
Fahrenheit 9/11 remains the only documentary to break $100 million at the domestic box office, and stands at the top of the format with $222 million worldwide. Surely there was a lot of money to be made from that venture, and documentary filmmaker Michael Moore claims he still hasn’t received his due. Moore filed a lawsuit in the Los Angeles Superior Court earlier today that accuses producerial brothers Harvey and Bob Weinstein of “Hollywood accounting tricks” and “financial deception” that cheated the director out of at least $2.7 million.
The suit cites a 2008 audit that discovered gross irregularities in the accounting at the expense of Mr. Moore, and further claims the alleged damages could be even higher than $2.7 million if a more thorough audit were possible. After the jump, read statements from both sides.

Documentaries have undoubtedly grown closer in style to narrative features over the past 20 years. Similarly, when documentarians Shari Springer Berman and Robert Pulcini moved into the narrative world, they brought their old techniques with them. That first feature, American Splendor, made a big splash, thanks to its fresh and complicated approach that broke standard filmmaking conventions and included material from mediums that varied from comic books and film to television.
Springer Berman filled us in recently on her latest film, The Extra Man, which continues its gradual, national release today in top 10 markets, with Chicago. Hit the jump for the interview’s audio and transcript, along with info on her new HBO film Cinema Verite featuring Diane Lane, Tim Robbins, Thomas Dekker and James Gandolfini, where she stands on a big divide in the documentary world and a story she’s never told publicly about American Splendor’s late subject, Harvey Pekar.

Michael Moore’s Capitalism: A Love Story could not be more timely. With the country facing the worst recession it has seen in many people’s lifetimes, a general sense of negativity towards banks and Wall Street, and the highest unemployment rates many have ever seen, Capitalism should be exactly the sort of thing that we’d like to see Moore doing nowadays. So, why was this critic so underwhelmed by the film? Find out after the jump, my precious snowflakes.

The Academy of Motion Picture Arts and Sciences today released their list of the 15 films in contention for this year’s Best Documentary Feature Award. Of these fifteen films, only five will be nominated for the award. While there are some deserved, if unsurprising, inclusions such as Food Inc. and The Cove, what’s more interesting are the films that didn’t make the cut. I am bummed that Anvil! The Story of Anvil didn’t make it in but I think those guys have finally achieved the fame that always eluded them and while an Academy nod would’ve been nice, this movie got out there and did its thing. I’m more upset about the We Live in Public, which won the Grand Jury Prize award in the U.S. documentary category at this year’s Sundance Film Festival. I get to see these smaller, independent films around this time of year because of screeners sent to critics and now I have no idea get to see this.
But I am over the fucking moon about the snub of Capitalism: A Love Story. The documentary branch screening committee saw right through Michael Moore’s “timely” documentary (timely if you haven’t turned on the news since September 2008) for the poorly manipulative, lazily research, condescending piece of crap that it was. Now I don’t have to worry about that garbage taking up a slot that I hope goes to Every Little Step which is one of the best films I’ve seen this year. Hit the jump to see all 15 documentaries on the short list.

Opening on October 2nd is the new Michael Moore film “Capitalism: A Love Story”. The film recently premiered at the Toronto Film Festival to great reviews and it’s currently at 88% on Rotten Tomatoes. Not a bad number. Anyway, we’ve been given 5 clips from the film and you can watch them after the jump. I’ve also posted the full synopsis and here’s Monika’s review from TIFF.

Yes, it’s time for another Michael Moore movie. In fact, this might just be his last documentary, as Moore has expressed an interest in moving to fictional films. For now, however, we get his ode to the big money men of our age, and believe it or not, “Capitalism, A Love Story” is not as incendiary as you might expect (unless you’re a big-time bank CEO). It plays out like an entertaining but infuriating look at that thing we call capitalism, and the economic crisis that has plagued us all. Read on for more capitalism…

Michael Moore’s “Capitalism: A Love Story” seeks to bring the Wall Street executives who screwed the pooch to justice by asking them rhetorical questions and making them look like buffoons. Moore is also going after the government (a first for Moore, who usually stays far away from politics), who he feels was complicit in setting the country up for disaster. As we’ve seen from the trailer, Moore attempts to get the bailout money back (literally by asking for it in big, cartoonish dollar sign bags) to show his anger and disgust at everything that’s wrong with the American financial system. Well the bags are back, this time showing up in the poster for the film, which you can find after the jump.

You’ve seen this movie before. You saw it (or maybe you didn’t) when it was called “Roger and Me”, “Bowling for Columbine”, “Fahrenheit 9/11″ and “Sicko”. It’s the kind of film designed to rouse an already-infuriated choir and ignored by those who never planned on attending the recital. This time it’s “Capitalism: A Love Story”, and Moore has now set his sights on the worldwide financial crisis, the government bailout, and the Wall Street jagoffs who precipitated the breakdown of the American financial sector. Yes, Moore’s heart is in the right place but his mouth with his endless sarcasm and maudlin profiles of real Americans, you can bet the film will once again draw more attention to Moore himself than the financial and legislative clusterfuck he hopes to expose. More info and the trailer after the jump.

In an interview with the Detroit News Michael Moore, America’s favorite documentarian, hinted that he might be ready to get out of the controversy business. While speaking about his upcoming October release, “Capitalism: A Love Story”, the director happened to mention that “maybe this will be my last documentary, or maybe for a while.” What would Michael Moore do if he wasn’t making Congressmen look stupid or ambushing gun nuts? Hit the jump to find out.

Michael Moore is an expert showman despite his predictable appearance, methods, and positions. He knows how to drum up interest in his films which will be controversial no matter what because conservatives love attacking him (although, as “Sicko” proved, they’re learning not to take the bait; however, that’s when they were still a party of relevance and not complete and total disarray).
With his new film, he’s got his teaser and he even had folks with buckets come to a few theatres to collect donations for beleaguered CEOs. You know, because we bailed them out even though they’re super-wealthy. Hahahaha, cry.
Now we finally know the name of his new movie and it is: Capitalism: A Love Story.
Oh, that Michael Moore. Such a showman. While I’ve made my thoughts about the teaser for his upcoming untitled film known, Overture has just released some video from this weekend where ushers actually came through the aisles and collected donations for CEOs (where that money actually went, I’m rather curious). I was watching MSNBC (because I’m a filthy liberal, that’s why) earlier today and their showbiz reporter was actually at one of these screenings and she said that some folks reflexively put money in the jar. And while these CEOs and their companies have already received billions of dollars, you can’t put a price on populism.
Check out the video after the jump. Moore’s new film hits theatres on October 2nd.
I used to be a big Michael Moore supporter. I bought “Stupid White Men” and “Dude, Where’s My Country?” but over the years, I’ve found Moore’s agitprop tiring. It’s not that I disagree with his points, but the way in which he chooses to make them has undermined the argument. Furthermore, his personality continually proves larger than the work itself. So no matter how crucial the issue, whether it be responsibility for 9/11 or the health care crisis, the matter becomes instantly polarizing and Moore, who I hope will one day learn the value of the argument over the value of showmanship, will learn to remove himself from the narrative.
Judging by this brief teaser for his upcoming as-yet-untitled film about the economic collapse, that day isn’t coming soon. Moore, in his that tired, gentle sarcasm we’ve seen since “Roger & Me” (still his best film), asks viewers to donate more to the CEOs. I don’t mind Moore having a point-of-view. I don’t mind Moore making an argument or using humor to make that argument. I mind that he’ll take this serious issue and go for the obvious jokes and observations. Hopefully, his film will be more probing and far less glib than this teaser which you can check out after the jump.
After two quiet years, Michael Moore’s new documentary on the global economic meltdown will be released by Overture Films and Paramount Vantage on October 2, 2009. Since the economy will probably be in the same sorry state that it’s in now, I’d imagine this film will do quite well with the millions that have been affected by the recession.
According to the press release:
The as-yet-untitled film will explore the root causes of the global economic meltdown and take a comical look at the corporate and political shenanigans that culminated in what Moore has described as “the biggest robbery in the history of this country” – the massive transfer of U.S. taxpayer money to private financial institutions.
Says Moore: “The wealthy, at some point, decided they didn’t have enough wealth. They wanted more — a lot more. So they systematically set about to fleece the American people out of their hard-earned money. Now, why would they do this? That is what I seek to discover in this movie.”
The release date is a year and a day after the United States Senate voted to hand Wall Street a $700 billion bailout.
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