As a member of the choir, I ran screaming from the church because of Michael Moore’s preaching in Sicko.
I’m in the minority here — the movie got good reviews and an Oscar nomination in the documentary category — but this was among the least effective films I saw all year.
Plus: the equally inept Infamous.
As a screed against George W. Bush to justify the feelings, suspicions, and thoughts of people who already dislike the president and plan on voting against him in November, Fahrenheit 9/11 is strikingly effective. But as propaganda — as a compelling case to convince undecided voters and GOP loyalists that Bush needs to be voted out of office — Michael Moore’s movie is an utter failure.
Ever since his movie The Big One, I’ve had serious problems with Michael Moore’s approach and ego. In writing about Bowling for Columbine, I said that “The Big One made me feel like all the troubles of the world weren’t quite as important as Michael Moore being famous in his own odd way.” This article/essay/interview, prompted by the filmmaker’s Fahrenheit 9/11 at Cannes, will confirm most people’s worst fears about Moore, particularly the fairly obvious contradiction of a very wealthy person pretending to be a man of the people. He’s glib and dismisses criticisms without ever addressing them.
Michael Moore’s divisive Bowling for Columbine is ingeniously critic-proof. If one complains about the politics of the movie, one if branded a right-winger. If one complains about fact-fudging or fairness, one is accused of missing the point.
Box Office Power Rankings: September 26-28