Epstein Secrets

with news clips and arresting aerial shots of New York, Iceland and other disaster areas - are folded into a clear and absorbing history, narrated by Matt Damon. The music (an opening song, "Big Time, " by Peter Gabriel, and a score by Alex Heffes) and the clean wide-screen cinematography provide an aesthetic

2010) NYT Critics' PickThis movie has been designated a Critic's Pick by the film reviewers of The New York Sony Pictures Classics Henry Paulson, Ben Bernanke and Timothy Geithner in the documentary "Inside Job." Who Maimed the Economy, and How "Inside Job, briskly paced film whose title suggests a heist mo

in particular the effects of the crisis on ordinary, non-Wall-Street-connected workers and homeowners. The end of the film raises a disturbing as Mr. Damon exhorts viewers demand changes in the status quo so that the trends associated with unchecked speculation of the kind that caused the last crisis - r

arship to attend Al- bany State University dur- ing an alumni conference being held at 10 a.m. at Don Shula's Hotel and Golf Club in Miami Lakes. Damon, II, garnered national attention after an interview with then-vice presidential candidate Joe Biden, whom Damon called his homeboyt Since then

quire Merrill Lynch in a deal that cost taxpayers $20 billion. In a three-hour hearing of the House Oversight and Gov- ernment Reform Committee, Bernanke denied threaten- ing to oust Bank of America CEO Kenneth Lewis or the bank's board members if they abandoned the takeover after discovering spira

T Critics' Pick This movie has been designated a Critic's Pick by the film reviewers of The New York Times. Sony Pictures Classics Henry Paulson, Ben Bernanke and Timothy Geithner in the documentary "Inside Job." Who Maimed the Economy, and How By A. O. SCOTT "Inside Job," a sleek, briskly paced film whose

with news clips and arresting aerial shots of New York, Iceland and other disaster areas — are folded into a clear and absorbing history, narrated by Matt Damon. The music (an opening song, "Big Time," by Peter Gabriel, and a score by Alex Heffes) and the clean wide-screen cinematography provide an aesthetic

lar the effects of the crisis on ordinary, non-Wall-Street-connected workers and homeowners. The end of the film raises a disturbing question, as Mr. Damon exhorts viewers to demand changes in the status quo so that the trends associated with unchecked speculation of the kind that caused the last crisis