Michael Moore, George W. Bush, Dick Clark, Charlton
Heston, Marilyn Manson, John Nichols, Matt Stone
Screenwriter: Michael Moore
Production Company: Dog Eat Dog Films
06/09/02 UK: 15/11/02
Michael Moore tackles America's constitutionally-protected
ownership of firearms. Moore has already decided what
the problem is - and of course, what the solution is.
So he treks across America to pretend to prove his points
visiting such places and stories as a bank that he claims
gives away a rifle to anyone who opens up an account.
A young man who makes homemade napalm using "The
Anarchist's Cookbook", a case where a six-year-old
killed another six-year-old, South Central Los Angeles,
Columbine High School (and its security tapes), the
brother of Oklahoma City bomber Terry Nichols. NRA (National
Rifle Association) President Charlton Heston's home.
He also visits Canada, where he discovers that gun ownership
rates are about the same as in the U.S.A., and yet,
violent gun attack rates are nearly non-existent. The
title comes from the allegations made against musicians
that music was to blame for the Columbine murders; Moore
posits that since the two boys were also avid bowlers,
that sport of ball-hurling should be blamed as well.
Michael Moore is a nauseating rich lefty with a bee
in his bonnet about anyone with whom he disagrees. That's
most people who do not share his simplistic, arrogant
socialistic convictions. Which is quite a co-incidence
because by many reports from those who've had the misfortune
to work for him, he's a rather disagreeable jerk in
real life. Not that there's anything wrong with that.
However he is a propagandist in the Josef Goebbles mold
- which is okay if you agree with his politics. If you
don't , like me, then he's a bit tiresome to be polite.
Or a total arsehole to be impolite. This flick is of
the JFK/Oliver Stone ranting variety in which it turns
facts on their heads, links wild ideas and ends up discovering
that, amongst others, Charlton Heston is responsible
for a child's murder. A truly low and repulsive point
in the career of anyone who claims to be a journalist.
You'd think. But then he sinks even lower and blames
the passengers of the 9/11 airliners for their fate.
Right on Mike. He is, of course, feted by braindead
Euro kulture and the lefty biased media of whom he is
their official spokesperson. But do his assertions really
add up to anything more than a sixth form debating society?
Someone should do a Michael Moore on Michael Moore -
Now you're bowling for assinine
Moore goes a shooting - but as usual he prefers to
hit sitting ducks with cheap shots
Documentarian Moore (Roger & Me, TV Nation) is back with an outrageously
strong film about violence in America. He begins with an examination of
the tragedy at Columbine High School in 1999 and then as he explores
issues of gun control and violence, he gets deeper, tapping into the
roots of the whole society. The material here is so dense that it's
impossible to even outline it here (see the film!), but basically he
tries to understand why America is statistically the world's most
violent society by digging into the usual reasons and going layer after
layer to the root of the problem.
Serious content aside, this is also an exceptionally well-made film,
impeccably edited and full of insight and wit. Moore is unafraid to
look silly, knowing that we learn when we're laughing. He asks people
the most absurd questions, and we're surprised by what they say in
response! The result is a film that is absolutely hilarious and deadly
serious at the same time, thoroughly entertaining and actually
life-changing. There are moments of such overpowering emotion that we
can hardly watch, as well as bits featuring pure silliness and farce.
And it's not just the USA that's probed here.
Moore finds little links everywhere--for example, between nuclear
missiles, Columbine and South Park. There's a gentle chronology of US
military aggression abroad, a chilling timeline leading steadily to 11
September 2001. (That we see it coming so clearly is terrifying!)
There's also an animated history of the film's central thesis: That
white America is gripped by centuries of deep-seated fear, mirrored now
in the news media (all those "watch out!" stories) and the government's
hard-line international policy. Despite the focus on the NRA and
Heston, this is not a pro gun-control film; Moore is just asking the
tough questions. And if there's any complaint about the film, it's that
he doesn't offer any positive action. What can we do to change this?
But then, recognising the real problem is a first step. And as a people
we have a long way to go before we even do that. I can't even begin to
say how important this film is: Just watch it.