It feels like we’re “Falling Down” again. Fourteen years ago, Michael Douglas’s badly coiffed Everyman captured a cultural moment of impotent white rage: Furious at downsizing, outsourcing and the increasing falseness of American life, but powerless to stop any of it, Douglas’s character finally snaps — and we watched, mostly sympathetically. That year, 1993, came the dawn of both globalization and true multiculturalism in America, and so, on both Left and Right there was a sense of something spiraling out of control.