Capitalism: A Love Story

Featured In Issue 147, March/April 2010

WSR Score5
Basic Information on new release titles is posted as soon as titles are announced. Once reviewed, additional data is added to the database.
Anchor Bay Entertainment
(Catalog Number):
(MPAA Rating):
(Rating Reason):
Some language
(Retail Price):
(Disc Type):
Single Side, Single Layer (BD-25)
(Widescreen Edition):
(Full Screen Edition):
(Running Time In Minutes):
(Color Type):
Color With B/W Sequences
(Chaptered/Scene Access):
(Closed Captioned):
(Regional Coding):
Not Indicated
(Theatrical Year):
(Theatrical Release):
(Direct-To-Video Release):
(Disc Release Date):
(THX® Digitally Mastered):
Michael Moore
(Screenplay/Written By):
(Director Of Photography):
(Production Designer):
(Visual Effects):
(Costume Designer):
(Supervising Sound Editors):
(Re-Recording Mixers):
(Executive Producers):
(Academy Awards):
(Principal Photography):
(Theatrical Aspect Ratio):
(Measured Disc Aspect Ratio):
(Disc Soundtrack):
Dolby TrueHD 5.1
(Theatrical Sound):
(Theatrical Re-Issue Soundtrack):
(DTS Bit Rate):
(Dolby Digital Bit Rate):
(Additional Languages):
(French Language):
(Spanish Language):
(Chinese Language):
(Cantonese Language):
(Mandarin Language):
(Japanese Language):
(Italian Language):
(German Language):
(Portuguese Language):

Capitalism: A Love Story is an important film that every American should experience. This is a documentary that explores the economic meltdown and its historical roots. Michael Moore comes home to the issue he's been examining throughout his career: the disastrous impact of corporate dominance on the everyday lives of Americans (and by default, the rest of the world). But this time the culprit is much bigger than General Motors (remember Roger And Me), and the crime scene far wider than Flint, Michigan. From Middle America, to the halls of power in Washington, to the global financial epicenter in Manhattan, Michael Moore once again takes us into uncharted territory and explores the impact that capitalism has had and is having on America. Here the American dream is failed through lies, abuse, and betrayal. With 14,000 jobs being lost every day, America is looking more like a nightmare as families pay the price with their jobs, their homes, and their savings. (Gary Reber)

Special features include Harvard Professor Elizabeth Warren On How Wall Street Got Away With Murder (HD 08:20); Congressman Cummings Dares To Speak The Unspeakable (HD 07:07); New York Times Pulitzer Prize Winner Chris Hedges On The Killing Machine Known As Capitalism (HD 08:43); Commie Taxi Drivers—"You Talkin' To Me?—In Wisconsin (HD 05:48); the following featurettes: Sorry, House—Flippers And Banks—You're Toast In Flint, MI (HD 05:32), The Rich Don't Go To Heaven (There's A Special Place Reserved For Them!) (HD 08:29), What If, Just If, We Had Listened To Jimmy Carter In 1979? (HD 17:50), The Omnivore's Dilemma? It's Capitalism (HD 06:10), How To Run The Place Where You Work (HD 11:16), The Socialist Bank Of North Dakota? (HD 04:43), and The Bank Kicks Them Out, Max Kicks Them In (HD 10:51); trailers; and a digital copy of the film.

The 1.78:1 1080p AVC picture is inconsistent, as to be expected of a Michael Moore film, comprised of numerous source elements such as archival footage having varying quality attributes. So, one cannot expect incredible image quality. But the images themselves are very powerful, and Moore is skilled at communicating through images with narration for emphasis. This is a powerful film and message that every American should experience. (Gary Reber)

The Dolby® TrueHD 5.1-channel soundtrack is typical documentary style but far more dramatic. The sound quality widely varies, but the sound element choices are powerful communicators. There are even some terrific moments of aggressive surround envelopment that underscores the powerful visual and narrative messages. The narrative by Michael Moore is consistent throughout and well balanced against the sound elements. The soundtrack works wonderfully in support of the powerful messages depicted in this documentary. (Gary Reber)