No easy answers here, but that’s exactly the point; a big ideas film that hopes to rouse the audience into social change.
Capitalism: A Love Story (2009)
Tomatometer
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Reviews Counted:145
Fresh:109
Rotten:36
Average Rating:6.8/10
Consensus: Love him or hate him, Capitalism captures Michael Moore in his muckraking element -- with all the Moore-centric showmanship that entails.
Australian Rating: TBC
Genre: Education/General Interest
Australian Theatrical Release:
Jul 23, 2009 Wide
US Box Office: $14,342,792
Synopsis: Plenty of excitement--and controversy--is sure to surround this film from decorated documentarian Michael Moore. After previously taking on America’s gun culture (BOWLING FOR COLUMBINE), the Bush... Plenty of excitement--and controversy--is sure to surround this film from decorated documentarian Michael Moore. After previously taking on America’s gun culture (BOWLING FOR COLUMBINE), the Bush administration (FAHRENHEIT 9/11), and America’s healthcare crisis (SICKO), this timely film addresses what caused the financial crisis that stopped the world in 2008. CAPITALISM: A LOVE STORY finds Moore criticizing the government bailout of privately held businesses. [More]
Director: Michael Moore
Director: Michael Moore
Screenwriter: Michael Moore
Producer: Michael Moore, Anne Moore
Composer: Jeff Gibbs
Studio: Overture
Reviews for Capitalism: A Love Story
As usual, Moore is a man who wants answers, which makes for a good documentary. It is a fascinating, albeit terribly lopsided, insight.
Moore has the skill to make very complex material reasonably lucid, some would say simplistic; but it’s when he gets silly that he falters.
There's nothing too subtle about Moore's filmmaking style, but he does get his points across in a straightforward, uncomplicated way.
Moore has long proved himself an excellent editor and comedian, but he always insists on preaching to the like-minded and, thus, can't string together a political film persuasive enough to make a real difference.
Capitalism : A Love Story marks a minor return to form for Moore, whose tactical agenda and questionable methods as a documentary filmmaker have dented his standing in recent years.
There's both grit and entertainment value in the film, although if you have seen Moore's other films, you may, like me, feel as though you have seen it all before. It's long, too
Capitalism: A Love Story is, like Moore's previous movies, manipulative and moving, funny and impassioned, uplifting and infuriating.
Isn't it Washington that took money from the taxpayers to bail out the banks? Shouldn't Moore run his yellow crime-scene tape around the White House?
Moore’s ambush-and-blame methods are bad journalism. His lack of moral, political context is as questionable as ever.
The biggest strike...with this film is its hypocrisy. Here's a man taking shots at capitalism, and he's the biggest capitalist in Hollywood.
This is a typical Moore oeuvre: funny, often over the top and of dubious documentation, but with strongly made points that leave viewers much to ponder and debate after they walk out of the theater.
Is everything always the bank’s fault? Is it only the guys in suits who can get greedy? In Moore’s world, yes, it is.
As a filmmaker creating a product for a marketplace, supported by profit-seeking investors, he obviously has some comfort level with capitalism in the sense of doing business.
Michael Moore’s Capitalism: A Love Story is something else -- not a good movie or a coherent exposition of the meltdown but an emotional attack on capitalism as a system, an attempt, literally, to de-moralize capitalism.
Moore's choice to make "capitalism" his straw man (rather than, say, greed or Reagan-era deregulation) puts him in closer company than he might like with some pretty nasty world-historical bedfellows.
Michael Moore preaches to the converted in his least insightful op-ed to date.
Michael Moore is up to his old tricks in Capitalism: A Love Story, and that's sure to both infuriate, and entertain and inform, depending which side of the Michael Moore fence you stand on.
Mildly entertaining and occasionally funny, but often poorly researched, repetitive, parochial, and unenlightening.
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