Sicko: Review

A Michael Moore film, regardless of what your feelings of the man are, is nothing less than a bona fide event, rife with controversy and discussion and for better or worse, Sicko is no different, a film that will undoubtedly provoke discussion about a serious and timely topic. Seeing as how politically charged all of Moore's work is, it is almost impossible to be an unbiased viewer. Almost everyone going into any viewing of Bowling for Columbine, Fahrenheit 9/11 or Sicko will undoubtedly already have a base of ideas that they believe to be right and just. As a result, the film will rub some people the wrong way while others will accept it as gospel. That being said, I think it is important to view the film as exactly what it is: a film. While it may be difficult to do so, I feel it imperative to rightfully remove one own's political thoughts from the subject and first and foremost, view and judge the film as a piece of cinematic output. Afterwords, if one feels as much, there can be a discussion of the film's vitriolic politics.

As a film, Sicko is a triumph, an intelligent and clever satire that has the power to deeply resonate with the viewer, assuming that the viewer allows it to. In other words, there will be people who emerge from the film unaffected, only because of the staunch defenses that they have personally raised. For someone who walks in with an open mind, the film is an emotional powerhouse, a passionate plea for understanding and reform that is devastatingly effective. In fact, for many, this may end up being Moore's most effective film, precisely due to the fact that it is also his most humane. It, unlike Columbine or Fahrenheit, is not as party driven so much as a searing indictment of a system that has been firmly in place for 30 years. While Moore assigns blame to one particular party (I'll allow you to guess), Sicko is not as oppressively one sided as his most recent works. I'll admit it, I'm a registered democrat and what many would consider to be a far left liberal. However, I was even put off by a number of moments in Fahrenheit due to its extreme lack of a larger view. It was too infatuated on Bush-bashing to create the type of argument that Moore was striving for.


Sicko is a film of two halves that go hand in hand, yet are distinctly different. The first revolves around a series of individual stories, each having to deal with different American's struggles with the healthcare/HMO industry. The second portion is a look at other countries and their healthcare system. These countries, Canada, England, France and Cuba, all have nationalized healthcare and as a result, stand in stark contrast to the United States. As an American, I found the first portion to be more moving and the second a stronger, more rational argument. Where the second half is a look at what can be, presented logically, Moore chooses to focus the first hour or so on the suffering of Americans. It is the more heartstring tugging portion and at times, feels manipulative. However, the power of the stories is strong enough to overcome any sense of forced sympathy and as a result, it is a resounding success. The people featured seem to be everyday Americans struggling to cope with medical bills, a situation I luckily have never encountered.

The second half uses the struggles of Moore's characters to build upon and with each of Moore's visits to Canada, England and France, it is obvious that the U.S. is lagging behind in the health care sector. Moore amply illustrates the ease in which people can receive care in these countries and when juxtaposed with the scenes of the first half of the film, the results are devastating. Two scenes, in particular, standout: 1) Moore visits a doctor in England who works in a hospital provided by the NHS (National Health Service); 2) Moore sits down with a group of American transplants living in Paris. Both convincingly argue for the benefits of each system's healthcare (The English doctor is loaded and is actually rewarded by the government for successfully treating patients; the American Parisians brag about their 10 weeks of paid vacations, 35 hour work weeks and generally laid back culture designed to promote healthy living) and quite frankly, provide an illuminating look at the antiquated and unfair nature of America's healthcare.


The film's final segment has proven its most divisive. Michael Moore rounds up a number of 9/11 volunteer workers (mainly EMTs) who have had difficulty receiving the healthcare they need (and deserve) in the US and takes them on a small boat cruise to Cuba, more specifically Guantanamo Bay, a trip that has subsequently come under fire by the government as being illegal. Regardless of the legality, I found this last portion to be the most hit and miss part of the film. It is the most manipulative with its blatant use of the events of 9/11 to garner support but like the rest of the film, never feels overly so. By this point in Sicko, the audience has invested enough time into the people who travel with Moore to Gitmo that one wants to see them helped, if nothing else and when they are denied care at the American owned portion of the island, they venture into mainland Cuba and surprisingly, receive the care and drugs they so desperately fought for in the US without much of a fight. The people are visibly (and understandably) moved to tears and for anyone with a heart and soul, it is difficult not to feel a sense of happiness and relief for these poor people.

As I stated at the outset, most people will have entered a Moore film with their minds already made up. That being said, after coming off Fahrenheit 9/11, which was, at times, a crushing disappointment for me, Sicko feels like a return to form for Moore. The film is intensely personal and is told from a radically liberal viewpoint. If one can tap into the train of thoughts and emotions, it will inevitably be a moving and affecting experience; if not, it will come off as a long-winded piece of (well crafted) propaganda. Ultimately, it is up to the audience to make that decision. For me to recommend the film would be a futile exercise, yet I will. For this writer, it was an emotional and powerful experience, one that I would gladly watch again with others to discuss Moore's points. I don't necessarily buy into everything that Moore throws on screen, but more often than not, Sicko is a success and in time, should rightfully take its place next to Bowling For Columbine and Roger and Me, as some of the best works from a talented, important and influential artist with the courage to stand up for his beliefs.

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