Word: film
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Since his debut in 1979's Roger and Me, documentary filmmaker/agitator Michael Moore has aimed his blunderbuss of a lens against large American corporations and the institutions that he believes have flat-out screwed the working class. In his latest film, Capitalism, Moore ridicules the business philosophy that has blown up the economy, resulted in 6 million job losses and required more than a $1 trillion in bailout money to keep the banks afloat - while millions of people have lost their homes to foreclosure. He's a man who has made perpetual outrage an art form in every sense...
...What brought you back to a film about the economy? I've been thinking about this for about the entire 20 years I've been making movies. Most of the subject matter all comes back to the simple theme of an economic system that is unfair and unjust, in which a few people with a lot of money are making decisions that cause a lot misery and heartache for millions of people...
...vehicle for fears of racial “pollution.” Tales of vampires often included the fall of a rich and powerful family after one member became infected. Vampires were the Victorian’s perfect symbol for a threat against purity. With the advent of film, vampires made their transition from the page, starting with silent films and continuing all the way to movies like “Blade,” before the current boom. Until recently, even when poetic license was taken with the genre, the portrayal of vampires was relatively aligned with historical conceptions...
...well: Tooth enmeshes both Chase and the reader in the interconnections between things as seemingly disparate as Marlon Brando, “Gnuppets” (cf. Muppets), and the redemption of New York City at large. The level of associations starts small at first, focusing on relations between obscure film directors and their actors. As the plot progresses, however, the associations link one into another until they ensnare the entire world of the novel.Insteadman splits his time between Manhattan’s high society, where he is a fixture more for his headline-garnering astronaut fianc?...
...attention away from the City of Light. This is unfortunate for Cédric Klapisch, previously the director of “L’Auberge Espagnole,” a 2002 sleeper hit popular enough to inspire a 2005 sequel, with another in the works. In his latest film, “Paris,” Klapisch squanders both his own considerable skill and creativity and that of the majority of his cast on a paean to the city that borrows shamelessly from other, better movies—the plot of “Rear Window...