Word: centralizes
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Dates: during 1970-1979
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...Israel to enjoy the rewards of peace. In the Middle East, however, even peace has its risks, and they may prove to be substantial. At the very best, a Cairo-Jerusalem accord can only be a first step toward a general reconciliation of Israel with all its Arab neighbors. Central to this reconciliation is a resolution of the Palestinian question. In seven Arab towns on the West Bank, Palestinian crowds greeted last week's news with jeers and barrages of stones. Israeli troops in Halhul impetuously fired into a crowd, killing two demonstrators, one of them a 17-year...
...would have been easy to make a routinely satisfying little thriller out of The China Syndrome, plenty of slam-bang action coupled with a little cheap preachment about atomic perils. But by keeping the polemic almost entirely implicit, by building solid central characterizations into the plot, and by framing the whole thing with quick, shrewd observations (Fonda's career-girl pad, for example, is perfectly disorganized), the movie tran scends its disaster-thriller origins −and its politics. Proponents of nuclear power are right to be concerned about this picture...
...member of the audience might have trouble applying justified skepticism to The China Syndrome's central premise when everything else about the film runs so fast , rings so true...
...strengthen the dollar, Zombanakis continues, governments must devise a new system, a collective responsibility that would spread the risks of financing international debts. One way would be to set up a world central bank that would issue a new reserve currency to supplement the dollar. Perhaps a revised International Monetary Fund could fill that role, in Zombanakis' view, and the IMF's Special Drawing Rights could serve as the new money. The SDKS would be backed by deposits from the countries that have large surpluses−notably Saudi Arabia, West Germany and Japan−as well...
...Precinct 13 is the most solidly worked out and the most satisfying. Ignored as an exploitation film upon its initial release in 1976, it is Carpenter's second feature (his first was a science-fiction spoof expanded from a film school project, called Dark Star.) The basic situation and central characters, actors' mannerisms and shards of dialogue are derived from Rio Bravo, a late Howard Hawks film. Assault largely inexperienced cast lurches beneath the preposterous weight of a self-consciously anachronistic script. The dialogue is as tersely as any Hawk's film, and it is often difficult to tell whether...