; it’s the “know what I’m sayin’?”

That may perhaps be the weirdest bunch of mixed metaphors I’ve ever produced.