While watching “The Young Victoria” the other day, a film about England’s 19th century queen, the thought struck me: Perhaps these odes to feudal aristocracies — films like “Marie Antoinette” or “The Duchess” — are so popular because they seem so familiar; just replace the lords and ladies with CEOs and trophy wives, the moated castles with gated communities, and the outrageous opulence with, well outrageous opulence.  Full Article

Regina Weinreich at Huffington Post on Michael Moore’s Capitalism: A Love Story:
“Whatever you may think of Michael Moore and his movies, one great reason to see this one is the footage he uncovered in an archive in South Carolina of President Roosevelt’s Second Bill of Rights which ensures the right of individuals to have a job, a fair wage, and health care.”  Full Article

Matt Diehl says that Capitalism: A Love Story is Michael Moore’s newest piece of trash.

From the New York Times, Manohla Dargis: “[Moore]’s on far firmer ethical ground when he doesn’t use other human beings as props. Some of the more effective scenes in “Capitalism” involve his straightforward, journalistic interviews with people who have been abused by the greed of their employers.” Full Article

Xan Brooks of The Guardian (UK):  “Michael Moore’s latest documentary drew tumultuous applause at the Venice film festival today, suggesting that the veteran tub-thumper has lost none of his power to whip up a response. If the film finally lacks the clean, hard punch provided by the record-breaking Fahrenheit 9/11, that can only be because the crime scene is so vast and the culprits so numerous.”  Full Article