Really? There’s a right to free birth control through your employer? Liar.

But what Moore is doing here is what Obama and his media minions are doing. They’re turning a government mandate that violates the First Amendment into a “rights” issue.

What Obama is attempting to do to the Catholic Church is no different than creating a federal mandate that would require every Islamic-run business to provide pork rinds in their vending machines — because people have a right to equal access to fat free foods.

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Note all the Catholic Church-bashing Moore’s engages in. Where is that coming from and what does it have to do with this debate?

It’s just hate, pure and simple.

“My Week with Marilyn,” celebrated for its vibrant lead performance by Michelle Williams as the iconic Monroe, is currently under the microscope for not telling the whole truth.

It isn’t the first time a film with Oscar hopes has been questioned by the media. The 2001 film “A Beautiful Mind” got the cold shoulder for scrubbing the lead character’s less magnanimous side. Some argued John Nash, the inspiration behind Russell Crowe’s character, was both anti-semitic and a lousy father, charges Nash denied. The chatter threatened to derail the film’s Oscar chances, but it ended up winning multiple gold statuettes, including the coveted Best Picture award.

Some films which could use a bit of scrutiny, though, often get little or none.

Last year’s “Fair Game” played fast and loose with reality regarding the Valerie Plame affair, barely mentioning the person behind the leak of the CIA agent’s identity. The film ended up undeserving of awards for a very basic reason – it wasn’t compelling. But few critics raised a ruckus over how the film told only one side of a rather complex story.

But perhaps the most egregious recent examples of films fudging the facts came from the documentary genre. Both “An Inconvenient Truth” and “Fahrenheit 9/11″ threw some spurious charges around, and both ended up winning the Best Documentary Oscar. In the case of the former film, having a Democratic politician leading the way clearly made it unlikely that the press fact checkers would break a sweat over its charges.

And the press routinely avoids giving Moore’s films the thorough debunking they deserve.

So remember as the conversation regarding “Marilyn” and reality rears its ugly head this week that the truth seekers don’t embrace a level playing field.

This week, Moore must have gulped down some truth serum before appearing on the low-rated CNN show “Piers Morgan Tonight.”

Moore, citing figures gleaned from a recent Washington Post study, reminded Morgan that President Barack Obama sure loves pocketing big bucks from the very same Wall Street he often rails against.

MICHAEL MOORE, ON CNN: Well, “The Washington post” three weeks ago had this investigation and they said that President Obama has now raised more money from Wall Street and the banks for this election cycle than all — than all eight Republicans combined. I don’t want to say that, because if that’s the truth, that Wall Street already has their man and his name is Barack Obama, then we’ve got a much bigger problem.

But I think President Obama, if he were here in the room, the question I would ask him is why are they your number one contributors? Why are you taking this money?

Sounds like the makings of a new muckraking documentary, “Barack and Me.” In Moore’s latest film, he tries to pin down the Commander in Chief to find out why the president keeps accepting money from those evil Wall Street types. Moore must battle both a sycophantic press and the president’s inner circle to get that much-anticipated one-on-one time with The One.

Movies, says Loder, film critic for Reason.com, are “fresh material to me, in a way that music somehow isn’t. It’s tangible. It’s up on the screen.”

Loder’s movie commentaries – witty, wise and full of admiration on the rare occasions when the stars align to yield a great film – can now be held in your hand thanks to a new collection.

“The Good, the Bad and the God-Awful: 21^st Century Movie Reviews” lets Loder opine on Hollywood’s recent movie releases. Loder slams “Australia,” praises “In Bruges” and puts more journalistic muscle into his take down of Michael Moore’s “Sicko” than most of his peers.

“Some movies are so appalling you wonder what went wrong … who said, ‘this is really good, let’s put it out,’” he says.

“The Good, the Bad and the God-Awful” compiles reviews into themes – like Schlockbusters (expensive flops), The Land That Laughs Forgot (comic duds) and Funtime (hilarious romps). He even dedicates an entire chapter to Nicolas Cage (“one of the great without-a-net highfliers of our time”). Loder may be most fond of Looking for Love, the section dedicated to great films still searching for an appreciative audience – like indie darling “The Brothers Bloom.”

Loder’s prose is prickly when the situation demands it, but he’s not a curmudgeon taking undue pleasure excoriating mediocre films. He also insists he’s a movie reviewer, not a film critic.

The latter group studies film as an art form, something he simply doesn’t have the time to do at this point in his impressive journalism career. Each movie scribe serves a purpose, although he suggests die-hard film fans should read material from each camp.

“If you’re really into movies you want both … you’ll want all the resonance you get from a film critic,” citing Dave Kehr and David Thomson as two personal favorites.

Loder contributes to Reason.com, a Libertarian site which reflects his own political attitudes. Just don’t expect him to interject politics into a cinematic treatise on “Transformers” or “Sherlock Holmes.”

“I try not to look at movies through the lens of politics,” he says, bemoaning how famed film critic Roger Ebert’s recent work too often does just that with predictably left-leaning results. But when the films demand a more thorough examination, like Moore’s aforementioned health care documentary, he won’t hesitate to put the film to a lie detector test.

Pop culture junkies may know Loder best for his lengthy tenure with MTV, but he also served as an editor with Rolling Stone magazine and wrote for Time, Details and Esquire magazines. He’s saddened to see so many movie and music writers heading to the unemployment lines these days, and he realizes they may not be able to make a new name for themselves on the cluttered Internet. Still, the best of the best eventually rise to the top.

“It’s a very difficult time, a transitional time in media,” he says, and he isn’t sure how it will all shake out eventually.

He’s far more certain that nothing he can say or type will dissuade a Twi-Hard from camping out to see the latest “Twilight” feature. But he hopes his prose can have a modest boost for films which could use a little appreciation.

“I try to review movies that aren’t gonna get an national release … maybe [movie reviewers] can help them get one,” he says, citing unsung gems like “The Brothers Bloom,” “Zodiac” and “Sunshine.”

Of the current crop of new films, Loder singles out “Like Crazy,” the buzzed about romance co-starring Felicity Jones.

“It’s so well done and edited, but how many people will see it?” he asks.

He admits it’s more fun to slam an awful movie than praise a neo-classic, but ultimately a movie reviewer’s job is to make suggestions that help the reader juggle schedules accordingly.

“You have to winnow it down somehow … and try not to waste your time on movies that are dreadful,” he says. And he hopes “The Good, the Bad and the God-Awful” can help.

The Web may rule in 2011, but there’s still something potent in having a book in hand to guide your movie selections.

Even the best web-published reviews are “ephemeral … they drift off into the digital ether,” he says.

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Moore declares the #Occupy movement “peaceful” as though none of this is happening.

Michael Moore’s ability to lie really is truly breathtaking.

Initially, Moore tried to deny that his massive wealth made him a member of that one percent. Even when forced to admit the obvious, Moore suggested that he was not always among the one percent, based on his income: “Other years, like last year, I don’t have a job (no movie, no book) and so I make a lot less.”

The fact is that Moore is so wealthy that he does not need to worry about his income. According to public tax records, Moore owns a massive vacation home on Torch Lake, Michigan–one of the most elite communities in the United States–in addition to his posh Manhattan residence.

Through an independent source, Big Hollywood has obtained exclusive photographs of the house matching the address of Moore’s waterfront mansion. It is the kind of luxurious summer home that 99 percent of Americans can only dream of owning.

Moore’s vacation property is located on the southeastern shore of Torch Lake itself, which locals tout as the “third most beautiful lake in the world.” Here is an aerial view of the house, situated on the turquoise blue waters for which Torch Lake is famous:

Property values on Torch Lake, according to one real estate website, range “from $400,000 to plus $3 million.”

Moore’s property has been officially assessed at close to $1 million (see below; we have redacted Moore’s addresses and parcel number). That is likely a gross underestimate, but nevertheless places Moore’s vacation home near the top one percent of home values in affluent Forest Home Township, and among the upper crust of residential properties in the state of Michigan. (Update 11/11/11: Several readers have pointed out that in Michigan, the S.E.V. is half the estimated fair market value of the home, so Moore’s Torch Lake vacation home is likely worth close to $2 million.)

In addition, according to statistics from 2009, Forest Home Township has no black residents. The township is roughly 98 percent white. Call that 99 percent, and Moore’s claim to be among “the 99 percent” begins to have some basis in reality.

No one begrudges Moore his wealth, but it is deceitful for him to claim poverty while encouraging class warfare among other Americans. It is also purely narcissistic and selfish for Moore to back radical and destructive socialist policies that would deny other Americans the opportunity to become as rich as he is.

Below are some additional photographs of Moore’s vacation home in Torch Lake. The first shows the front entrance to the property; we have decided not to include a photograph of Moore’s mailbox, which features an address matching the one on the property assessment. The second and third photographs show alternate perspectives of Moore’s home and property when viewed from Torch Lake.

God love him, Polone also rips those in the media like Piers Morgan who let Mr. Moore get away with the ongoing charade of not being Mr. Wall Street.

My guess is that Polone speaks for many:

One of the many things that bug me about the industry in which I work is the large population of phonies who claim to be liberal, caring, green and unaffected by their wealth and fame but in reality are just as self-centered and addicted to their huge, over-air-conditioned living spaces and private planes as those at whom they point their fingers. And none is more phony and finger-pointing than Michael Moore.

The rub:

In 2005, the Weinstein Co. set up financing of about $500 million to fund production and distribution. The investment vehicle was created and syndicated by a little firm called Goldman Sachs. One of the films that was produced by TWC using funds from that investment was Moore’s documentary Sicko. Given the success of his previous film, Fahrenheit 9/11, which he made with Harvey and Bob Weinstein, Moore was able to command a terrific deal for himself.

By 2010, TWC had burned through the capital raised in the Goldman Sachs deal. Investors were forced to restructure their arrangement, meaning some suffered a devaluation of their investment. Goldman also lost some money it put in TWC, but it could handle the loss in part because it was a recipient of the government’s TARP bailout. Some unlucky investors might never get back the money they put into funding TWC.

Not unlike other bad investments set up by Goldman Sachs and others during this period, some people did make out quite well, while others, often lower on the food chain, suffered. One of those who did quite well using the TWC funds was Moore.

The closer:

There are many reasons our country is in financial trouble, and some do relate to misdeeds by Wall Street executives. Calling attention to such misdeeds and issues of income inequality is a good thing. But the true fault of what put us in this situation resides with the government that gave leeway to those who contributed to political campaigns and provided jobs to those who ran between the various administrations and the private sector. Having a hypocrite blowing hard about groups of people in whose number he himself should be counted diminishes the impact and validity of the message.

You’ll definitely want to read the whole thing.

Has Moore finally outlived his usefulness in Hollywood? After all, his last few movies didn’t make a whole lot of money, at least not enough to make it worthwhile to those embarrassed by the fact that he’s become the face of Hollywood’s limousine liberalism and hypocrisy.

Sounds to me as though Michael Moore’s become a liability.

***END UPDATE

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Chaos is unfolding in Oakland and on top of that, we’ve documented over 125 separate incidents of violence, vandalism, perversion, drug use, sexual assault, and an overall draining of precious and limited police resources throughout the country. The $50 Million Dollar Man’s response:  blame the cops.

Like his political soul brother Jon Stewart, Michael Moore is only in love with first responders when being in love with first responders is good for your image and career. But as soon as it’s politically useful to attempt to blame those same first responders for the violence committed by your real political soul brothers, they do.

Original tweet here.

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In an interview with Piers Morgan, Michael Moore was asked a question from a Twitter user who pointed out the seeming incongruity of the filmmaker’s personal wealth and his criticism of capitalism. Morgan seemed intrigued by the line of questioning and pressed Moore on the issue. After saying “that’s not true” to the assertion that he’s worth millions, Mr. Moore had this to say:

Well, then, if you believe that about me, then that’s really something, isn’t it? That, even though I do well, that I don’t associate myself with those who do well. I am devoting my life to those who who have less and who’ve been crapped upon by the system. And that’s how I spent my time, my energy, my money on trying to upend this system that I think is a system of violence; it’s a system that’s unfair to the average working person of this country, and it was a mistake to ever give me a dime, from the day Time Warner, actually, gave me money to buy Roger & Me… I hope they rue the day that they ever allowed me up on the movie screens.

Mr. Moore has, in the past, charged up to $40,000 for speaking engagements.

Mr. Moore owns a $1.9 million dollar home in New York and a $1.2 million one in Michigan.

Mr. Moore has sued both the magazine Mother Jones and the Weinstein brothers, seeking $2 million and $2.7 million, respectively. The latter was for further compensation than his director’s fees for the 2004 blockbuster documentary ‘Fahrenheit 9/11′. The film’s production budget was $6 million.

Mr. Moore protests a smidgen too much.

Watch more of the interview here.