Fast Food Nation (2006)

T

hough admirable for the scope of its intent and the vicious social commentary infused throughout, “Fast Food Nation’s” presentation is as tasteless as a hamburger might be during the extensive abattoir scene. Individually, many of the performances are solid, while the lengthy cameos can be quite enjoyable, but overall the story never really knows where it’s going – and when it finally finds surer footing, two unnecessary hours have passed. There will be those who hate this film and there will be those that praise director Richard Linklater’s boldly controversial material. But general audiences will certainly prioritize entertainment value over the graphic mutilation of a dead cow.

The focus of “Fast Food Nation” switches between three main perspectives. The first, that of Don Henderson (Greg Kinnear), reveals the alarming inner workings of Mickey’s (a stereotypical fast food restaurant) through the eyes of an advertising executive investigating a notorious meat factory. Through the course of his examination, the level of deception involved in the industry reaches unbelievable heights. After several interviews with former employees and demoralized executives, Don begins to despise the burger joint (and the signature concoction he devised, the “Big One” sandwich) he has worked so hard to promote.

The second tale is that of Sylvia (Catalina Sandino Moreno), an illegal immigrant who crosses the border and ends up working for the meat plant and its despicable foreman (Bobby Cannavale). By far the most emotional of the stories (but also the most ineffective in the attack on the fast food industry), one can’t help but notice that none of the misfortunes that befall Sylvia and her family are direct results of the company. The real enemies in her segment are sex, drugs, and stupidity. The third and final storyline centers around Amber (Ashley Johnson), an employee of Mickey’s, who decides to quit her job (mostly from the influence of her uncle) to join an environmentalist group.

Though well acted and certainly long enough, none of the three stories seem to work toward the common goal of revealing the destruction caused by the fast food industry. The target is obvious, but the film constantly contradicts itself by skewering largely unrelated subjects such as immigration, being drug free, and pursuing dream careers. Kinnear’s character reaffirms the political corruption brewing within Mickey’s, but not once do viewers see a negative effect of someone eating contaminated beef. His story appears to only reinforce the age-old proverb that “What you don’t know can’t hurt you.” While Mickey’s is meant to represent all fast food chains, it becomes too personal for such a broad generalization when significant players are portrayed by such recognizable personalities as Bruce Willis, Kris Kristofferson, or Avril Lavigne. And both Sylvia and Amber’s stories place emphases on other societal shortcomings or predicaments rather than any damage directly caused by fast food (here, any low-income, exploitive business could be substituted). Perhaps it is consumers (especially the non-self-sufficient kind) who are the real villains.

While a film like “Super Size Me” used creative humor, facts, and statistics to thwart the average American’s intake of nutrition-less garbage, “Fast Food Nation” instead utilizes a complex and often unrelated series of ever depressing events and graphic depictions of a slaughterhouse kill floor. Misdirection is the key here, and though even the most persuasive films use it, “Fast Food Nation” attempts to accomplish its goal as bluntly as possible. Yes, graphic and prolonged displays of a cow being shot, skinned, brained, gutted, and bled out will probably keep viewers off beef for a day, but is it really necessary? Is this the kind of wake-up call that will have a lasting effect? Or is it even the issue? Although the inside of a cow makes for rather unpleasant viewing, it’s actually the human beings portrayed working for Mickey’s and the crooked, cruel meat factory employees that are the biggest antagonists. Since “Fast Food Nation” is based on a non-fiction book of the same name, it should have remained as such – a non-fiction documentary, rather than the jumbled feel of a fictionalized drama stuffed with heroes and villains.

– Joel Massie