Word: mortensen
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Dates: during 2000-2009
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...there are reasons to question how effective and efficient such a program would be. First of all, it is misleading to imply that companies aren't hiring because workers aren't cheap enough. As Dale Mortensen, a professor of economics at Northwestern University, points out, workers are a real bargain right now. Unit labor costs - how much a company has to pay people to produce a unit of whatever it is that the company makes - have been flat or falling for all of 2009. Between the second and third quarters, labor costs dropped at an annual rate...
...Hillcoat and Aguirresarobe refuse to let their limited color range get in the way of shooting a strikingly desolate film, filled with a series of images that seem destined to become iconic. Father and son stumble down a warped concrete road, shattered telephone poles leaning ominously over them; Mortensen pushes a shopping cart through a marsh, silhouetted by guttering flames. On this “Road,” destruction and barrenness take on a peculiar sublimity...
...Road” is the story of a nameless father (Mortensen) and son (Kodi Smit-McPhee) traveling across the devastated remains of an American continent that has experienced a disaster—of unknown origin—that wiped out the vast majority of the population. Endlessly searching for food and hunted by bands of cannibals, the two make their way toward the coast, where the father believes they may find safety and other “good” people...
...Prize winning novel by Cormac McCarthy—fits comfortably into a dark and atmospheric genre of post-disaster film that has recently included such uninspired schlock as “I Am Legend,” it is also quite unlike the films that have preceded it, including Mortensen and Hillcoat’s previous efforts. Eschewing narrative conventions, at least to the extent that big-budget Oscar bait can afford to do so, “The Road” maintains enough of the book’s central story to keep its audience enthralled while splitting...
...addition is ambiguous, but any intended benefit is undermined by a horribly overplayed performance from Theron. Her tearfully dramatic interpretation of domestic strife, which might work well in another context, falls flat when juxtaposed with the quieter but far more affecting despair that permeates the rest of the film. Mortensen nearly resorts to similar overacting in the flashbacks, but he redeems himself in the main narrative with a perfect balance of subdued hopelessness and occasional sparks of faith. Rarely raising his voice above a low mumble, the father is still as vibrant a character as Mortensen has ever played. Smit...