Word: pasts
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Dates: during 2000-2009
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Investors have spent the past year or so relearning an important lesson: stocks are risky. From May of last year to March of this one, stocks in the U.S., as measured by the S&P 500 index, lost more than half their value. Many overseas stock markets did even worse...
...numbers for his past three pictures prove that: Bowling for Columbine, Fahrenheit 9/11 and Sicko have together earned more than $300 million worldwide. Not all this boodle can have come from people who agree with his populist-lefty agenda. No, they pay to see him play "Michael Moore": a heavyset fellow with a doofus grin, alternately laughing and badgering but perennially at the center of attention. For all his girth, Moore fits the mold of the little guy in classic Hollywood movies. Like Jefferson Smith and Rocky Balboa, he bucks the odds and takes on the power élite...
Moore's new film, Capitalism: A Love Story, which goes nationwide Oct. 2, is his most vigorous, rollicking, broadly ambitious work yet. Not satisfied with condemning the housing and banking crises of the past year, he expands the story of the financial collapse into an epic of malfeasance--capital crimes on an international scale. The movie also has the requisite Moore grandstanding scenes: attempting a citizen's arrest of AIG executives, parking a Brink's truck in front of banking establishments to retrieve the bailout billions they received, wrapping the New York Stock Exchange building in yellow tape that reads...
...Capitalism, he's back outside the gates of GM--which, after declaring bankruptcy, was far less solvent than Moore. Talk about the little guy triumphing over the system: somehow, in the past 20 years, the free-enterprise system has been kinder to the agitprop indie filmmaker than to his auto-giant adversary. A man who made his career attacking corporate America has become a pretty big business himself...
...bits and bytes flowing through it, this is not a particularly electrifying setup. Any novel about a rock star must first get past the ekphrastic nightmare of trying to describe music with prose. But more than that, this is a novel about people who have wasted massive chunks of their lives--Duncan in sterile rock-critic hermeneutics (he's like the worst-case-scenario future of Rob Fleming from High Fidelity); Annie in a dead romance and a dead-end job; and Crowe in sulky, creatively arid seclusion. They're trying to make the best of what's left...