I think we all knew that left wing documentarian, pundit, and political activist Michael Moore wouldn’t stay quiet for very long as Donald Trump faced off against Hillary Clinton in this year’s divisive U.S. presidential election. It comes with little surprise that after dropping one film already this year (Where to Invade Next) that Moore would rush another project into production to try and get the word out against Trump.

Michael Moore in Trumpland isn’t so much a straight up documentary as it is a concert film. Moore isn’t out in the streets talking to people about why they want to vote for the dreadfully unqualified, “straight talking,” billionaire and reality show host. Instead it’s a one man show that took place just last month at the Murphy Theatre in Wilmington, Ohio, a republican stronghold community (ironically in the heart of an area literally named Clinton County) in one of the biggest U.S. swing states for the upcoming election. It’s a town known as the birthplace of the banana split, a community that takes their guns seriously, and where people glowingly talk about Trump and rationalize their love for him by saying that “he won’t be a clown once he gets into office.” The theatre itself often plays host to former backer and full time Republican pundit Glenn Beck, and even faced losing some of its funding if Moore were to go on stage.

Moore can be quite the charmer and a charismatic speaker, but subtlety has never been his strong suit, and he often panders when he should be taking his audience a lot more seriously. That has always been obvious in his often unbalanced and preachy documentaries, but never more apparent than in the thankfully brief, but still overlong Michael Moore in Trumpland.

Ambling about a set designed to look like a study or a den in someone’s home, Moore kicks off his “set” with jokes so hackneyed they’d make a ’90s stand up comic wince. There’s lots of shouting a la Sam Kinison, terrible impressions, and exaggerated facial expressions. At one point early on, Moore sinks as low as to literally do a “Democrats talk like this/Republicans talk like this” bit while expressing some begrudging admiration for the conviction of Trump supporters, all while Moore’s cameras cut back to a lot of furrowed brows in the half hostile, half friendly crowd that look more bored and perplexed than angered or amused.

The crowd giggles, titters, and sometimes bursts into uproarious laughter at certain points, but no one seems quite sure what to make of Moore’s shtick. There are some moments of audience participation that are like pulling teeth until people who seem suspiciously like well spoken plants get the ball rolling. Also, to make Trump supporters feel more comfortable, Moore goes as far as segregating Mexican looking attendees behind a wall in one balcony, and Muslim or “Muslim looking” audience members in a separate balcony where a drone hovers overhead to keep an eye on them, which might be just as racist in its own way as the kind of outlandish right wing fear mongering it’s trying labouredly to poke fun at. There’s a fictionalized news report of the day after Trump’s election and a fake Trump attack ad that screens to the crowd at points where Moore needs a breather. Nothing here is actually working, but Moore looks like he’s having a blast.

I don’t necessarily feel like I’m reviewing a film here so much as I’m critiquing a mediocre stand-up show. Moore continually softballs a divided audience, not trying to shock or delight them, but to meet them on their own terms, which is the worst sort of genteel comedy that people could get by staying home and watching re-runs of The Big Bang Theory or Two Broke Girls. It’s not enlightening or novel. It’s someone wanting to tell a room full of people that they’re crazy and that it’s okay. He’s constantly reminding people that he’s not a Hillary supporter (and he never even voted for Bill!), so he understands their frustrations. So if he gets Trump supporters and wants to invite them into the fold, why is any of this necessary? Moore is constantly negating the purpose of his own intentions.

Even the moments where Moore slows things down in a bid to seem a lot more genuine and serious are forced and unoriginal. He reads one impassioned speech about the ramifications of electing Trump literally off a piece of paper while seated at a desk. A longwinded anecdote about how Hilary got a raw deal as the first lady comes almost word for word from one of his books before morphing into a side story that ties back into ground he already covered in Sicko. While Sicko is probably Moore’s best overall film (and certainly most underrated), a longwinded rant about the need for universal health care in America peppered with a lot of f-bombs feels like Moore taking twenty minutes to do the same thing John Oliver does in 10 or less.

Michael Moore in Trumpland amounts to the weakest kind of political activism. By never provoking the crowd to any genuine thought outside of telling them some good natured anecdotes, looking for cheap crowd pops, and asking them to “say something nice about Hilary,” Moore doesn’t make a case for the betterment of America. He makes a case for himself. That’s fine for a stand-up act, not for someone trying to sway the hearts and minds of voters.