This doesn’t feel like the great analytical humor-filled films he used to make. The satires he used to make, out of anger, and out of disgust, and out of disbelief about what was happening around him. No, even though he does narrow in on certain practices, dead peasant insurance for instance, where companies buy insurance on their employees, making millions if their employees die, or the fact that pilots now make less per year than Taco Bell managers, this doesn’t play like a movie Michael Moore wanted to make. I think, and yes, I’m placing more into this film than may actual be on the surface, but it seems that Moore’s essentially been at a lifelong struggle with the practices of capitalism, and finally, he has simply ran out of patience and excuses. It’s not a film about Moore giving up his fight, far from it, but he’s now convinced that the greater enemy is the system himself.
Even those teapartiers, as misguided as they place their hopes in anti-government rhetoric, are suddenly standing up to the upper 1%. Moore made a movie about the 1980s in ”Roger & Me.” With “Capitalism: A Love Story,” Moore has made an overview of this last decade. Strangely enough, I actually found myself disagreeing with certain parts of this film. I think he’s simplified his position on the bailout by not discussing how all the companies on Wall Street were so interconnected that everything would’ve been worst without it. But, I think Moore’s has basically stopped trying to cause controversy and get his voice heard. He knows his voice is heard and has basically outgrown all his other tricks and satires. Everybody knows his name now, so he’s just turning his camera on the people and subjects. He’s now just the muckraker, who’s building a strategic argument. Because his medium is film and is not an essayist, he can get people upset by how he combines visuals, but in reality, he isn’t any different than Ralph Nader when he railed against the auto industry.