Burn After Reading: Black-as-pitch comedy spoof of the spy thriller genre from the Coen brothers, starring Pitt, Clooney, Frances McDormand, John Malkovich, Tilda Swinton and J. K. Simmons – if that’s not a by-line for a winning movie, then I know not what will convince you. I love movies where seemingly simple storylines weave into an intricate plot, and this is probably one of the best that I’ve seen of the type. Definitely not one for the kids though, particularly with Malkovich in fine form as a swearing alcoholic ex-C.I.A. analyst at the core of the hijinks. ★★★★
The Debate
Almost spooky – the third debate looks like a re-run of this debate, from 68:
:)
Crisis! The Mega Musical
You almost want to set a musical to images like those found at this brand-spanking-new tumbl-log.
I’ve largely tried to stay out of saying anything on this “credit crisis” because there are far more credible experts out there, such as Nobel Laureates who blog (a first?). However, it’s getting to the point where I just have to ask one thing – why is everyone in a position of authority seemingly caught unawares?
The Background – or why this matters
The “credit crunch” is taking place behind the scenes far more than it is on measures visible to the public – the equity markets are a mirror to the murky world of money markets, where once billions of dollars flew around the world daily. When I joined DB, I was told almost point blank – the stock market measures you see is a vanishingly small component of what the business of a bank is all about. Brokerage and trading earns tidy sums, but the main reason banks exist is (was?) to handle the flow of money from those who have it to those who need it – creditors to debtors, the flow of capital.
It’s almost the idea that capitalism is built on – someone has extra money than they need, someone else has an idea for which they have insufficient money. The money is lent on the presumption of repayment in future, along with an interest charge to account for the time value and the utility that the money has provided. The borrower will borrow on the expectation that by using it – to buy tools, raw material, whatever – they will earn money from customers, use that to repay debt, and thus complete the cycle.
So: debt is fundamental. But what about shares?
Shares are a way to raise capital without the cost of interest, but in return you give up ownership, and often is limited by the properties of shares. Shares have the advantage to the investor that there’s unlimited upside – when profits are high, it’s returned to the share holders to the maximum value. On the flipside, shares also have unlimited liability – when things go bad, it’s possible to wipe out all your value. Debt is easier: it’s got limited upside – you only get paid back what you lent – and it’s got limited downside – you only lose as much as you lent, and in the capitalist system, you’re also first in line when things go belly-up.
The Crunch
Banks lent. Then they lent some more. Then they thought: I can sell this off and then lend some more again! And lent some more. Eventually, they got so addicted to the profits that they lent to people who really couldn’t pay it off if things turned out less than optimistic.
Which they did, inevitably – and then the crunch began. As default rates climbed, banks started to lose money, writing off values. The loans which had been sold on caused those who bought them to lose money. The haphazardly built house of cards came crashing down, and gradually, over the course of a year from last August, lending – credit – tightened.
Creditors feared that borrowers wouldn’t be able to pay back, so they hung on to their money rather than lending out again, or worse, called in loans. As borrowers sold, the glut forced prices down, and the feedback loop began in earnest. Asset prices falling meant the security against which the debt has been lent was less likely to recoup the cost of the loan, so creditors panicked some more.
As crashes go, the death of the credit market is proportional to the stock market bottoming out at about 1% of the highs.
So now we’re stuck at the point where no-one wants to lend to each other for fear of not getting paid back. Profit margins that were at 0.09% are over 2% for anyone that does lend, but still no-one is lending, and that’s what has everyone spooked – the grease on the gears of capitalism has dried up.
Why didn’t anyone see it coming?
Japan is ahead of the game: they did all this at the start of the 90s.
The Japanese banks lent money with reckless abandon in the 80s, and when the bubble was pricked, it all came to a crashing halt. It led to 10 years of neglegible growth of 1% or less, and petrified Japanese banks with billions of yen of bad debts that they couldn’t write off. The Japanese government attempted make-work programs to kick-start the economy, but failed to do anything other than run up 195% of their GDP as public sector debt. That is to say, it’d take two years of the dollar value of everything Japan made or did to pay off public debt – to contrast, Australia’s at about 14%.
The Japanese bubble was backed on exactly the same thing that the American bubble was – overvalued houses. While we’re skipping ahead to the Japanese solution implemented after nearly a decade – buying into the banks – why didn’t anyone spot the pattern in the first place?
Debt works, but only for so long. As money chased investment opportunities, debt was racked up on the assumption that it would always be as cheap as it was in the early years of the Double-Os, and that payback was a simple matter of selling it to the next sucker. The whole boom was fuelled by debt, not savings, and one day that debt would come due. What’s more, with leverage, the debt was quickly detached from any parity with earnings growth.
The problem seems to be that whenever these things happen, a collective someone thinks, it’ll be different this time.
Alright, but what do we do?
There’s no way to force people to lend money, short of the government taking it off them through taxes and budgets and lending themselves.
Oh wait.
In any case, it seems to me that when something is critical to the infrastructure of a system – like banks to capitalism – you would hope that there’s some level of control and constancy exerted on them. It’s pretty clear free-marketism only works if you’re willing to accept the downsides and the cycles. For a more stable system, you have to smooth the top of the cycle in order to ensure the bottom is smoother too – but that doesn’t sit well with those who cheer free markets (as long as it’s going up) and boo intervenion (unless it’s when their asses are on the line).
I’m an advocate of government involvement and infrastructure investment – critical pieces to the wellbeing of nations should not end up in private hands. To borrow a slogan, you’ve got to keep the bastards honest.
Disclaimers:
- I work for a bank directly affected by this, and my job may be (is?) linked to recovery.
- I’m not a US tax payer, and no longer a UK or EU tax payer.
- I’m no finance or economics expert, so take the above as a crude explanation at best.
Earth from Above
Earth from Above: The Big Picture Blog – you know the drill; gorgeous, stunning photos I’d pay good money for etc etc.
Go already!
Movie Review: The Mummy 3
The Mummy: Tomb of the Dragon Emperor – There’s only so many times you can kill the same bad guy, right? Which is why Rick and Evie are now All Grown Up and settled in Oxfordshire, England, following World War II (where their exploits for the British Government have set them up for the life of landed gentry). They’re thrown back into things when their son Alex (now very much grown up from his showing in The Mummy 2) uncovers the terracotta warriors… only now, they’re mummies from an ancient curse, and the Emperor isn’t happy with his millenia-long sleep.
It’s disappointing that Rachel Weisz didn’t choose to return, though one can see why – this ain’t gonna win no Oscars. Maria Bello overdoes the English accent, while Australian Luke Ford, as the son Alex, speaks inexplicably enough in an American accent. The family is probably the most awkward and least likely I’ve seen on screen in a long time. Jet Li and Michelle Yeoh get neglected as the producers attempt to spin this as a quasi-family film, and their skills entirely obfuscated by CGI. Which is not to say this isn’t a fun enough movie when you’ve got your brain switched off – doesn’t live up to the previous Mummy movies, but is a good cheesy romp no less.
★★★
(p.s. there’s a 4th – or more – in the works; the end of the movie suggests something in South America… *cringe*)
Priorities
The $700 billion bail-out of the US banks and their ‘toxic loans’ is not exactly universally acclaimed:
For years now, they’ve told us that we can’t afford—that the government providing healthcare to all people is just unimaginable; it can’t be done. We don’t have the money to rebuild our infrastructure. We don’t have the money to wipe out poverty. We can’t do it. But all of a sudden, yeah, we do have $700 billion for a bailout of Wall Street.
and
The idea—we didn’t cover insurance … for four million kids, because Bush vetoed it and said $7 billion was too much to spend [on] health insurance, for four million kids, but now they can throw $700 billion at these banks, and they say we can’t even have hearings about it.
(via)
The problem of ‘moral hazard’ is even greater with this proposed package than just a prop-up loan as given to Goldmans and Morgans, or the sharply targeted buyout of AIG ($85b loan at 11% p.a. for 80% control of a company with assets close to $1 trillion), . The idea that the government take responsibility for the worst of the excess just promises that this will happen again, in one form or another.
In the Air
In the Air: Malcolm Gladwell reflects on the process of invention, and whether some discoveries or inventions are somwhat inevitable, or whether they really are singular as our single-cause minds naturally prefer.
WoW as Terrorist Tool
The Pentagon is convinced terrorists could use World of Warcraft as a terror planning tool:
In it, two World of Warcraft players discuss a raid on the “White Keep” inside the “Stonetalon Mountains.” The major objective is to set off a “Dragon Fire spell” inside…
Except, in this case, the White Keep is at 1600 Pennsylvania Avenue. “Dragon Fire” is an unconventional weapon.
Oh boy.
Movie Review: Quickie Edition VII
Ballistic: Ecks vs Sever – Antonio Banderas is Jeremiah Ecks, former FBI agent with a stupid name mourning for his lost wife, and Lucy Liu is Sever, disaffected ‘DIA’-trained assassin with an even stupider name. The first thing you need to know about this movie is that it is possibly one of the worst movies ever; secondly, that there was probably more money in the pyrotechnics budget than the scriptwriting, costume and casting budget combined, despite the apparent star power of the leads. Thirdly, it’s based on a video game.
And finally, the title? It lies: after about 20 minutes in, it’s not Ecks vs Sever so much as Ecks with Sever, not to mention the sexual tension between the leads is palpably higher than that between Ecks and his apparently long-lost wife, when he finally rediscovers her. Might have been of some merit if it had come out in 1994; as a 2002 release, watching in 2008, this fails utterly. ★☆
Persepolis: An animated story of an Irani girl, growing up through the Iranian Revolution and Iran-Iraq War, and the subsequent decades. Told entirely in French, this is oft-times amusing, but still largely poignant story, based on an autobiographical graphical novel by Marjane Satpari. The animation style is distinctive and simple to first appearances, but has a flexibility and depth that is used well. Not knowing French, nor the detailed history of Iran’s revolution, I can’t vouch much for the context, but the story is a compelling one, if a little too heavy. Ends rather abruptly. ★★★☆
Iron Man: Another superhero to add to the growing panatheon of on-screen heroes? Hollywood producers have really begun to mine the comic book world for their ‘fresh’ ideas. In a way, the visual nature of comic books are probably most accesible to movies, the story-boarding and visualising already having been done for them.
That said, Iron Man isn’t half-bad, though the story is half-baked at best in this on-screen incarnation. While Downey Jr. makes a commendable performance, much of the rest of the cast is flat at best. It doesn’t help I suppose that Paltrow annoys me no end no matter what role she is in, and this doesn’t go any way to redeeming her. The action makes up for much, despite everything, and it does end up doing things slightly differently… for the most part.
The inevitable sequel(s) are foreshadowed, and for a pretty good clue to the tone of them, stick around through the credits. Minus points also for having ‘terrorists’ mixing Hindi (or simple Urdu) with Arabic. The hell kind of terrorists are they? ★★★☆
Lust, Caution (色、戒): This is one movie that is so close to perfection, and yet… A weaving story, paced carefully, though with few moments that miss the beat. The direction is studied, with attention to every detail, and the cinematography superb, rich colours where appropriate, washed out in the starker scenes. The cast is undoubtedly some of the most capable, speaking volumes with their eyes as often as with the dialogue. Knowing that lead actress Tang Wei is essentially a new starter, this her first major role, makes her achievement all the more so.
True, the sex scenes are a little full-on, the running time long, and the love story never quite, quite makes sense – unless you take the premise that femme fatales of spy-thriller must necessarily fall in love with those they attempt to decieve, if only to truly bring the tragic circle of the plot back on itself for a neat resolution. Don’t let that distract you too much, though, from pretty much everything else, which is stunning.
This is the kind of movies Wong Kar-Wai makes – a re-imagining of In the Mood for Love, if you will. I’ll freely admit, the only other Ang Lee movie I’ve seen properly is Crouching Tiger, Hidden Dragon, the remaining efforts forever tainted by the awful Hulk. This is somewhat of a redemption.
One of Tony Leung’s lines in this movie is, “If you’re observant, nothing is trivial.” (or so my translation says) – something that could so easily apply to this film, ripe as it is for symbolism and depth beyond the shallow level of a first watch. Little wonder that this movie won the Golden Lion at the Venice Film Festival in 2007. ★★★★☆
Ah
Today is the kind of day that makes slogging through the winter (such as it is in Australia) all that much more worthwhile. The sun is out in force, the skies are blue with a hint of cloud, and there’s a warm breeze that makes the shade that much more perfect, and out in the open entirely bearable.
It’s days like these…