The last thing I had expected of Dinesh D’Souza’s first Michael Moore-type political documentary, 2016: Obama’s America, was that it would prove one of August’s aesthetic marvels. Yet this anti-Obama film’s sumptuous digital cinematography—featuring majestically saturated colors and handheld camerawork that’s never jittery but instead swoops indolently to the edge of trance-induction—ranks it behind only Oliver Stone’s hedonistic drug flick Savages as the psychedelic movie of the summer. (Here’s the trailer.)
But the stylization can get in the way of the message.
