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 aesth=tic

ar the effects of the crisis on ordinar=, non-Wall-Street-connected workers and homeowners. The end of the film=raises a disturbing question, as Mr. Damon exhorts viewers to demand chan=es in the status quo so that the trends associated with unchecked specula=ion of the kind that caused the last crisi

es. Sony Pictures Classics Henry Paulson, Ben Bernanke and Timothy Geithner in the documentary =9CInside Job." Who Maimed the Economy, and How By A. O. SCOTT "Inside Job," a sleek, briskly paced film whose title sugg=sts a heist movie, is the story of a crime without punishment, of an outr=ge that has so

rk 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 title suggests a heist movie, is the story of a crime without punishment, of an outrage that has so f

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

rk 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 title suggests a heist movie, is the story of a crime without punishment, of an outrage that has so f

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