espect for the president is a longstanding American tradition and one that is still very much alive, as the weeklong national obsequies for Ronald Reagan recently proved. But there is also an opposing tradition of holding up our presidents, especially while they are in office, to ridicule and scorn.

Which is to say that while Michael Moore's "Fahrenheit 9/11" will be properly debated on the basis of its factual claims and cinematic techniques, it should first of all be appreciated as a high-spirited and unruly exercise in democratic self-expression. Mixing sober outrage with mischievous humor and blithely trampling the boundary between documentary and demagoguery, Mr. Moore takes wholesale aim at the Bush administration, whose tenure has been distinguished, in his view, by unparalleled and unmitigated arrogance, mendacity and incompetence.

That Mr. Moore does not like Mr. Bush will hardly come as news. "Fahrenheit 9/11," which opens in Manhattan today and in the rest of the country on Friday, is many things: a partisan rallying cry, an angry polemic, a muckraking inquisition into the use and abuse of power. But one thing it is not is a fair and nuanced picture of the president and his policies. What did you expect? Mr. Moore is often impolite, rarely subtle and occasionally unwise. He can be obnoxious, tendentious and maddeningly self-contradictory. He can drive even his most ardent admirers crazy. He is a credit to the republic.

One of the sleaziest documentaries to arrive in a very long time, “Expelled: No Intelligence Allowed” is a conspiracy-theory rant masquerading as investigative inquiry.

Positing the theory of intelligent design as a valid scientific hypothesis, the film frames the refusal of “big science” to agree as nothing less than an assault on free speech. Interviewees, including the scientist Richard Sternberg, claim that questioning Darwinism led to their expulsion from the scientific fold (the film relies extensively on the post hoc, ergo propter hoc fallacy — after this, therefore because of this) [Classic tactic I: fail to definitively support emotional outbursts, and then follow with philosophical gobbledygook], while our genial audience surrogate, the actor and multihyphenate Ben Stein, nods sympathetically. (Mr. Stein is also a freelance columnist who writes Everybody’s Business for The New York Times.)

 

Prominent evolutionary biologists, like the author and Oxford professor Richard Dawkins — accurately identified on screen as an “atheist” — are provided solely to construct, in cleverly edited slices, an inevitable connection between Darwinism and godlessness. Blithely ignoring the vital distinction between social and scientific Darwinism [Classic tactic II: Lead reader to assume understanding and ability to discuss complex ideas, yet simply regurgitate terminology incidentally recalled from undergraduate sociology], the film links evolution theory to fascism (as well as abortion, euthanasia and eugenics), shamelessly invoking the Holocaust with black-and-white film of Nazi gas chambers and mass graves.

 

Every few minutes familiar — and ideologically unrelated [Classic tactic III: Assume a relationship does not exist because you do not understand one] — images interrupt the talking heads: a fist-shaking Nikita S. Khrushchev; Charlton Heston being subdued by a water hose in “Planet of the Apes.” This is not argument, it’s circus, a distraction from the film’s contempt for precision and intellectual rigor. This goes further than a willful misunderstanding of the scientific method [Revisit tactic II: substitute terminology from undergraduate biology-for-liberal-arts-majors instead of sociology]. The film suggests, for example, that Dr. Sternberg lost his job at the Smithsonian’s National Museum of Natural History because of intellectual discrimination but neglects to inform us that he was actually not an employee but rather an unpaid research associate who had completed his three-year term.

 

Mixing physical apples and metaphysical oranges [Classic tactic IV: act horrified that anyone dare draw abstract conclusions but do so yourself in the disciplines of "art" and "media"] at every turn “Expelled” is an unprincipled propaganda piece that insults believers and nonbelievers alike. In its fudging, eliding and refusal to define terms, the movie proves that the only expulsion here is of reason itself.

 

“Expelled” is rated PG (Parental guidance suggested). It has smoking guns and drunken logic [Revisit tactic I].