Moore is the closest thing we have to a contemporary Tom Paine.
Stunning, engrossing, loaded with political awareness, new films deal with compelling topics, from Daniel Ellsberg to Darwin, from Nanking to Haiti, from New York garment workers to the London subway bombings.
What D. W. Griffiths did to U.S. history in his technically magnificent but thematically racist "Birth of a Nation," Neill Blomkamp does to Africa in the profoundly racist "District 9."
There's a purpose why Michael Moore presents a two-hour, rapid fire account of harrowing, horror and arresting stories in his newest film "Capitalism: A Love Story." There are too many stories.