Michael Moore’s feature-length documentary films are synonymous with one thing: lies. Before Moore started making films, documentaries were always 100% factual. Except for maybe Triumph of the Will, of course. That one took some liberties. But regardless, one of the things the internet has proven itself good at — in addition to pornography and pictures of cats with writing on top of them — is debunking the ‘truth’ in Michael Moore’s movies.

As I recently saw an advanced screening of Michael Moore’s latest, Sicko, which purports to be an ‘attack’ on the American health insurance and health care system, I thought I would take the opportunity to take a first crack at revealing the lies, untruths, mistruths, fibs, omissions and biasedness inherent to this vaguely cinematic work.
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Aaron Sorkin is perhaps the only famous television writer. After dabbling in the movies with the screenplays to films like A Few Good Men and The American President, Sorkin found his true calling, and great success, on the smaller screen. Over the course of his career, he created the critically-acclaimed and often-mourned Sports Night, the critically-acclaimed, Emmy-winning and long-running West Wing and, most recently, the much-anticipated and fabulously-disappointing Studio 60 on the Sunset Strip.

He has a very distinctive style of writing, with an emphasis on overarching messages, rapid-fire dialogue and similar character archetypes. He is often the subject of parody.

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