Now That's Grand Theft

Moore suggests invading other countries to steal their best ideas.
Director Michael Moore in Where to Invade Next
Director Michael Moore in Where to Invade Next

WRITING FOR a monthly magazine requires a long lead time. These columns are turned in several weeks before you see them, so they need to be timely, but not too timely. And that can be frustrating. But from now on, whenever I am tempted to complain about that fact of life, I will instead think of poor Michael Moore and the way current events have conspired against his latest movie, Where to Invade Next.

Way back in the 1980s, with the surprising success of his comic deindustrialization tale Roger and Me, Moore stumbled into a career as a feature-film director. But at heart he remains what he always was: an advocacy journalist. He wants to tell the story of his times in a way that will inspire people to act for change. In fact, his last job before he started making movies was a brief stint as editor of the monthly Mother Jones. Two constant themes resound through all his work, in any medium: outrage at the gross injustice of the U.S. economic and political order and faith in the capacity of ordinary Americans to change things.

But feature film is an even more unwieldy vehicle for telling the story of one’s time than a monthly magazine. The financing and logistics are byzantine and overwhelming, and the lead time is measured in years. A few times over the past three decades, Moore has managed to overcome those odds and get a message into the theaters at exactly the right time, most notably with his fall 2004 release of Fahrenheit 9/11. The national release of Where to Invade Next was scheduled for the same week as the New Hampshire presidential primary, the first primary of the season, apparently with the hope of hitting the election-year sweet spot again.

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