Party-loyal liberals, beware: You may come out of Michael Moore’s new joint, Capitalism: A Love Story wanting to affix teabags to your hat.
Moore is no partisan hack. If for no other reason, people should see this film as a clanging reminder of events of recent past, and that, hey, Democrats are politicians, too.
And while the film reminds us of much, it also illuminates. Every Moore movie, and this no exception, sparks the question for me: How on Earth does he get the footage?
Because, like it or not, Moore is not a mere propagandist. He is a journalist. And, I think, with Capitalism: A Love Story, he has perfected his craft. Sure, there’s the usual megaphone shenanigans—a Moore film without that is like a Marx Brothers movie without a Zeppo piano solo. But this collection of stories and his ability to weave them argue extremely effectively something that becomes more unassailable with each passing year: Something ain’t right in America.