With Capitalism A Love Story, Michael Moore is receiving --as usual -- props for his skill as a propagandist filmmaker and -- also as usual -- he is being criticized for failing to offer workable solutions to the injustices he exposes. "It's the morning after in America," writes Manohla Dargis in the New York Times, "and Captain Mike is here to explain it all or at least crack jokes, milk tears, recycle the news and fan the flames of liberal indignation." " Capitalism A Love Story" sounded like my kind of film," Kyle Smith, perhaps the only major-city film critic to wear his conservative politics on his sleeve, writes facetiously in the New York Post . "I had heard Michael Moore found some exciting new historical footage, and I was picturing hot, steamy love scenes featuring Margaret Thatcher and Ronald Reagan writhing atop piles of gold coins. Imagine my disappointment." Many critics say that Moore simply takes on too many issues in his film and that he was more successful dealing with individual ones as he did in Fahrenheit 9/11, his biggest hit, and last year's Sicko. As Kenneth Turan puts it in the Los Angeles Times " Capitalism misses the narrower focus that gave his earlier films some of their punch." Other critics underline that point. "It's like watching a man wrestle a dozen octopuses," writes Joe Neumaier in the New York Daiy News. "Moore's reach exceeds his grasp," comments John Anderson in Newsday . But the Associated Press's Christy Lemire concludes "Moore is all over the place, and he doesn't even make the vaguest attempt at finding balance journalistically. But at least he's equal opportunity, blaming politicians on both sides of the aisle for allowing the influence of Wall Street to lead us into the troubles we're in today."