Critics, bust out your typewriters! It’s time to get Sick.

sicko-poster-425.jpgMichael Moore’s Sicko is comin’ out a little early in the Big Poopie Apple, sayeth The Times.

On a serious note, I think Michael Moore’s documentary technique has to be admitted into the cannon of celebrated documentary. Why?

Your first argument is probably, what?, that the filmmaker’s voice is too conspicuous in his work. Al Maysels publicly made this criticism of Moore at BAM just a couple of weeks ago. First of all, this a total understatement. The films ARE his voice, because all of the films he makes are about things he cares passionately about. I would argue that Michael Moore, by subverting that precept, has forged a unique and dire role in the cultural conversation; and certainly could be considered a precursor to contemporary examples of auto-documentary (YouTube, MySpace, etc.); Flint, Michigan was Michael Moore’s hometown. It wasn’t like he just saw some random struggling town and–in the vein of most documentary makers–decided to move in and quasi-exploit the subject. Roger & Me was about Michael Moore as it was about the rest of Flint. But that’s what made it revolutionary.

FurtherMoore, the greatest threat to freedom is the restriction of information. And people who are fucking up our culture with corruption often hide behind the barricades of “taste” and “protocol” to side-step accountability. And what Michael Moore does, even though it can make us cringe!!! is say, you know what? if the only reason we’re not getting the truth is because these fuckers are hiding and avoiding any situation where a fair and unrestricted conversation is possible, then we’re going to violate the rules of social protocol, since the rules do not serve to facilitate civil discourse, but rather are used as shields from political and corporate transparency.

Still, and most importantly, most people’s reactions against Moore remains nothing more than superficial repulsion to his physical appearance. Basically, if he looked like Robert Redford, no one would give a shit. But he doesn’t. He looks fat. Which actually makes him look like most of America. It’s unfortunate that media-defined notions of beauty might be what actually decides where Moore’s work lies in the history of film making.

He’s here!  Here’s fat!  GET OVER IT!



  1. […] We’re really pulling for Sicko here…and here. We know, we know. We just really want this film to kick some corporate-corruption […]

  2. […] Read more from us here. […]

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