The very premise of “Suburban Fury,” with Moore, during the interviews, posed in ironic period backdrops like the rear seat of a ’70s station wagon, makes her seem a classic performative personality — a woman who descended into the darkness out of a need for attention. What’s odd about “Suburban Fury,” even as it holds you with rapt authority, is that the film’s point-of-view is so limited to Sara Jane Moore’s rationalization of her own life that the movie seems, by the end, almost flirts with endorsing her defense of her actions: that she tried to kill the president as a skewed trigger for social justice.
