Michael Moore gets the Michael Moore treatment in a new documentary created by a fellow Michigan resident. Accountant turned filmmaker Kevin Leffler isn’t a dyed in the wool Republican trying to score cheap shots off the liberal gadfly. He’s just a regular Midwesterner who knew the guy being trumped up in the press as the straight talking Everyman wasn’t the real deal.

Leffler grew up in the same part of Michigan as Moore, attending the same Catholic Church and even working together on a local youth hotline. So when Leffler calls out Moore, it means something.

“Shooting Michael Moore” lets Leffler deconstruct the Moore myth. It’s a project with a tiny budget and little Hollywood razzmatazz – Leffler is a CPA and college professor, not a slick documentarian.

But he digs deep enough into Moore’s activities to reveal a more complicated, and damning portrait of the Oscar winner.

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If the evil men do lives after them, the legacy of dishonesty, demagoguery and hypocrisy that Michael Moore has been enabled to legitimize in film and the body politic will endure for a long time after he quits making documentaries as he says he may. That hopefully means his disingenuous indictment of capitalism now making him millions in theaters will be the last time he’ll project his puerile class warfare demons onto a movie screen and insult our intelligence by calling it a documentary.

Don’t get me wrong. Moore came up with a clever shtick that can be amusing, but he doesn’t make real documentaries. He makes sophomoric  agitprop that violates the Oscar’s rule against fiction in that form which other documentary makers must apparently follow — a double standard point I’ve made to the Academy awarders twice. Only the first of those letters is listed below because of space limitations, but a key point made in that second note is that there should be a separate category for Moore’s type of fabricated political schlock if such stuff is going to be receiving awards .  Sans that, “anything goes with documentary film … there are no standards … it’s all a game,” as University of Texas film professor and indie producer John Pierson put it. (more…)

Firing a red-hot cannon blast at both parties and the excesses of America’s capitalist system, filmmaker Michael Moore’s latest documentary “Capitalism: A Love Story” is also his most stylistically and emotionally mature work to date. Launching with a string of film clips that parallel the fall of the Roman Empire to our present societal hot mess, the film serves up big laughs with its harrowing vision of just how far off the rails our present economic crisis has taken the nation. 

Moore has made plenty of claims that “Capitalism” is the summation of two full decades of work, harking back to the 1989 release of his seminal “Roger & Me,” and that this film is lobbing bombs at the figures involved.  Yet much of the time, the film has a mournful, yearning approach in showing Moore’s desire that America return to the capitalism of the pre-Jimmy Carter years: he shows that the system’s promises worked out splendidly throughout most of the nation’s history, and in particular from the boom years after WWII all the way through Ford before the nation hit Carter’s infamous assessment of “malaise” in the late ‘70s.  (more…)