Review of Sicko (2007) by Nick O — 04 Apr 2010

With this ongoing debate over health reform, never more has this issue been debated than today. Though unlike many other countries, Obamacare isn't a universal plan. Even if Sicko was heavily controversial at the time of its release in 2007, had this been switched with Capitalism: A Love Story's screening frame, Michael Moore's most recent movie, it surely would have helped the cause some. However even three years after Sicko's original opening there's a certain timeless charm echoing through, one that will not, can not, stop its immensely egotistical, fantastically brilliant ways of getting to the core truth.

Sicko is a great movie for multiple reasons. 1), Michael Moore, who wrote, directed, and produced Sicko, is a fearless filmmaker. Never does he shy away from the truth of whatever subject he's documenting. Which is where audiences are divided on their critique: some love, some hate. I just so happen to admire his films for that reason.

2), like most Moore flicks, instead of bombarding us with facts he sets up numerous corrupt families and simply lets the camera roll. The information in Sicko isn't forced. There's a story in here of a woman losing her child thanks to monopolistic insurance companies that brought me to my kneed. It's clear that Moore tells a subject what he is doing, where this (the film) will ultimately, hopefully, end up doing, and letting the rest pan out itself. It's like watching a tragic version of The Office.

And lastly, the majority of Sicko isn't depressing. In terms of documentaries Moore's are as darkly funny as they come. It's a touch that I admire Stanley Kubrick for putting on his rather grim executions. This completely self-aware film teaches the viewer by laughing rather than crying, though in turn there are many, many moments where tears will flood your eyes and have the entire legal system put into question.

Everything here pisses people off, and that's why Sicko is so heatedly edgy. I really loved the "you can't film here" scenes, especially one where a young woman is passing through a toll booth. You don't have to agree with all of Moore's ideas to admit Sicko as being the fabulous anarchy that it is.