No one will ever accuse documentary filmmaker Michael Moore of being even-handed. In his funny, somber, anti-corporate debut, Roger & Me (1989), and his two, eat-the-rich style television series, Moore establishes his stance (the humorous left) and then makes his case, swaying all subject matter toward his ideals, and making the opposition look like idiots. The beauty of this is that Michael Moore doesn't have to be fair: He's not a network journalist; he's a gonzo moviemaker, utilizing gentle, almost lovable, guerilla tactics in an effort to make a statement and entertain. And with Bowling for Columbine, Moore does this with more skill and hard-edged comedic tone than anyone else today.
Moore's disgust for the corporate machine so proudly displayed in Roger & Me rears its head again in Bowling for Columbine, but it's just one piece of an enormously ambitious puzzle that Moore attempts to solve: Why is America such a remarkably gun-violent society?
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