[Review] Capitalism: A Love Story

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Michael Moore’s new documentary Capitalism: A Love Story is a mixed bag, containing all of the poignant sections of something like  Sicko and all the crass parts of the director’s more controversial Fahrenheit 9/11. The film takes a look at the current U.S. economic crisis and what led up to it. The film, like all of Moore’s other films, contains voice-over narration by himself throughout and a few comical situations. Also, like Sicko, this film does not take one side. He bashes Republicans and Democrats equally, blaming both parties for the current catastrophe.

One topic will hit close to home for young students, concerning the future of the student loan debt which continues to rise as college tuition rises as well. For those Buffalo-based (as this Web site is), a section concerning the poor airport-to-employee operations cites the tragic Continental plane crash in Buffalo that occurred earlier this year. Moore finds plenty to talk about and plenty for viewers to relate, so most everyone will take something of worth from the film, no matter what.

Also, as to be expected, there are plenty of comedic elements so that the documentary isn’t just gloomy with no end in sight. The part where Moore goes to make a “citizen’s arrest” of the AIG execs and other major corporation executives is much funnier in the film than in the trailer, so expect to be pleasantly surprised, as this film’s trailer leaves some meat to be chewed on in the theater.

Jokes aside, Moore takes the audience through all the events that led to the eventual crash of the economy. Moore’s proposals are cleverly spun through the editing wheel, angering this critic at all the right moments, especially during the segments pertaining to my age group. Moore knows how to blend gloomy with humor.

If you love Moore you’ll see this film and if you hate him you’ll probably see it too, so no matter what’s written it will attract viewers simply so they can compliment or complain about it on their own right. Capitalism is just as political as almost all the man’s other work but considerably more personal. It seems the older Moore gets, the more his films focus on the victims rather than just the victimizer.

7.5 out of 10