When a documentary attempts to tackle the most important issues of a generation, from financial instability, to environmental degradation and terrorism, it really needs to be backed up with a lot of solid research. Unfortunately, Four Horsemen hopelessly fails to live up to its ambitions. It touches on everything from the decline of empires, to the expansion of credit and disastrous banking deregulation.
It rightfully highlights the asset bubbles, the failures of foreign aid and the counter productive nature of much of the west's foreign policy. But touch is the generous word, as most issues are addressed with little more than a talking head tied together with some slick animation and stock footage. The film is strongest when stating the obvious, highlighting the offences of the banking industry, the predatory lending and illegal foreclosures. Indeed, when describing exactly what is wrong, Four Horsemen takes few risks and lands some critical blows, a welcome reintroduction for a debate that is most conspicuous by its absence.
But the first warning sign for the film is when the entire history of human economics is framed in the terms of Classical versus Neoclassical, followed by the pushing of quite extreme Libertarian pet causes proposed as the only possible solutions. It marks wholly disingenuous connections regarding the glory days of the gold standard and becomes almost comical when it praises FDR on one hand and then claims 'income tax is inherently unconstitutional' on the other.
A few quotes from the US Constitution and a lecture on the decline of morality, and the whole film starts to feel like a Ron Paul 2012 direct to YouTube creation. Then when casual remarks drop like: 'perhaps global warming isn't the greatest threat to our planet, but the depletion of resources', (a statement that so comprehensively against mainstream scientific opinion which contends we cannot afford to burn even the oil we have found), and the film starts to make Zeitgeist appear the model of impartial reasoning.
When this is rapidly followed by 'all foreign aid is bad', suddenly the minuscule on screen presence of the most lauded guests, such highly respected development economic Ha-Joon Chang (who appears on screen just twice for a total of about sixty seconds), and the motives behind the recurring presence of the gold and silver traders becomes a little clearer. The producers of Four Horsemen may be well meaning, and who isn't rightfully outraged at the 'heads we win, tails you lose' attitude of Goldman Sachs and their ilk, or the ridiculous disconnect between real wages and real estate prices? I also doubt the proposition that 'we need more employee owned businesses' would ever lose a show of hands outside a GOP convention.
But overflowing as the film is with justified indignation, the proposed solutions have all the hallmarks of a stock Libertarian: 'tax is theft, government is bad' economic thesis, albeit cleverly packaged to sneak in front of a left leaning cinema audience.
It rightfully highlights the asset bubbles, the failures of foreign aid and the counter productive nature of much of the west's foreign policy. But touch is the generous word, as most issues are addressed with little more than a talking head tied together with some slick animation and stock footage. The film is strongest when stating the obvious, highlighting the offences of the banking industry, the predatory lending and illegal foreclosures. Indeed, when describing exactly what is wrong, Four Horsemen takes few risks and lands some critical blows, a welcome reintroduction for a debate that is most conspicuous by its absence.
But the first warning sign for the film is when the entire history of human economics is framed in the terms of Classical versus Neoclassical, followed by the pushing of quite extreme Libertarian pet causes proposed as the only possible solutions. It marks wholly disingenuous connections regarding the glory days of the gold standard and becomes almost comical when it praises FDR on one hand and then claims 'income tax is inherently unconstitutional' on the other.
A few quotes from the US Constitution and a lecture on the decline of morality, and the whole film starts to feel like a Ron Paul 2012 direct to YouTube creation. Then when casual remarks drop like: 'perhaps global warming isn't the greatest threat to our planet, but the depletion of resources', (a statement that so comprehensively against mainstream scientific opinion which contends we cannot afford to burn even the oil we have found), and the film starts to make Zeitgeist appear the model of impartial reasoning.
When this is rapidly followed by 'all foreign aid is bad', suddenly the minuscule on screen presence of the most lauded guests, such highly respected development economic Ha-Joon Chang (who appears on screen just twice for a total of about sixty seconds), and the motives behind the recurring presence of the gold and silver traders becomes a little clearer. The producers of Four Horsemen may be well meaning, and who isn't rightfully outraged at the 'heads we win, tails you lose' attitude of Goldman Sachs and their ilk, or the ridiculous disconnect between real wages and real estate prices? I also doubt the proposition that 'we need more employee owned businesses' would ever lose a show of hands outside a GOP convention.
But overflowing as the film is with justified indignation, the proposed solutions have all the hallmarks of a stock Libertarian: 'tax is theft, government is bad' economic thesis, albeit cleverly packaged to sneak in front of a left leaning cinema audience.