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100After watching the bailouts, the bank foreclosures and the Bernie Madoffs of the world dominate headlines, Michael Moore is mad as hell, and he's going to try to make you mad as hell, too.
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88Moore's fireball of a movie could change your life. It had me laughing with tears in my eyes.
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88The film's title is never explained. What does Moore mean? Maybe it's that capitalism means never having to say you're sorry.
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80He's preaching a story we must all hear. This is no fairy tale.
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75This lively, infuriating and occasionally moving film certainly leaves you thinking, and there isn't a dead spot in it. That's the mark of a real filmmaker, not just a muckraker.
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75With mixed results, Moore singles out those who profit from the misery of American workers.
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No matter where you stand, there's no denying "Capitalism" is flat-out polemic wizardry.
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75Impassioned, informative and entertaining, if sometimes repetitive.
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75Vintage Moore, which means that it will enthrall many and enrage an equal number of viewers.
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75With the global economic meltdown affecting just about everybody, the film is pertinent, hugely entertaining, and, above all, timely.
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75The symmetry doesn't work. Capitalism is an economic system; democracy, a political system. Perhaps Moore should have come out and said what he really wants to see us adopt: a democratic socialism.
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75At its best, Capitalism: A Love Story is a searing outcry against the excesses of a cutthroat time. At its worst, it's dorm-room Marxism.
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75Capitalism lacks the surprising wit of "Roger & Me" and the sobering comparative journalism of "Sicko," and it isn't nearly as heartfelt as "Columbine," which poignantly and repeatedly circled back to Moore's beloved home state of Michigan.
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75The real love story here is between Moore and his bullhorn.
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This is a typical Moore oeuvre: funny, often over the top and of dubious documentation, but with strongly made points that leave viewers much to ponder and debate after they walk out of the theater.
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70Too bad its wide net ultimately results in diminishing returns.
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70On one level: groan. On another: No one else seems about to make those arrests. The only thing that would scare Wall Street straight is the image of Michael Moore as the new sheriff in town.
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70Moore's scattershot is a lot more interesting than some filmmakers' focus, and many of those individual parts are classic.
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70Like most of his movies, Capitalism is a tragedy disguised as a comedy; it's also an entertainment.
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70There's something touching, even a little bit noble, about Moore's eternal willingness to serve as our nation's shame-free populist gadfly.
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70A freewheeling denunciation of the capitalist system that is often mordantly funny and, by lurching turns, scornful, rambling, repetitive, impassioned, mock-lofty, pseudo-lowbrow, faux-naïve, persuasive, tabloid-shameless and agit-prop-powerful.
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63At its best, this uneven work represents Moore at the peak of his argumentative skills.
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63Redundant for a filmmaker whose work has always dealt with the dismaying consequences of this country's profit motive. Isn't every Michael Moore film ultimately about capitalism? This one just has a more facetious title.
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63Moore's voice is weak and fuzzy, directed at a choir that should already know the words by heart.
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60A barbed study of the American economy puts capitalism in the dock but somehow fails to convict.
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60Delivers Moore's usual grab bag of ironic kitsch, gotcha clips and infotainment-journalism.
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60Whether Capitalism matches "Fahrenheit 9/11" or underperforms like "Sicko" will depend on how much workers of the world are ready to unite behind the message.
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58The tone is so smart-ass that it's bound to put a lot of viewers into a default defensive posture.
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50As a statement on capitalism or anything else, Capitalism: A Love Story is often embarrassingly simplistic, self-contradictory.
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Scattershot, lazy slice of agitprop, which recycles Moore's usual slice-and-dice job on corporations, while bobbing a curtsey to the current crisis.
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50Exhibits the weaknesses and the strengths of what has become a nearly foolproof formula for keeping viewers engaged.
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50It's a sad movie--funny, yet wounded and bewildered.
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40This time the acclaimed filmmaker tackles an entire "ism" and, much like its ambiguous title, Capitalism: A Love Story, Moore's film is an unmethodical survey of a gargantuan topic, one that has only grown more so in the year since he began work on the project.
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30This is a love story, all right, but it has less to do with the flaws of capitalism than it does with Moore's unwavering fondness for the sound of his own voice, and for what he perceives as his own vast cleverness.
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30By the end, when Moore presents himself as a lone crusader for justice and wraps yellow crime-scene tape around the AIG building, his reasoning is so muddled that he can't distinguish an economic system (corporate capitalism) from a political one (representative democracy).
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25Shouldn't Moore run his yellow crime-scene tape around the White House instead of Wall Street? Anyway, President Obama said this month that in cases where the government has fully sold its TARP bank holdings, it has gotten back its money plus 17 percent. Damn those capitalist barons, breaking into our treasury and filling it with their filthy money.
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User score distribution:
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Positive: 51 out of 79
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Mixed: 3 out of 79
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Negative: 25 out of 79
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