Michael Moore's view on what happened to the United States after September 11; and how the Bush Administration allegedly used the tragic event to push forward its agenda for unjust wars in Afghanistan and Iraq.
A 30-minute follow-up piece for Roger & Me, this was first shown when that film was broadcast as part of the PBS series P.O.V. Moore briefly re-examines the economic collapse of Flint and ... See full summary »
Janet K. Rauch
A documentary about the closure of General Motors' plant at Flint, Michigan, which resulted in the loss of 30,000 jobs. Details the attempts of filmmaker Michael Moore to get an interview with GM CEO Roger Smith.Written by
Murray Chapman <firstname.lastname@example.org>
Michael Moore mentions this film in "Stupid White Men", saying that he has received many complaints about the rabbit dying, but none about the black man being shot, because society has become such that that is no longer seen as shocking. See more »
I was kind of a strange child. My parents knew early on that something must have been wrong with me. I crawled backwards until I was two... It all began when my mother didn't show up at my first birthday party, 'cause she was off having my sister, and dad tried to cheer me up by letting me eat the whole cake. I knew then, there had to be more to life than this.
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Flint Convention and Visitors Bureau 1-800-482-6708 See more »
ROGER & ME is an embarrassing, shameless ego trip masquerading as a documentary. It is not about the social and economic travails of Flint, Michigan. It is not about "Roger" (GM CEO Roger Smith), who is used only as a scapegoat for the film's simplistic vision of corporate evil. It is about "Me" -- i.e., Michael Moore.
Basically, Moore has no story to tell. Wanting and not getting an interview with Roger Smith, he becomes a journalistic stalker, making, in effect, a film about not being able to make a film -- the ultimate journalistic cop out. The end result is a glorified home movie: "This is me driving my car. This is me standing here. And here is me standing there. And here is a poor guy getting evicted. He's not important, but, hey, there I am standing next to him, making him look important. Oh, here's a celebrity. Doesn't matter which one, because I am standing right next to him. Boy, doesn't he look like a jerk next to me. He's lucky I put him in my movie...." And so on and so forth.
Like all of Moore's other dubious efforts, ROGER & ME has only one focus and one star: Michael Moore. Like a con-artist evangelist who has set up his one-man church, Moore rants and raves in a brazen -- and unfortunately, successful -- attempt to lure the gullible and foolish into worshiping his graven images. Few films are as devoid of ethical standards as this pathetic imitation of journalism. Wearing the disheveled garb of a working man's "60 Minutes," the film expects us to buy Moore as a crusader for the common man, but beneath the pious platitudes there lies the heart of the "National Enquirer." In paparazzi fashion, Moore resorts to ambush journalism and dishonest editing tricks to perpetuate a world view that he cannot otherwise substantiate. He corners the famous in hopes of making them look stupid and exploits the less fortunate in a self-serving effort to make himself look compassionate. He's Jerry Springer with delusions of being Edward R. Murrow.
The fact that he plays much of this for laughs shows Moore to have, not a sardonic wit, but a callous indifference. There are those who defend this film and Moore's other works, arguing that it is okay to manipulate the facts, as long as the final message is valid. The end justifying the means, using Nixonesque terminology. Maybe Moore's ultimate assessment of the troubles that befell Flint is accurate. But to arrive at the truth by dishonest means taints the truth. Moore's egotism and self-righteousness sullies this film, long before any ultimate truths are presented. This is not the work of a social crusader, rather it is the product of a cold-hearted, manipulative, amoral predator.
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