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Punk democracy

Andrew Lam
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1
Punk democracy

arts@sfbg.com

MUSIC When the going gets tougher in the music biz, scrappy little South Bay punk label Asian Man Records has kept on going, downsizing yet sticking to its guns. That means standing by bands that have a chance to jump ship to a bigger imprint — by wishing them well.

Such might be the case with San Francisco’s Wild Moth, which came heavy with its sprawling, epic post-punk on the Mourning Glow EP released by Asian Man last summer, plays this week’s showcase, and has recently completed a full-length. “There’s some bigger labels that might be interested,” says Asian Man’s main man Mike Park, 43, on a recent morning in the office in his mom’s basement garage in affluent, arcadian Monte Sereno, right where it’s been for the past 16 years. “Our thought pattern is we want what’s best for the band. We’re here for you, but we want you to get the best deal.”

DIY, book-your-own-life punk has always hinged on that kind of support to Park, no slouch when it comes to both music-making and community-building. I last spoke to the vet of the South Bay ska scene and linchpin of Skankin’ Pickle about eight years ago when he was embarking on his “Bike For Peace” tour, cycling down the coast along with others to play and raise funds for a local youth center. Five years along from the opening of the first drug- and alcohol-free arts-focused Plea For Peace center in Stockton, Park continues to keep the faith — and to keep Asian Man out of the red — by staying small, though over the years he’s sold more than a 1 million albums by artists as disparate as Alkaline Trio, Andrew Jackson Jihad, the Queers, Kepi Ghoulie, the Lawrence Arms, and Slow Gherkin.

“A lot has to do with, when the music industry started to tank, I had a big jump-start on it,” says Park today. “I felt there was going to be a big turn and I started cutting back quite a bit. Bigger labels were still spending a lot of money and doing well in 2000, but I’ve always been able to turn a profit and, with the present-day music industry, I cut back even more.”

“We’re really upfront with the bands as far as our limitations — and we don’t do much at all!” he continues, chuckling. Yet despite the fact that Asian Man doesn’t harbor a major’s or major-indie’s marketing team (Park employs only one full-time employee besides himself) it does what it can, fostering a space that helps everyone help themselves. “Mostly the bands want to be part of this community. A lot of bands come over and hang out, help us pack records, lend a hand. We try to go to each other’s shows, and bands help out other bands when they tour.”

Park clearly took the lessons of Ian MacKaye’s Dischord Records to heart: keep prices low, maintain integrity, the works. The upcoming show with Wild Moth, the Exquisites, and Shinobu might be considered a good example of punk democracy in action: “They’re all on the same level,” Park says of the groups. “We’re just hoping we get a decent crowd. It’s a test to see how many people we can get out with no real headliner!” He got SF’s Great Apes on the bill because he’s known member Brian Moss since he was a teenager playing music: “He’s a super-talented guy and very supportive of all bands. You can tell some people are into it for what can further their careers, but instead with him, it’s ‘how can I help others?'”

Sounds a little like someone else we know. Still, punks mature, get married, and have kids, much like Park, who, despite an upcoming reunion show for his combo the Chinkees at a ska festival in Las Vegas in May, seems most excited about his latest project: his album of kids music and his kids label, Fun Fun Fun, which aims to release children’s music by punks. So far, the imprint’s Play Date, composed of Greg Attonito of Bouncing Souls and wife Shanti Wintergate, has shown up on NPR, and Park himself won a spot as the “Super Music Friend” on this winter’s Yo Gabba Gabba! Live! tour. “Other than the fact that we try to put out music that isn’t dumbed down, musically, it can pass for any of the records we normally put out,” he explains of Fun Fun Fun’s sounds, “only more G-rated and more educational lyrics.”

Whether he’s teaching kids when it’s safe to cross the street via ska or learning about new hardcore genres from the high schoolers that come by the office to help out, Park certainly can’t be accused of turning into a cranky punk nostalgist, grumbling about awesome mosh pits long gone.

“Punk’s evolved like everything. Things can’t stay the same with technology and the social media tools that artists have,” he says optimistically. “Let’s say there’s an underground show, and it gets canceled. Someone says, ‘Let’s do it at my house and here’s the address,’ and after a social media blast, you have 100 kids in a house in an hour. I remember pre-Internet you’d have to call people, and no one would have a cell phone, and someone would camp out at the old location and say the new location is here. I think it’s kind of cool, to be honest.”

SHINOBU, WILD MOTH, THE EXQUISITES, GREAT APES

Sat/20, 9pm, $9

Bottom of the Hill

1233 17th St., SF

(415) 621-4455

www.bottomofthehill.com

Stage listings

Andrew Lam
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0

Stage listings are compiled by Guardian staff. Performance times may change; call venues to confirm. Reviewers are Robert Avila, Rita Felciano, and Nicole Gluckstern. Submit items for the listings at listings@sfbg.com.

THEATER

OPENING

The World’s Funniest Bubble Show Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $8-50. Opens Sun/21, 11am. Runs Sun, 11am. Through July 21. Louis “The Amazing Bubble Man” Pearl returns after a month-long hiatus with his popular, kid-friendly bubble show.

ONGOING

Acid Test: The Many Incarnations of Ram Dass Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $15-50. Fri, 8pm; Sat, 5pm (May 11, show at 8pm). Through May 18. Lynne Kaufman’s play (starring Warren Keith David as the spiritual seeker) moves from Berkeley to San Francisco.

The Bereaved Thick House, 1695 18th St, SF; www.crowdedfire.org. $10-35. Wed-Sat, 8pm. Through April 27. Crowded Fire Theater launches its Mainstage season with Thomas Bradshaw’s wicked comedy about “sex, drugs, and the American dream.”

Boomeraging: From LSD to OMG Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $15-50. Tue, 8pm. Through May 28. Comedian Will Durst performs his brand-new solo show.

The Bus New Conservatory Theatre Center, 25 Van Ness, SF; www.nctcsf.org. $32-45. Wed-Sat, 8pm; Sun, 2pm. Through April 28. NCTC performs James Lantz’s tale of two young men whose meeting place for their secret relationship is a church bus.

Carnival! Eureka Theatre, 215 Jackson, SF; www.42ndstreetmoon.org. $25-75. Wed/17, 7pm; Thu/18-Fri/19, 8pm; Sat/20, 6pm; Sun/21, 3pm. 42nd Street Moon performs the Tony Award-winning musical.

The Expulsion of Malcolm X Southside Theatre, Fort Mason Center, Marina at Laguna, SF; www.fortmason.org. $30-42.50. Fri-Sat, 8pm; Sun, 3pm. Through May 5. Colors of Vision Entertainment and GO Productions present Larry Americ Allen’s drama about the relationship between Malcolm X and Elijah Muhammad.

Ghostbusters: Live On Stage Dark Room Theater, 2263 Mission, SF; www.darkroomsf.com. $20. Thu-Sat, 8pm. Through April 27. Rhiannastan Productions brings the beloved 1984 comedy to the stage.

Foodies! The Musical Shelton Theater, 533 Sutter, SF; www.foodiesthemusical.com. $30-34. Fri-Sat, 8pm. Open-ended. AWAT Productions presents Morris Bobrow’s musical comedy revue all about food.

The Happy Ones Magic Theatre, Fort Mason Center, Bldg D, Third Flr, SF; www.magictheatre.org. $22-62. Wed/17-Sat/20, 8pm; Sun/21, 2:30pm. An Orange County appliance store owner finds his life turned upside down in Julie Marie Myatt’s drama at Magic Theatre.

How To Make Your Bitterness Work For You Stage Werx Theatre, 446 Valencia, SF; www.bitternesstobetterness.com. $15-25. Sun, 2pm. Through May 5. Fred Raker performs his comedy about the self-help industry.

I’m Not OK, Cupid 🙁 Shelton Theatre, 533 Sutter, SF; www.leftcoasttheatreco.org. $15-35. Thu-Sat, 8pm. Through May 4. Left Coast Theatre Co. presents a new collection of one-act, LGBT-themed comedies about dating and relationships.

The Lost Folio: Shakespeare’s Musicals Un-Scripted Theater, 533 Sutter, Second Flr, SF; www.un-scripted.com. $10-20. Thu-Sat, 8pm. Through May 18. Un-Scripted Theater Company performs a fully-improvised, full-length musical inspired by Shakespeare.

The Lullaby Tree Phoenix Theater, 414 Mason, SF; www.secondwind.8m.com. $15-35. Thu-Sat, 8pm; Sun, 2pm. Through May 4. In the face of the ever more extensive and controversial spread of GMO foods worldwide — not to mention last year’s state battle over Prop 37 — Second Wind premieres founding member and playwright Ian Walker’s half-whimsical, half-hardheaded drama about a boy searching for his mother in the underworld and a small band of lawyers and environmentalists going toe-to-toe with a multinational over the ownership of a mysterious crop of genetically engineered corn. It will eventually become plain that the two stories are linked, but first a ten-year-old boy (Samuel Berston) befriends a somewhat shrunken giant (Davern Wright) in an attempt to find his mother (Evangeline Crittenden) in an enchanted and hostile land of dragons. Elsewhere, Tim (Walker) and law partner Nod (Wright) prepare to do legal battle with a modern-day dragon, in the person of a corporate attorney (Cheryl Smith) for the ominous Mendes Corporation (read: Monsanto). They will argue over the ownership of the corn that has sprung up on the banks of a drowned town, and which may spell environmental disaster for the nature preserve surrounding it. In this fight Tim and Nod are in uneasy, ultimately disastrous alliance with activist Callie (Crittenden), whom Nod distrusts and with whom Tim is hopelessly smitten. The result is a convoluted plot and a fitful production (co-directed by Walker and Misha Hawk-Wyatt) in which a three-pronged story precariously balances the fairy tale, the romance, and the legal battle. It’s the last prong that offers the more interesting if formulaic scenes, in which the politics of GMOs mesh with the swashbuckling machinations of the attorneys. But the less compelling strands converge and take precedence, forcing things down a sentimental and forgettable road. (Avila)

reasons to be pretty San Francisco Playhouse, 450 Post, Second Flr, SF; www.sfplayhouse.org. $30-100. Tue-Thu, 7pm; Fri-Sat, 8pm (also Sat, 3pm). Through May 11. Completing a trilogy of plays about body awareness and self-image (along with The Shape of Things and Fat Pig), Neil LaBute’s reasons to be pretty begins with a misconstrued remark that quickly gathers enough weight and momentum to tear three sets of relationships apart in the span of a two-hour play. The SF Playhouse production begins with a bang, or rather an awesomely knock-down, blow-out breakup fight between a righteously pissed-off Steph (Lauren English) and her awkwardly passive boyfriend Greg (Craig Marker), who has inadvertently referred to her as “regular” in a conversation with his jerkish buddy Kent (Patrick Russell), which she takes to mean he finds her ugly. English’s Steph is at turns ferocious and fragile, and her comic timing as she eviscerates Greg’s looks in a mall food court zings, while the hyperkinetic Russell elevates the condition of noxiously irredeemable douchebag to an artform. But terrific acting and polished design can only make up so much for a script that feels not only flawed, barely scratching the surface of the whys and wherefores each character has internalized an unrealistic view of the importance of conventional beauty standards, but also already dated, with its circa-2008 pop culture references. Ultimately it gives the impression of being a rerun of a Lifetime television drama that wraps itself up into a too-neat package just in time for the final credits to roll to its admittedly kickass soundtrack (provided by Billie Cox). (Gluckstern)

Sex and the City: LIVE! Rebel, 1760 Market, SF; trannyshack.com/sexandthecity. $25. Wed, 7 and 9pm. Open-ended. It seems a no-brainer. Not just the HBO series itself — that’s definitely missing some gray matter — but putting it onstage as a drag show. Mais naturellement! Why was Sex and the City not conceived of as a drag show in the first place? Making the sordid not exactly palatable but somehow, I don’t know, friendlier (and the canned a little cannier), Velvet Rage Productions mounts two verbatim episodes from the widely adored cable show, with Trannyshack’s Heklina in a smashing portrayal of SJP’s Carrie; D’Arcy Drollinger stealing much of the show as ever-randy Samantha (already more or less a gay man trapped in a woman’s body); Lady Bear as an endearingly out-to-lunch Miranda; and ever assured, quick-witted Trixxie Carr as pent-up Charlotte. There’s also a solid and enjoyable supporting cast courtesy of Cookie Dough, Jordan Wheeler, and Leigh Crow (as Mr. Big). That’s some heavyweight talent trodding the straining boards of bar Rebel’s tiny stage. The show’s still two-dimensional, even in 3D, but noticeably bigger than your 50″ plasma flat panel. (Avila)

Sheherezade 13 Exit Theatre, 156 Eddy, SF; www.wilywestproductions.com. $25. Thu-Sat, 8pm. Through April 27. Wily West Productions presents a short play showcase.

Show Me Yours: Songs of Innocence and Experience Alcove Theater, 414 Mason, Ste 502, SF; www.thealcovetheater.com. $27. Thu-Sat, 8pm; Sun, 5pm. Through April 27. New Musical Theater of San Francisco performs a new musical revue written by Pen and Piano, the company’s resident group of writers and composers.

Steve Seabrook: Better Than You Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $15-50. Thu, 8pm; Sat, 8:30pm. Extended through May 18. Self-awareness, self-actualization, self-aggrandizement — for these things we turn to the professionals: the self-empowerment coaches, the self-help authors and motivational speakers. What’s the good of having a “self” unless someone shows you how to use it? Writer-performer Kurt Bodden’s Steve Seabrook wants to sell you on a better you, but his “Better Than You” weekend seminar (and tie-in book series, assorted CDs, and other paraphernalia) belies a certain divided loyalty in its own self-flattering title. The bitter fruit of the personal growth industry may sound overly ripe for the picking, but Bodden’s deftly executed “seminar” and its behind-the-scenes reveals, directed by Mark Kenward, explore the terrain with panache, cool wit, and shrewd characterization. As both writer and performer, Bodden keeps his Steve Seabrook just this side of overly sensational or maudlin, a believable figure, finally, whose all-too-ordinary life ends up something of a modest model of its own. (Avila)

Stuck Elevator American Conservatory Theater, 415 Geary, SF; www.act-sf.org. $20-85. Tue-Sat, 8pm (also Wed and Sat, 2pm); Sun, 2 and 7pm (no evening performances Sun/21 or April 28). Through April 28. American Conservatory Theater presents the world premiere of Byron Au Yong and Aaron Jafferis’ musical (sung in English with Chinese supertitles) about a Chinese immigrant trapped in a Bronx elevator for 81 hours.

Tinsel Tarts in a Hot Coma: The Next Cockettes Musical Hypnodrome, 575 10th St, SF; www.thrillpeddlers.com. $30-35. Thu-Sat, 8pm. Through June 1. Thrillpeddlers and director Russell Blackwood continue their Theatre of the Ridiculous series with this 1971 musical from San Francisco’s famed glitter-bearded acid queens, the Cockettes, revamped with a slew of new musical material by original member Scrumbly Koldewyn, and a freshly re-minted book co-written by Koldewyn and “Sweet Pam” Tent — both of whom join the large rotating cast of Thrillpeddler favorites alongside a third original Cockette, Rumi Missabu (playing diner waitress Brenda Breakfast like a deliciously unhinged scramble of Lucille Ball and Bette Davis). This is Thrillpeddlers’ third Cockettes revival, a winning streak that started with Pearls Over Shanghai. While not quite as frisky or imaginative as the production of Pearls, it easily charms with its fine songs, nifty routines, exquisite costumes, steady flashes of wit, less consistent flashes of flesh, and de rigueur irreverence. The plot may not be very easy to follow, but then, except perhaps for the bubbly accounting of the notorious New York flop of the same show 42 years ago by Tent (as poisoned-pen gossip columnist Vedda Viper), it hardly matters. (Avila)

BAY AREA

The Arsonists Aurora Theatre, 2081 Addison, Berk; www.auroratheatre.org. $35-60. Tue and Sun, 7pm (also Sun, 2pm); Wed-Sat, 8pm. Through May 12. There’s a lot of humor to be found in Alistair Beaton’s crackling translation of Max Frisch’s The Arsonists, playing now at the Aurora Theatre, but much of the laughter it elicits is of the nervous variety, as the play’s mostly protagonist, the effete, bourgeois Herr Biedermann (Dan Hiatt) inadvertently signs off on his own destruction when he invites an uncouth arsonist to come and stay in his attic (Michael Ray Wisely). “If we assume everyone is an arsonist, where does that get us?” becomes his standard deflection, as one arsonist becomes two (adding in the unctuous, nihilistic Tim Kniffin), and the empty attic a repository for giant drums of gasoline, a detonator, and fuse wire — arousing the suspicions of a chorus of firefighters (Kevin Clarke, Tristan Cunningham, Michael Uy Kelly), who act as the conscience and guardians of the township. Although on the surface the scenario is patently absurd, the message that passivity in the face of evil is like helping to measure out the fuse wire that will eventually claim your life, is relatively clear. “Not every fire is determined by fate,” point out the firefighters right in the first act. Hiatt, as Biedermann, strikes an admirable balance between loathsome and powerless, while Gwen Loeb shines as his socialite wife, Babette, as does Dina Percia as his agitated housemaid, Anna. (Gluckstern)

Being Earnest Mountain View Center for the Performing Arts, 500 Castro, Mtn View; www.theatreworks.org. $23-73. Tue-Wed, 7:30pm; Thu-Sat, 8pm (also Sat, 2pm); Sun, 2 and 7pm. Through April 28. TheatreWorks performs the world premiere of Paul Gordon’s musical take on Oscar Wilde’s comedy.

The Coast of Utopia: Voyage & Shipwreck Ashby Stage, 1901 Ashby, Berk; www.shotgunplayers.org. $20-35. Shipwreck runs Wed-Thu, 7pm; Fri-Sat, 8pm; Sun, 5pm. Through May 5. Voyage runs Sat/20, April 27, and May 4, 3pm. Last year in the Shotgun Players’ production of Voyage, the first part of Tom Stoppard’s The Coast of Utopia trilogy (also playing in repertory through May 4), we were introduced to a tight circle of Russian thinkers and dreamers, chafing against the oppressive regime of Nicholas I. In the second part, Shipwrecked, we find them older, perhaps wiser, struggling to keep their revolutionary ideals alive while also juggling familial concerns and personal passions. Focused mainly on Alexander Herzen (Patrick Kelley Jones) and family, Shipwrecked travels from Russia to Germany, France, Italy, and the English Channel, buffeted from all directions by the forces of the uprisings and burgeoning political consciousness of the European proletariat. It’s an unwieldy, sprawling world that Stoppard, and history, have built (made somewhat more so by the Shotgun production’s strangely languid pace during even the most dramatic sequences) but it’s worth making the effort to spend time absorbing the singular world views of Russian émigré Herzen, his impulsively passionate wife Natalie (Caitlyn Louchard), the cantankerous, influential critic Vissarion Belinsky (Nick Medina), professional rabble-rouser Michael Bakunin (Joseph Salazar) and up-and-coming writer Ivan Turgenev (Richard Reinholdt) as they desperately seek to carve out both their personal identities and a greater, cohesive Russian one from the imperfect turmoil of Western philosophy. (Gluckstern)

Fallaci Berkeley Repertory Theatre, 2015 Addison, Berk; www.berkeleyrep.org. $29-89. Wed/17 and Sun/21, 7pm (also Sun/21, 2pm); Thu/18-Sat/20, 8pm (also Sat/20, 2pm). Berkeley Rep performs Pulitzer-winning journalist Lawrence Wright’s new play about Italian journalist Oriana Fallaci.

A Killer Story Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $20-50. Thu-Sat, 8pm (pre-show cabaret at 7:15pm). Through May 18. Dan Harder’s film noir-inspired detective tale premieres at the Marsh Berkeley.

Love Letters Various Marin County venues; www.porchlight.net. $15-30. Through April 28. Porch Light Theater performs A.R. Gurney’s romantic play at four different Marin venues; check website for addresses and showtimes.

“Pear Slices” Pear Avenue Theatre, 1220 Pear, Mtn View; www.thepear.org. $10-30. Thu-Sat, 8pm; Sun, 2pm. Through April 28. Nine original short plays by members of the Pear Playwrights Guild.

Pericles, Prince of Tyre Berkeley Repertory Theatre, 2025 Addison, Berk; www.berkeleyrep.org. $29-77. Opens Wed/17, 8pm. Runs Tue, Thu-Sat, 8pm (also Sat and April 25 and May 23, 2pm; no matinee April 27; no show May 24); Wed and Sun, 7pm (also Sun, 2). Through May 26. Mark Wing-Davey directs Berkeley Rep’s take on the Bard.

The Whipping Man Marin Theatre Center, 397 Miller, Mill Valley; www.marintheatre.org. $36-57. Wed/17, 7:30pm; Thu/18-Sat/20, 8pm (also Sat/20, 2pm); Sun/21, 2 and 7pm. Marin Theatre Company performs the Bay Area premiere of Matthew Lopez’s Civil War drama.

PERFORMANCE/DANCE

Alonzo King LINES Ballet LAM Research Theater, Yerba Buena Center for the Arts, 700 Howard, SF; www.linesballet.org. Fri/19 and April 26-27, 8pm; Sat/20, 6pm; Sun/21 and April 28, 5pm; April 24-25, 7:30pm. $30-65. The company celebrates its 30th anniversary spring season with a collaboration between choregrapher Alonzo King and composter Edgar Meyer.

“Another Way Home” and “The Fox and the Beast” Joe Goode Annex, 401 Alabama, SF; www.cieloverticalarts.com. Fri/19-Sat/20, 8pm. $18. Cielo Vertical Arts presents a new aerial dance work with music by Jesse Olsen Bay, followed by a new work by Fog Beast.

“Anywhere But Here” SF Community Music Center, 544 Capp, SF; www.goathall.org. Sat/20-Sun/21, 8pm. $15. Goat Hall Productions, San Francisco’s Opera Cabaret Company, presents this show of works by Mozart, Weill, and Menotti.

“The Buddy Club Children’s Shows” Randall Museum, 199 Museum Wy, SF; www.thebuddyclub.com. Sun/21, 11am. $8. Comedy magician Phil Ackerly performs.

“Concert to End Bullying” Palace of Fine Arts, 3301 Lyon, SF; ayayale.tix.com. Sat/20, 8pm. $25-150. Stage and screen star Taye Diggs and the Yale Whiffenpoofs join forces for this show benefitting the New Conservatory Theatre Center’s Youth Aware Program.

“Crosscurrent” Garage, 715 Bryant, SF; www.975howard.com. Fri/19-Sat/20, 8pm. $15. Original dance theater, improvisation, and live music with dancers Daria Kaufman and Bianca Brzezinski, and composer Richard Warp.

CubaCaribe Festival This week: Yerba Buena Center for the Arts, 701 Mission, SF; www.cubacaribe.org. Fri/19, 7pm. $35. Next week: Laney College Theater, 900 Fallon, Oakl. April 26-27, 8pm; April 28, 2 and 7pm. $25. Master artists performing music and dance from the Caribbean Diaspora.

“Goodbye Taxes, Hello Mary Lou” Brick and Mortar Music Hall, 1710 Mission, SF; www.brickandmortarmusic.com. Fri/19, 9pm. $10. Music by Jugtown Pirates, a performance by Salacious Underground Burlesque, and more.

“Mission Position Live” Cinecave, 1034 Valencia, SF; www.missionpositionlive.com. Thu, 8pm. Ongoing. $10. Stand-up comedy with rotating performers.

“The Naked Stage” Bayfront Theater, Fort Mason Center, Marina at Laguna, SF; www.improv.org. Sat, 8pm. Through April 27. $20. BATS Improv performs an improvised stage play.

“The Original Scratch-N-Sniff Variety Show” 50 Mason Social House, 50 Mason, SF; www.questforzest.org. Thu/18, 7pm. $10. Variety show with “scratch-n-sniff elements” between acts.

Red Hots Burlesque El Rio, 3158 Mission, SF; www.redhotsburlesque.com. Wed, 7:30-9pm. Ongoing. $5-10. Come for the burlesque show, stay for OMG! Karaoke starting at 8pm (no cover for karaoke).

“Reverend Billy and the Stop Shopping Choir: Revolt of the Golden Toad Bay Area Tour” Various Bay Area venues; www.revbilly.com. April 22-27. The performance artist and activist visits the Bay Area for book readings from The End of the World, as well as a variety of performances and direct action events.

“San Francisco Magic Parlor” Chancellor Hotel Union Square, 433 Powell, SF; www.sfmagicparlor.com. Thu-Sat, 8pm. Ongoing. $40. Magic vignettes with conjurer and storyteller Walt Anthony.

“Sheetal Gandhi: Bahu Beti Biwi” ODC Theater, 3153 17th St, SF; www.odctheater.org. Fri/19-Sat/20, 8pm; Sun/21, 7pm. $25-35. The North Indian choreographer and performer presents a work that combines dance, vocalization, and percussive text.

BAY AREA

Alvin Ailey American Dance Theater Zellerbach Hall, UC Berkeley, Berk; www.calperformances.org. April 23-27, 8pm (also April 27, 2pm); April 28, 3pm. $30-92. Four programs highlight the company’s annual Cal Performances residancy, including two Bay Area premieres.

“The Divine Game” Ashby Stage, 1901 Ashby, Berk; www.shotgunplayers.org. April 29, 8pm. $20. A spur to thought, to reading, to listening, to sparring over the meaning and magnitude of art — they’re all there in the brilliantly expansive, acute, and sometimes barbed observations of professor Vladimir Nabokov (a delighting, animated John Mercer), as he expounds on the subject of Russian literature in this simply staged but witty, well-honed dramatic reading from First Person Singular and adapter-director Joe Christiano. Presented as part of Shotgun’s Monday night Cabaret series, The Divine Game, drawing verbatim on Nabokov’s Cornell lectures of the 1950s, is an invitation to a heady walk down several byways in the land of great literary art, and there are few more discerning or inspiring guides whether or not you share in every conclusion about the relative merits and demerits of Chekhov (Joshua Han) or Dostoyevsky (Brian Quackenbush) — both of whom appear onstage alongside their idiosyncratic peers Gogol (Colin Johnson) and Tolstoy (Jess Thomas). There’s a frisson of mental joy in a distillation like, “Chekhov’s books are sad books for humorous people,” or the sweet-talking yet penetrating pronouncement that, “Of all the great characters that a great artist creates, his readers are the best,” and their cumulative impact over the course of 90 minutes offers enough inspiration for several reckless bookstore sprees. (Avila)

“Flamencio from Sevilla to Jerez” La Peña Cultural Center, 3105 Shattuck, Berk; www.eventbrite.com. Sun/21, 7:30pm. $25-40. Spanish flamenco artists Javier Herida and Kina Menez perform.

“Man, Oh Man!” Laney College Theater, 900 Fallon, Oakl; www.oebgmc.org. Sat/20, 7pm; Sun/21, 5:30pm. $15-25. The Oakland-East Bay Gay Men’s Chorus performs a program of “music written for men to sing,” from chants to a world premiere.

Film listings

Andrew Lam
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0

Film listings are edited by Cheryl Eddy. Reviewers are Kimberly Chun, Dennis Harvey, Lynn Rapoport, and Sara Maria Vizcarrondo. For rep house showtimes, see Rep Clock.

OPENING

The Angels’ Share The latest from British filmmaker Ken Loach (2006’s The Wind that Shakes the Barley) and frequent screenwriter collaborator Paul Leverty contains a fair amount of humor — though it’s still got plenty of their trademark grit and realism. Offered “one last opportunity” by both a legal system he’s frequently disregarded and his exasperated and heavily pregnant girlfriend, ne’er-do-well Glaswegian Robbie (Paul Brannigan) resolves to straighten out his life. But his troubled past proves a formidable roadblock to a brighter future — until he visits a whiskey distillery with the other misfits he’s been performing his court-ordered community service with, and the group hatches an elaborate heist that could bring hope for Robbie and his growing family … if his gang of “scruffs” can pull it off. Granted, there are some familiar elements here, but this 2012 Cannes jury prize winner (the fest’s de facto third-place award) is more enjoyable than predictable — thanks to some whiskey-tasting nerd-out scenes, likable performances by its cast of mostly newcomers, and lines like “Nobody ever bothers anybody wearing a kilt!” (not necessarily true, as it turns out). Thankfully, English subtitles help with the thick Scottish accents. (1:41) Embarcadero. (Eddy)

Blancanieves See “Able Fables.” (1:44) Embarcadero.

Let My People Go! See “Able Fables.” (1:28) Opera Plaza, Shattuck.

The Lords of Salem Rob Zombie’s latest gorefest takes on Salem’s OG witches. (1:41)

Oblivion Tom Cruise and Morgan Freeman star in this dystopian sci-fi tale set on a ravaged planet Earth, circa 2077. (2:05) Balboa, Marina.

Room 237 See “Looking Over the Overlook.” (1:42) Roxie.

ONGOING

The Call (1:34) Metreon.

The Company You Keep Robert Redford directs and stars as a fugitive former member of the Weather Underground, who goes on the run when another member (Susan Sarandon) is arrested and a newspaper reporter (Shia LaBeouf) connects him to a murder 30 years earlier during a Michigan bank robbery. Both the incident and the individuals in The Company You Keep are fictive, but a montage of archival footage at the start of the film is used to place them in the company of real-life radicals and events from the latter days of the 1960s-’70s antiwar movement. (The film’s timeline is a little hard to figure, as the action seems to be present day.) Living under an assumed name, Redford’s Nick Sloan is now a recently widowed public interest lawyer with a nine-year-old daughter, still fighting the good fight from the suburbs of Albany, NY — though some of his movement cohorts would probably argue that point. And as Nick heads cross-country on a hunt for one of them who’s still deep underground, and LaBeouf’s pesky reporter tussles with FBI agents (Terrance Howard and Anna Kendrick) and his besieged editor (Stanley Tucci) — mostly there to pass comment on print journalism’s precipitous decline — there’s plenty of contentious talk, none of it particularly trenchant or involving. Redford packs his earnest, well-intentioned film with stars delineating a constellation of attitudes about revolution, justice, and violent radical action — Julie Christie as an unrepentant radical and Nick’s former lover, Nick Nolte and Richard Jenkins as former movement members, Brendan Gleeson as a Michigan police detective involved in the original investigation, Chris Cooper as Nick’s estranged and disapproving younger brother. But their scrutiny, and the film’s, feels blurry and rote, while the plot’s one major twist seems random and is clumsily exposed. (2:05) Albany, SF Center, Sundance Kabuki. (Rapoport)

The Croods (1:38) Metreon, 1000 Van Ness, Presidio.

Disconnect (1:55) SF Center, Shattuck, Sundance Kabuki.

Evil Dead “Sacrilege!” you surely thought when hearing that Sam Raimi’s immortal 1983 classic was being remade. But as far as remakes go, this one from Uruguayan writer-director Fede Alvarez (who’d previously only made some acclaimed genre shorts) is pretty decent. Four youths gather at a former family cabin destination because a fifth (Jane Levy) has staged her own intervention — after a near-fatal OD, she needs her friends to help her go cold turkey. But as a prologue has already informed us, there is a history of witchcraft and demonic possession in this place. The discovery of something very nasty (and smelly) in the cellar, along with a book of demonic incantations that Lou Taylor Pucci is stupid enough to read aloud from, leads to … well, you know. The all-hell that breaks loose here is more sadistically squirm-inducing than the humorously over-the-top gore in Raimi’s original duo (elements of the sublime ’87 Evil Dead II are also deployed here), and the characters are taken much more seriously — without, however, becoming more interesting. Despite a number of déjà vu kamikaze tracking shots through the Michigan forest (though most of the film was actually shot in New Zealand), Raimi’s giddy high energy and black comedy are replaced here by a more earnest if admittedly mostly effective approach, with plenty of decent shocks. No one could replace Bruce Campbell, and perhaps it was wise not to even try. So: pretty good, gory, expertly crafted, very R-rated horror fun, even with too many “It’s not over yet!” false endings. But no one will be playing this version over and over and over again as they (and I) still do the ’80s films. (1:31) Metreon, 1000 Van Ness. (Harvey)

42 Broad and morally cautious, 42 is nonetheless an honorable addition to the small cannon of films about the late, great baseball player Jackie Robinson. When Dodgers owner Branch Rickey (Harrison Ford) declares that he wants a black player in the white major leagues because “The only real color is green!”, it’s a cynical explanation that most people buy, and hate him for. It also starts the ball curving for a PR shitstorm. But money is an equal-opportunity leveling device: when Robinson (Chadwick Boseman) tries to use the bathroom at a small-town gas station, he’s denied and tells his manager they should “buy their 99 gallons of gas another place.” Naturally the gas attendant concedes, and as 42 progresses, even those who reject Robinson at first turn into men who find out how good they are when they’re tested. Ford, swashbuckling well past his sell-by date, is a fantastic old coot here; his “been there, lived that” prowess makes you proud he once fled the path of a rolling bolder. His power moves here are even greater, but it’s ultimately Robinson’s show, and 42 finds a lot of ways to deliver on facts and still print the legend. (2:08) Four Star, Marina, Metreon, 1000 Van Ness, Sundance Kabuki, Vogue. (Vizcarrondo)

From Up on Poppy Hill Hayao (dad, who co-wrote) and Goro (son, who directed) Miyazaki collaborate on this tale of two high-school kids — Umi, who does all the cooking at her grandmother’s boarding house, and Shun, a rabble-rouser who runs the school newspaper — in idyllic seaside Yokohama. Plans for the 1964 Olympics earmark a beloved historic clubhouse for demolition, and the budding couple unites behind the cause. The building offers a symbolic nod to Japanese history, while rehabbing it speaks to hopes for a brighter post-war future. But the past keeps interfering: conflict arises when Shun’s memories are triggered by a photo of Umi’s father, presumed lost at sea in the Korean War. There are no whimsical talking animals in this Studio Ghibli release, which investigates some darker-than-usual themes, though the animation is vivid and sparkling per usual. Hollywood types lending their voices to the English-language version include Jamie Lee Curtis, Christina Hendricks, Ron Howard, and Gilllian Anderson. (1:31) Embarcadero, Shattuck, Sundance Kabuki. (Eddy)

GI Joe: Retaliation The plot exists to justify the action, but any fan of badass-ness will forgive the skimpy storyline for the outlandish badassery in GI Joe: Retaliation. Inspired by action figures and tying loosely to the first flick, Retaliation starts with a game of “secure the defector,” followed by “raise the flag,” but as soon as the stakes aren’t real, the Joes outright suck. They don’t have “neutral,” which is maybe why a mission to rescue and revive the Joes as a force is the most ferocious fight that ever pit metal against plastic. The set pieces are stunning: a mostly silent sequence with Snake Eyes (Ray Park) and Jinx (Elodie Yung) on a mountainside will leave the audience gaping in its high speed wake, and a prison break featuring covert explosives is nonstop amazing. You’ll notice an emphasis on chain link fences and puddles (terra nostra for action figures) and set pieces conceived as if by kids who don’t have a concept of basic irrefutable truths like gravity. It’s just that kind of imagination and ardor and limitlessness that makes this Joe incredible, memorable, and a reason to crack out your toys again. (1:50) Metreon, 1000 Van Ness. (Vizcarrondo)

Ginger and Rosa It’s the 1960s, nuclear war is a real possibility, and nuclear-family war is an absolute certainty, at least in the London house occupied by Ginger (Elle Fanning), her emotionally wounded mother (Mad Men‘s Christina Hendricks), and her narcissistic-intellectual father (Alessandro Nivola). In this downbeat coming-of-age tale from Sally Potter (1992’s Orlando), Ginger’s teenage rebellion quickly morphs into angst when her BFF Rosa (Beautiful Creatures‘ Alice Englert) wedges her sexed-up neediness between Ginger’s parents. Hendricks (playing the accordion — just like Joan!) and Annette Bening (as an American activist who encourages Ginger’s political-protest leanings) are strong, but Fanning’s powerhouse performance is the main focus — though even she’s occasionally overshadowed by her artificially scarlet hair. For an interview with writer-director Potter, visit www.sfbg.com/pixel_vision. (1:30) Smith Rafael. (Eddy)

The Host (2:01) Metreon.

Jack the Giant Slayer (1:55) Metreon.

Jurassic Park 3D “Life finds a way,” Jeff Goldblum’s leather-clad mathematician remarks, crystallizing the theme of this 1993 Spielberg classic, which at its core is more about human relationships than genetically manufactured terrors. Of course, it’s got plenty of those, and Jurassic Park doesn’t really need its (admittedly spiffy) 3D upgrade to remain a thoroughly entertaining thriller. The dinosaur effects — particularly the creepy Velociraptors and fan-fave T. rex — still dazzle. Only some early-90s computer references and Laura Dern’s mom jeans mark the film as dated. But a big-screen viewing of what’s become a cable TV staple allows for fresh appreciation of its less-iconic (but no less enjoyable) moments and performances: a pre-megafame Samuel L. Jackson as a weary systems tech; Bob Peck as the park’s skeptical, prodigiously thigh-muscled game warden. Try and forget the tepid sequels — including, dear gawd, 2014’s in-the-works fourth installment. This is all the Jurassic you will ever need. (2:07) 1000 Van Ness, SF Center, Shattuck. (Eddy)

My Brother the Devil Though its script hits some unsurprising beats, Sally El Hosaini’s drama is buoyed by authentic performances and a strong command of its setting: diverse London ‘hood Hackney, where sons of Egyptian immigrants Rashid (James Floyd) and Mo (Fady Elsayed) stumble toward maturity. After his best friend is killed in a gang fight, older “bruv” Rashid turns away from a life of crime, but dropping his tough-guy façade forces him to explore feelings he’s been desperately trying to deny, especially after he meets photographer Sayyid (Saïd Taghmaoui). The only thing he knows for certain is that he doesn’t want his little brother to start running with the drug-dealing crew he’s lately abandoned. The less-worldly Mo, already dealing with a tidal wave of typical teenage emotions, idolizes his brother — until he finds out Rashid’s secret, and reacts … badly, and the various conflicts careen toward a suspenseful, dread-filled, life-lessons-learned conclusion. Added bonus to this well-crafted film: sleek, vibrant lensing, which earned My Brother the Devil a cinematography prize at Sundance 2012. (1:51) Opera Plaza, Shattuck. (Eddy)

No Long before the Arab Spring, a people’s revolution went down in Chile when a 1988 referendum toppled the country’s dictator, Augusto Pinochet, thanks in part to an ad exec who dared to sell the dream to his countrymen and women — using the relentlessly upbeat, cheesy language of a Pepsi Generation. In No‘s dramatization of this true story, ad man Rene Saavedra (Gael Garcia Bernal) is approached by the opposition to Pinochet’s regime to help them on their campaign to encourage Chile’s people to vote “no” to eight more years under the brutal strongman. Rene’s well-aware of the horrors of the dictatorship; not only are the disappeared common knowledge, his activist ex (Antonia Zegers) has been beaten and jailed with seeming regularity. Going up against his boss (Alfredo Castro), who’s overseeing the Pinochet campaign, Rene takes the brilliant tact in the opposition’s TV programs of selling hope — sound familiar? — promising “Chile, happiness is coming!” amid corny mimes, dancers, and the like. Director-producer Pablo Larrain turns out to be just as genius, shooting with a grainy U-matic ’80s video camera to match his footage with 1988 archival imagery, including the original TV spots, in this invigorating spiritual kin of both 2012’s Argo and 1997’s Wag the Dog. (1:50) Opera Plaza, Shattuck. (Chun)

No Place on Earth “Every cave I enter has a secret,” muses caver Chris Nicola in his clipped New York accent at the start of No Place on Earth. An interest in his family’s Eastern Orthodox roots brought him to the Ukraine soon after the Soviet Union dissolved; while exploring one of the country’s lengthy gypsum caves, he literally stumbled over what he calls “living history:” artifacts (shoes, buttons) that suggested people had been living in the caves in the not-too-distant past. Naturally curious, Nicola investigated further, eventually learning that two families of Ukrainian Jews (including young children) hid in the caves for 18 months during World War II. Using tasteful re-enactments and interviews with surviving members of the families, as well as narration taken from memoirs, director Janet Tobias reconstructs an incredible tale of human resilience and persistence; there are moments of terror, literally hiding behind rocks to escape roaming German soldiers, and moments of joy, as when a holiday snowfall enables precious outdoor playtime. Incredibly, the film ends with now-elderly survivors — one of whom lived just seven miles from Nicola in NYC — returning to “say thank-you to the cave,” as one woman puts it, with awed and grateful grandchildren in tow. (1:24) Opera Plaza. (Eddy)

Olympus Has Fallen Overstuffed with slo-mo shots of the flag rippling (in breezes likely caused by all the hot air puffing up from the script), this gleefully ham-fisted tribute to America Fuck Yeah estimates the intelligence of its target audience thusly: an establishing shot clearly depicting both the Washington Monument and the US Capitol is tagged “Washington, DC.” Wait, how can you tell? This wannabe Die Hard: The White House follows the one-man-army crusade of secret service agent Mike Banning (Gerard Butler), the last friendly left standing when the President (Aaron Eckhart) and assorted cabinet members are taken hostage by North Korean terrorists. The plot is to ridiculous to recap beyond that, though I will note that Morgan Freeman (as the Speaker of the House) gets to deliver the line “They’ve just opened the gates of hell!” — the high point in a performance that otherwise requires him to sit at a table and look concerned for two hours. With a few more over-the-top scenes or slightly more adventurous casting, Olympus Has Fallen could’ve ascended to action-camp heights. Alas, it’s mostly just mildly amusing, though all that caked-on patriotism is good for a smattering of heartier guffaws. (2:00) 1000 Van Ness, SF Center, Sundance Kabuki. (Eddy)

On the Road Walter Salles (2004’s The Motorcycle Diaries) engages Diaries screenwriter Jose Rivera to adapt Jack Kerouac’s Beat classic; it’s translated to the screen in a streamlined version, albeit one rife with parties, drugs, jazz, danger, reckless driving, sex, philosophical conversations, soul-searching, and “kicks” galore. Brit Sam Riley (2007’s Control) plays Kerouac stand-in Sal Paradise, observing (and scribbling down) his gritty adventures as they unfold. Most of those adventures come courtesy of charismatic, freewheeling Dean Moriarty (Garrett Hedlund of 2010’s Tron: Legacy), who blows in and out of Sal’s life (and a lot of other people’s lives, too, including wives played by Kristen Stewart and Kirsten Dunst). Beautifully shot, with careful attention to period detail and reverential treatment of the Beat ethos, the film is an admirable effort but a little too shapeless, maybe simply due to the peripatetic nature of its iconic source material, to be completely satisfying. Among the performances, erstwhile teen dream Stewart is an uninhibited standout. (2:03) Four Star, Smith Rafael. (Eddy)

Oz: The Great and Powerful Providing a backstory for the man behind the curtain, director Sam Raimi gives us a prequel of sorts to 1939’s The Wizard of Oz. Herein we follow the adventures of a Depression-era Kansas circus magician named Oscar (James Franco) — Oz to his friends — as he cons, philanders, bickers with his behind-the-scenes assistant Frank (Zach Braff), and eventually sails away in a twister, bound for a Technicolor land of massively proportioned flora, talking fauna, and witches ranging from dazzlingly good to treacherously wicked. From one of them, Theodora (Mila Kunis), he learns that his arrival — in Oz, just to clarify — has set in motion the fulfillment of a prophecy: that a great wizard, also named Oz, will bring about the downfall of a malevolent witch (Rachel Weisz), saving the kingdom and its cheery, goodhearted inhabitants. Unfortunately for this deserving populace, Oz spent his last pre-twister moments with the Baum Bros. Circus (the name a tribute to L. Frank Baum, writer of the Oz children’s books) demonstrating a banged-up moral compass and an undependable streak and proclaiming that he would rather be a great man than a good man. Unfortunately for the rest of us, this theme is revisited ad nauseam as Oz and the oppressively beneficent witch Glinda (Michelle Williams) — whose magic appears to consist mainly of nice soft things like bubbles and fog — stand around debating whether he’s the right man for the task. When the fog clears, though, the view is undeniably pretty. While en route to and from the Emerald City, Oz and his companions — among them a non-evil flying monkey (voiced by Braff) and a rather adorable china doll (Joey King) — wander through a deliriously arresting, Fantasia-esque landscape whose intricate, inventive construction helps distract from the plodding, saccharine rhetoric and unappealing story line. (2:07) 1000 Van Ness, SF Center, Shattuck, Sundance Kabuki. (Rapoport)

The Place Beyond the Pines Powerful indie drama Blue Valentine (2010) marked director Derek Cianfrance as one worthy of attention, so it’s with no small amount of fanfare that this follow-up arrives. The Place Beyond the Pines‘ high profile is further enhanced by the presence of Bradley Cooper (currently enjoying a career ascension from Sexiest Man Alive to Oscar-nominated Serious Actor), cast opposite Valentine star Ryan Gosling, though they share just one scene. An overlong, occasionally contrived tale of three generations of fathers, father figures, and sons, Pines‘ initial focus is Gosling’s stunt-motorcycle rider, a character that would feel more exciting if it wasn’t so reminiscent of Gosling’s turn in Drive (2011), albeit with a blonde dye job and tattoos that look like they were applied by the same guy who inked James Franco in Spring Breakers. Robbing banks seems a reasonable way to raise cash for his infant son, as well as a way for Pines to draw in another whole set of characters, in the form of a cop (Cooper) who’s also a new father, and who — as the story shifts ahead 15 years — builds a political career off the case. Of course, fate and the convenience of movie scripts dictate that the mens’ sons will meet, the past will haunt the present and fuck up the future, etc. etc. Ultimately, Pines is an ambitious film that suffers from both its sprawl and some predictable choices (did Ray Liotta really need to play yet another dirty cop?) Halfway through the movie I couldn’t help thinking what might’ve happened if Cianfrance had dared to swap the casting of the main roles; Gosling could’ve been a great ambitious cop-turned-powerful prick, and Cooper could’ve done interesting things with the Evel Knievel-goes-Point Break part. Just sayin’. (2:20) California, Embarcadero, 1000 Van Ness, Piedmont, Presidio, Sundance Kabuki. (Eddy)

Quartet Every year there’s at least one: the adorable-old-cootfest, usually British, that proves harmless and reassuring and lightly tear/laughter producing enough to convince a certain demographic that it’s safe to go to the movies again. The last months have seen two, both starring Maggie Smith (who’s also queen of that audience’s home viewing via Downton Abbey). Last year’s The Best Exotic Marigold Hotel, in which Smith played a bitchy old spinster appalled to find herself in India, has already filled the slot. It was formulaic, cute, and sentimental, yes, but it also practiced more restraint than one expected. Now here’s Quartet, which is basically the same flower arrangement with quite a bit more dust on it. Smith plays a bitchy old spinster appalled to find herself forced into spending her twilight years at a home for the elderly. It’s not just any such home, however, but Beecham House, whose residents are retired professional musicians. Gingerly peeking out from her room after a few days’ retreat from public gaze, Smith’s Jean Horton — a famed English soprano — spies a roomful of codgers rolling their hips to Afropop in a dance class. “This is not a retirement home — this is a madhouse!” she pronounces. Oh, the shitty lines that lazy writers have long depended on Smith to make sparkle. Quartet is full of such bunk, adapted with loving fidelity, no doubt, from his own 1999 play by Ronald Harwood, who as a scenarist has done some good adaptations of other people’s work (2002’s The Pianist). But as a generator of original material for about a half-century, he’s mostly proven that it is possible to prosper that long while being in entirely the wrong half-century. Making his directorial debut: 75-year-old Dustin Hoffman, which ought to have yielded a more interesting final product. But with its workmanlike gloss and head-on take on the script’s very predictable beats, Quartet could as well have been directed by any BBC veteran of no particular distinction. (1:38) Shattuck, Smith Rafael. (Harvey)

Renoir The gorgeous, sun-dappled French Riviera setting is the high point of this otherwise low-key drama about the temperamental women (Christa Theret) who was the final muse to elderly painter Auguste Renoir (Michel Bouquet), and who encouraged the filmmaking urges in his son, future cinema great Jean (Vincent Rottiers). Cinematographer Mark Ping Bin Lee (who’s worked with Hou Hsiao-hsein and Wong Kar Wai) lenses Renoir’s leafy, ramshackle estate to maximize its resemblance to the paintings it helped inspire; though her character, Dédée, could kindly be described as “conniving,” Theret could not have been better physically cast, with tumbling red curls and pale skin she’s none too shy about showing off. Though the specter of World War I looms in the background, the biggest conflicts in Gilles Bourdos’ film are contained within the household, as Jean frets about his future, Dédée faces the reality of her precarious position in the household (which is staffed by aging models-turned-maids), and Auguste battles ill health by continuing to paint, though he’s in a wheelchair and must have his brushes taped to his hands. Though not much really happens, Renoir is a pleasant, easy-on-the-eyes experience. (1:51) Clay, Shattuck, Smith Rafael. (Eddy)

The Sapphires The civil rights injustices suffered by these dream girls may be unique to Aboriginal Australians, but they’ll strike a chord with viewers throughout the world — at right about the same spot stoked by the sweet soul music of Motown. Co-written by Tony Briggs, the son of a singer in a real-life Aboriginal girl group, this unrepentant feel-gooder aims to make the lessons of history go down with the good humor and up-from-the-underdog triumph of films like The Full Monty (1997) — the crucial difference in this fun if flawed comedy-romance is that it tells the story of women of color, finding their voices and discovering, yes, their groove. It’s all in the family for these would-be soul sisters, or rather country cousins, bred on Merle Haggard and folk tunes: there’s the charmless and tough Gail (Deborah Mailman), the soulful single mom Julie (Jessica Mauboy, an Australian Idol runner-up), the flirty Cynthia (Miranda Tapsell), and the pale-skinned Kay (Shari Sebbens), the latter passing as white after being forcibly “assimilated” by the government. Their dream is to get off the farm, even if that means entertaining the troops in Vietnam, and the person to help them realize that checkered goal is dissolute piano player Dave (Chris O’Dowd). And O’Dowd is the breakout star to watch here — he adds an loose, erratic energy to an otherwise heavily worked story arc. So when romance sparks for all Sapphires — and the racial tension simmering beneath the sequins rumbles to the surface — the easy pleasures generated by O’Dowd and the music (despite head-scratching inclusions like 1970’s “Run Through the Jungle” in this 1968-set yarn), along with the gently handled lessons in identity politics learned, obliterate any lingering questions left sucking Saigon dust as the narrative plunges forward. They keep you hanging on. (1:38) Albany, Piedmont, SF Center. (Chun)

Scary Movie 5 (1:35) Metreon, 1000 Van Ness.

The Silence Maybe “fun” is a tasteless way to describe The Silence, which hinges on pederasty and child murder — though in the end this is more an intelligent pulp thriller than serious address of those issues, uneasily as it straddles both at times. In 1986 two men abduct an 11-year-old girl — one the initially excited, then horrified observer to the second’s murderous sexual assault. Twenty-three years later, another young girl disappears in the same place under disturbingly identical circumstances. This event gradually pulls together a large cast of characters, many initial strangers — including the original victim’s mother (Katrin Sass) and the just-retired detective (Burghart Klaubner) who failed to solve that crime; parents (Karoline Eichhorn, Roeland Wiesnekker) of the newly disappeared teen, who experience full-on mental meltdown; a solidly bourgeoise husband and father of two girls (Wotan Wilke Möhring), inordinately distressed by this repeat of history; and the erstwhile friend he hasn’t contacted in decades, an apartment-complex handyman with a secret life (Ulrich Thomsen). Part procedural, part psychological thriller, part small-town-community portrait, director-scenarist (from Jan Costin Wagner’s novel) Baran bo Odar’s The Silence is just juicy and artful enough to get away with occasional stylistic hyperbole. It’s a conflicted movie, albeit handled with such engrossing confidence that you might not notice the credibility gaps. At least until thinking it over later. Which, don’t. (1:59) Four Star. (Harvey)

Silver Linings Playbook After guiding two actors to Best Supporting Oscars in 2010’s The Fighter, director David O. Russell returns (adapting his script from Matthew Quick’s novel) with another darkly comedic film about a complicated family that will probably earn some gold of its own. Though he’s obviously not ready to face the outside world, Pat (Bradley Cooper) checks out of the state institution he’s been court-ordered to spend eight months in after displaying some serious anger-management issues. He moves home with his football-obsessed father (Robert De Niro) and worrywart mother (Jacki Weaver of 2010’s Animal Kingdom), where he plunges into a plan to win back his estranged wife. Cooper plays Pat as a man vibrating with troubled energy — always in danger of flying into a rage, even as he pursues his forced-upbeat “silver linings” philosophy. But the movie belongs to Jennifer Lawrence, who proves the chops she showcased (pre-Hunger Games megafame) in 2010’s Winter’s Bone were no fluke. As the damaged-but-determined Tiffany, she’s the left-field element that jolts Pat out of his crazytown funk; she’s also the only reason Playbook‘s dance-competition subplot doesn’t feel eye-rollingly clichéd. The film’s not perfect, but Lawrence’s layered performance — emotional, demanding, bitchy, tough-yet-secretly-tender — damn near is. (2:01) Metreon, Presidio. (Eddy)

Spring Breakers The idea of enfant terrible emeritus Harmony Korine — 1997’s Gummo, 2007’s Mister Lonely, 2009’s Trash Humpers — directing something so utterly common as a spring break movie is head-scratching enough, even moreso compounded by the casting of teen dreams Vanessa Hudgens, Selena Gomez, and Ashley Benson as bikini-clad girls gone wild. James Franco co-stars as drug dealer Alien, all platinum teeth and cornrows and shitty tattoos, who befriends the lasses after they’re busted by the fun police. “Are you being serious?” Gomez’s character asks Alien, soon after meeting him. “What do you think?” he grins back. Unschooled filmgoers who stumble into the theater to see their favorite starlets might be shocked by Breakers‘ hard-R hijinks. But Korine fans will understand that this neon-lit, Skrillex-scored tale of debauchery and dirty menace is not to be taken at face value. The subject matter, the cast, the Britney Spears songs, the deliberately lurid camerawork — all carefully-constructed elements in a film that takes not-taking-itself-seriously, very seriously indeed. Korine has said he prefers his films to make “perfect nonsense” instead of perfect sense. The sublime Spring Breakers makes perfect nonsense, and it also makes nonsense perfect. (1:34) 1000 Van Ness, Shattuck. (Eddy)

To the Wonder It should be a source of joy that Terrence Malick keeps getting to make large, personal, indulgent, un-commercial movies when almost no one else does. And he is indeed a poet, a visionary — but has he ever had more than passages of brilliance? Are the actors and producers who treat him with awe enabling art, or mostly high-flown pretensions toward the same? To the Wonder does provide some answers to those thorny questions. But they’re not the answers you’ll probably want to hear if you thought 2011’s The Tree of Life was a masterpiece. If, on the other hand, you found it a largely exasperating movie with great sequences, you may be happy to be warned that Wonder is an entirely excruciating movie with pretty photography, in which Ben Affleck and Olga Kurylenko (or sometimes Affleck and Rachel McAdams) wander around picturesque settings either beaming beatifically at each other or looking “troubled” because “something is missing,” as one character puts it in a rare moment of actual dialogue. (Generally we get the usual Malick wall-to-wall whispered voiceover musings like “What is this love that loves us?” delivered by all lead actors in different languages for maximum annoyance.) Just what is missing? Who the hell knows. Apparently it is too vulgar to spell out or even hint at what’s actually going on in these figures’ heads, not when you can instead show them endlessly mooning about as the camera follows them in a lyrical daze. No doubt some will find all this profound; the film certainly acts as though it is. But at some point you have to ask: if the artist can’t express his deep thoughts, just indicate that he’s having them, how do we know he’s a deep thinker at all? (1:53) California, Embarcadero. (Harvey)

Trance Where did Danny Boyle drop his noir? Somewhere along the way from Shallow Grave (1994) to Slumdog Millionaire (2008)? Finding the thread he misplaced among the obfuscating reflections of London’s corporate-contempo architecture, Boyle strives to put his own character-centered spin on the genre in this collaboration with Grave and Trainspotting (1996) screenwriter John Hodge, though the final product feels distinctly off, despite its Hitchcockian aspirations toward a sort of modern-day Spellbound (1945). Untrustworthy narrator Simon (James McAvoy) is an auctioneer for a Sotheby’s-like house, tasked with protecting the multimillion-dollar artworks on the block, within reason. Then the splashily elaborate theft of Goya’s Witches’ Flight painting goes down on Simon’s watch, and for his trouble, the complicit staffer is concussed by heist leader Franck (Vincent Cassel). Where did those slippery witches fly to? Simon, mixed up with the thieves due to his gambling debts, cries amnesia — the truth appears to be locked in the opaque layers of his jostled brain, and it’s up to hypnotherapist Elizabeth (Rosario Dawson) to uncover the Goya’s resting place. Is she trying to help Simon extricate himself from his impossible situation, seduce Franck, or simply help herself? Boyle tries to transmit the mutable mind games on screen, via the lighting, glass, and watery reflections that are supposed to translate as sleek sophistication. But devices like speedy, back-and-forth edits and off-and-on fourth-wall-battering instances as when Simon locks eyes with the audience, read as dated and cheesy as a banking commercial. The seriously miscast actors also fail to sell Trance on various levels — believability, likeability, etc. — as the very unmesmerized viewer falls into a light coma and the movie twirls, flaming, into the ludicrous. (1:44) Piedmont, Presidio, SF Center, Shattuck, Sundance Kabuki. (Chun)

Tyler Perry’s Temptation (2:06) Metreon, 1000 Van Ness, Shattuck.

Upstream Color A woman, a man, a pig, a worm, Walden — what? If you enter into Shane Carruth’s Upstream Color expecting things like a linear plot, exposition, and character development, you will exit baffled and distressed. Best to understand in advance that these elements are not part of Carruth’s master plan. In fact, based on my own experiences watching the film twice, I’m fairly certain that not really understanding what’s going on in Upstream Color is part of its loopy allure. Remember Carruth’s 2004 Primer? Did you try to puzzle out that film’s array of overlapping and jigsawed timelines, only to give up and concede that the mystery (and sheer bravado) of that film was part of its, uh, loopy allure? Yeah. Same idea, except writ a few dimensions larger, with more locations, zero tech-speak dialogue, and — yes! — a compelling female lead, played by Amy Seimetz, an indie producer and director in her own right. Enjoying (or even making it all the way through) Upstream Color requires patience and a willingness to forgive some of Carruth’s more pretentious noodlings; in the tradition of experimental filmmaking, it’s a work that’s more concerned with evoking emotions than hitting some kind of three-act structure. Most importantly, it manages to be both maddening and moving at the same time. (1:35) Roxie. (Eddy)

On the Cheap listings

Andrew Lam
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0

Listings compiled by Cortney Clift and Caitlin Donohue. Submit items for the listings at listings@sfbg.com. For further information on how to submit items for listings, see Picks.

WEDNESDAY 17

My Foreign Cities reading Booksmith, 1644 Haight, SF. www.booksmith.com. 7:30pm, free. In her heartfelt and much discussed piece from the New York Times’ "Modern Love" series, Elizabeth Scarboro shares her experience being married to a terminally ill husband who wasn’t expected to live past 30. Scarboro will be at Booksmith to share her new memoir Foreign Cities, which delves further into her relationship and subsequent widowhood.

Smack Dab open mic Magnet, 4122 18th St., SF. www.magnetsf.org. Signup 7:30pm, show 8pm, free. The featured reader at this monthly open mic night will be William Benemann, a historian who focuses on the history of gay men in America throughout the early 19th century. The evening is also open to musicians or writers who wish to perform.

Ian Svenonius Book Signing City Lights, 261 Columbus, SF. www.citylights.com. 7pm, free. Underground rock musician Svenonius has recently released Supernatural Strategies for Making a Rock N’ Roll Group, a satirical "how-to" guide for aspiring rock stars. Also the author of The Psychic Soviet, Svenonius will be at City Lights tonight to speak and sign copies of his new release.

THURSDAY 18

Poems Under the Dome City Hall, North Light Court, 1 Dr. Carlton B. Goodlett Place, SF. www.poemdome.net. 5:30-8pm, free. Forget dimly lit poetry readings in the corner of the bar, now you can perform your material in a grand manner — under the dome of City Hall. In celebration of National Poetry Month, San Francisco’s poet laureate will read the first ode. Head over early, aspiring bards, to enter the open mic lottery.

FRIDAY 19

Cal Day 2013 UC Berkeley, Sproul Plaza, Berk. www.calday.berkeley.edu. 8am-6pm, free. Whether you’ve always dreamed of going to Berkeley or simply aching to relive your glory days, today is the day. The university hosts 300 free lectures, performances, tours, concerts, and more to showcase the campus and the school’s programs. Chose from activities such as a pre-med information session, a circus exhibit, a make-your-own-antlers project, and much more.

"Goodbye Taxes, Hello Mary Jane" Brick and Mortar, 1710 Mission, SF. www.brickandmortarmusic.com. Doors open at 8pm, show starts at 9pm, $7 advance, $10 door. Relieve yourself from the stress of filing your taxes at this pre-420 event, which includes live music, face and body painting, and dance contests. Underground Burlesque will also be putting on a sultry performance.

SATURDAY 20

Cherry Blossom Festival Japantown, Post between Laguna and Fillmore. www.sfcherryblossom.org. 10am-5pm, free. Also occurring 4/21. Back for its 46th year, the Cherry Blossom Festival in Japantown celebrates Japanese culture and the diversity of the Japanese American community. The festival will include food booths, cultural performances, martial arts, live bands, and more. The grand parade finale will begin at City Hall at 1pm and ends up at the festival around 3pm.

Goat Festival Ferry Plaza Farmers Market, Embarcadero and Market, SF. www.cuesa.org/markets. 10am-1pm, free. Wait, dude — am I petting a goat? Start your 420 the right way, with an adorable baby goat petting zoo at the Ferry Building’s farmers market. It’s the Goat Fest, meaning goat product samples, aforementioned cuties, and talks by goat-oriented business owners about why they like workings with these fine fellows.

Jack London Square Earth Day Festival Jack London Square, Oakl. www.jacklondonsquare.com. 9am-2pm, free. The perfect excuse to visit this sunny plaza’s farmers market — today, you’ll get the chance to enjoy free Popsicles from a solar-powered truck, sustainable living exhibits, crafts for the kiddos, gardening activities, and the weekly free yoga class, all in celebration of this year’s day for the planet.

Pedals, Pipes, and Pizza Cathedral of Christ the Light, 2121 Harrison, Oakl. www.ctlcathedral.org. 11am-1pm, $5 donation requested. Children under 5 are free. Peter and the Wolf is a timeless folktale with a serious honesty lesson. Bring the kids to the Cathedral of Christ the Light for a unique performance in which the story is told through narration, percussion, and organ. After the story wraps, and kids promise never to lie again, head outside for a pizza party on Cathedral Plaza.

Varnish Fine Art 10-year anniversary show Varnish Fine Art, 16 Jessie, SF. www.varnishfineart.com. Through May 18. Opening reception: 6-9pm, free. Gallerists Jen Rogers and Kerri Stephens set out to create a fine space for contemporary art 10 years ago and look at them now — hosting "DECADE-1", a show of 14 artist that commemorate the pair’s decade of success with pieces that reflect mind-soul journeys.

World Naked Bike Ride Ride starts at noon, free. Justin Herman Plaza, Embarcadero and Market, SF. www.sfbikeride.org. Remember the Deepwater Horizon-Macondo Well oil spill? It was only the worst natural disaster in industrial history and wrecked havoc on the coastline of Louisiana and adjacent states. The free spirits behind the World Naked Bike Ride haven’t — this edition of the clothing-optional two-wheeled group ride falls on the spill’s third anniversary.

SUNDAY 21

Swap Not Shop Earth Day Edition Soundwave Studios, 2200 Wood, Oakl. www.swapnotshop.info. Snagging up a bag of new (to you) threads is good for both your wallet and the planet. Celebrate Earth Day with Homeygrown a collective of artist and friends putting on its biannual clothing swap. Bring in a bag of gently used, clean clothes, let Homeygrown separate the good from the bad, and then help yourself to as much as you’d like.

Union Square Live kick-off concert Union Square, SF. www.unionsquarelive.org. 2-4pm, free. The best place in San Francisco to recover from heavy retail migraines is hosting 75 free concerts and performances this summer season, and it kicks off today with Sila, of Afrofunk Experience fame. Breeze through for R&B with Kenyan inflections and a passel of Afro-reggae, Afro-Brazilian, and other references.

Vintage Paper Fair Elks Lodge, 1475 Creekside, Walnut Creek. www.vintagepaperfair.com. 10am-5pm, free. With over a million items for sale, the Vintage Paper Fair has one of the West Coast’s biggest selection of postcards, trade cards, photography, brochures, Victorian memorabilia, and an array of curious, beautiful, and interesting old paper.

TUESDAY 23

Filipino Heritage Festival at AT&T Park Lefty O’ Doul Plaza. SF. sanfrancisco.giants.mlb.com. 5-7pm. Pregame festivities are free. Head to AT&T Park before the Giants play the Diamondbacks to take part in the biannual Filipino heritage celebration. Attendees can expect live music and cultural food vendors outside the stadium. Head inside and sit in one of the Filipino heritage sections to enjoy on-field cultural performers leading up to the start of the game. All special event ticket holders will also receive a limited-edition Tim Lincecum scarf.

Treats

Andrew Lam
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5
Treats

culture@sfbg.com

THE BLOB Your globe-trotting Blob is currently in her bustling hometown Detroit, gorging on favorite treats, including the kick-ass fried bologna sandwich at Mercury Bar, served on an onion roll with grilled onions, mustard, and local brand Better Made potato chip “smosh.” And of course that Motown favorite, Coney Islands (hot dogs in white bread buns smothered in chili and raw onions) which is everywhere, but best at the old school Lafayette Coney Island downtown. She has some favorite recent treats in SF as well, which she can’t wait to get back to inhaling.

JOOK NOOK AT B STAR BAR

The Blob is calling it: in terms of adventurous flavors, cute and spicy Burma Superstar offshoot B Star in the Inner Richmond has the best brunch going in SF right now. The Zen-lovely space draws a diverse crowd, the prices are “nice brunch” (satisfying entrees, $8–$13, from 10am-3pm) without getting opportunistic about it, and the menu includes Mexican favorites with a Burmese twist.

First, a couple piquant Bloody Marys ($6.75 each) and a dive into a good-sized cauldron of justly renowned roasted Brussels sprouts ($6.75), savory with furikake, fish sauce, and parmesan, but perked up perfectly with crispy popped rice. The star of the dazzling B Star brunch menu is a duck hash quesadilla — probably the least Burmese thing you can think of (roasted potatoes and veggies topped with two eggs over easy and zingy radish slaw), until you notice the “quesadilla” is in fact a platha, a delicately fried and spiced flatbread related to Indian paratha, similar in texture to a tortilla, but both more oily and flaky, giving the shredded duck a hearty base.

If you’re not a duck brunch fan (or you have a share-friendly companion) head to B Star’s yummy “jook nook” menu. The Blob is forever addicted to the home style, DIY version of the steamy-hot, Asian rice porridge comfort food served at Outer Richmond faves like Ton Kiang or Jook Time. But B Star’s gussied up big-bowl selection, starting with base ingredients like shredded chicken with thousand year old egg or pork sung with pickled mustard greens and fried noodles, comes loaded with all the extras, including scallions, chili, ginger, and peanuts. A dash of soy and your day is made.

127 Clement, SF. (415) 933-9900, www.bstarbar.com

DUCK FLAUTAS AT CHILANGO

A recent return to this genteel Mexican hotspot near Church and Market confirmed the Blob’s addiction to the crispy, crema-smothered, incredibly popular duck flautas there. Three huge tubes of delectable shredded quacker with cabbage and cotija cheese ($9) are enough for a filling lunch, but don’t deny yourself the pleasures of the rest of the menu. Feeling light and pescaterian? Splash into tangy ceviche de pescado with chunks of mahi mahi, avocado, and orange ($10), but maybe skip the ceviche de camarones ($10) — the Blob, a ceviche snob freshly back from a tour of the Southern Mexican coast, found the generous bits of shrimp overpowered by a bland, ketchupy cocktail sauce.

Don’t skip, however, an incredible pambazo (Mexican white bread bun stuffed with potatoes and chorizo and dipped in red guajillo pepper sauce, $6) or, if the duck’s left any room, juicy brisket-loaded soft tacos de saudero ($6 for two). Then go back for the pambazo’s big sister, torta ahogado ($10), a carnitas and pickled onion sandwich drowned in mild red sauce and eatable only with a knife and fork, and several napkins.

235 Church, SF. (415) 552-5700, www.chilangorestaurantsf.com

L GNUDI ALLA COSIMO DE MEDICI AT FARINA PIZZA

The new Farina pizzeria at 18th and Valencia, immaculately white-tiled and accented with neat portraits of vintage Italian comics characters (think Mary Worth in Naples), has become one of the latest flashpoints of the ongoing gentrification debate. The Blob detests the Borg, and $15 personal pizzas are a bit of a stretch — although there are $22 ones, though worthy, at Una Pizza Napoletana down the way at SoMa. The Blob’s orifice, however, was soon spattered with an excellently fiery, soft crust pizza diavolo, with spicy salame, San Marzano tomatoes, fior di latte mozzarella, romano cheese, basil and EVOO.

But she was truly blown away by the L Gnudi Alla Cosimo De Medici, i.e. several large spinach ricotta dumplings ($15), hefty balls of al dente pasta sheets, with the slightly chewy give of mochi, stuffed with wonderfully grassy shredded spinach and bathed in butter-sage sauce, a vegetarian treasure worth its own trip (with a glass of Italian red, natch).

700 Valencia, SF. (415) 565-1900, www.farina-foods.com

 

Looking over the Overlook

Andrew Lam
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1
Looking over the Overlook

cheryl@sfbg.com

FILM Though he’s now living in Los Angeles, Rodney Ascher was a San Franciscan “for years and years,” he says, adding that he used to spend “a lot of time at Craig Baldwin’s Other Cinema.” He also has praise for the Roxie, the venue that’ll be hosting the local premiere of his Room 237 — a fascinating, kinda disturbing documentary that burrows deep down the rabbit hole with people who are obsessed with Stanley Kubrick’s 1980 horror masterpiece The Shining.

The Roxie screens that film Thu/18, and opens Ascher’s doc Fri/19; Ascher hints that he’ll journey to SF for the occasion. I spoke with him about Kubrick, Italian horror, and other mind-bending topics.

San Francisco Bay Guardian How did you find your five subjects?

Rodney Ascher Before I did the first interview, [producer] Tim Kirk and I spent maybe a year researching different theories about The Shining and people who were writing about it. Some people were fairly well-known to us, like Bill Blakemore, who has the Native American [theory]. His article was syndicated in newspapers in 1987, and has been reprinted all over the internet, so he was a person that we always wanted to talk to. Jay Weidner, who talks about subliminal techniques and allusions to the space program — his essay has circulated pretty widely online too.

So we started with them, and we would find other people as we went. The writer Jonathan Lethem, who’s had a lot of interesting things to say about The Shining, turned me on to John Fell Ryan, a guy in Brooklyn who’d been screening the movie backwards and forwards at the same time. Not only was that amazing in and of itself, but like a lot of this other stuff we were finding, it was amazing that it had only happened in the time since we’d started the project. A lot of [Room 237] is about the substance of what people are saying about The Shining — but it’s also very concerned with this phenomenon at the beginning of the 21st century, where an awful lot of people seem obsessed with this movie made in 1980, and isn’t that interesting, and why is that happening?

SFBG What was the interview process like?

RA I mailed [each subject] a digital audio recorder, and I would talk to them via Skype from my studio. I’d have a list of questions based on what I knew about what they had written, but oftentimes the more open-ended questions would lead in more interesting directions: “What was the first time you saw The Shining?” or “When did you figure out this idea? How did it come to you?”

I read someplace that one of the best interview questions is just, “Why?” I don’t have much of a hard-core documentary background, so I haven’t interviewed tons of people, but I figured out pretty quickly that the less I said, the better.

SFBG What role do you think the internet has played in this growing obsession with The Shining?

RA I think it’s got everything to do with it. Things like YouTube videos and digital technology in general allow us to look at movies more carefully. We try to have a little bit of a subplot of people being able to watch the movie in theaters, and then on home video, on DVD, Blu-ray, YouTube. As [the opportunity to watch the film again] increases, the way we watch it changes.

But it’s also things like comment threads and blog postings, which allow people to share ideas with other folks in a way that was never possible before. Even if you could write a newspaper article or a magazine entry, there are very practical length considerations that you’d have to work with. But now, if you feel like writing a 125-page article about the manager of the Overlook Hotel, you can put it up on your blog, and there’s no limit to how much detail you can include.

SFBG Both your 2010 short The S From Hell and Room 237 are about hidden meanings and subtexts. What draws you to those themes?

RA The S From Hell started because I read about these people who had a childhood phobia of the old Screen Gems logo, and I had a flashback to myself at the age of three. Although my experience wasn’t quite as intense, I had a similar strong, confused reaction to that thing. And I’ve watched The Shining again and again, and have been obsessed with it, even if I haven’t come close to deciphering it. So it may be that — although I barely appear in these movies — there’s an autobiographical quality to this, that I’m recognizing aspects of myself in what these folks are doing. But maybe it’s not best for me to try to analyze Room 237 too deeply!

SFBG The Shining isn’t the only film used to illustrate Room 237. How did you decide what else to use? I spotted clips from Lamberto Bava’s Demons (1985), for example.

RA It was kind of instinctual. I tried to [gather] movies from a similar time or place to The Shining, but in all respects, I’m making a connection between The Shining and these other films. Sometimes it might be very literal, sometimes it might be personal to my own history.

In a big-picture sense, I think we’re talking about the ways movies get into our heads. Bill Blakemore, one of our interviewees, has a great phrase where he compares The Shining to a dream, and Stanley Kubrick’s process of filmmaking to dreaming — that you condense everything that’s happened in your life up to that point, and then it comes out in dreams, in some kind of strange new version.

Demons is a movie about the line between what’s happening on the screen, and what’s happening in the audience, getting very blurry. So for people who are familiar with Demons, the connection might play very clearly; but for people who aren’t, they’re still seeing a really stylishly shot scene of people in a theater in the early ’80s who are struggling to understand this very baffling movie they’ve been presented with.

SFBG Room 237‘s sound design is very distinctive. Can you talk about how that came together?

RA The sound design is by Ian Herzon, an amazing guy who was able to create this heavy, atmospheric mix. It was important to me that Room 237 played more as an immersive experience than as a dry piece of journalism. In a weird way I wanted it to be kind of a horror movie in itself. And Ian has worked on some of the Resident Evil movies, so that was a style that he was comfortable with.

The music is by William Hutson and Jonathan Snipes, who specialize in [horror themes]. Jonathan plays in a band called Nilbog, which performs, like, music from Dawn of the Dead (1978) and Suspiria (1977) live in concert. Their studio looks like a museum of analog synthesizers. So when I was discussing the music I wanted for the film, and I was talking about the early ’80s, Italian synthesizer scores, or John Carpenter music, or Tangerine Dream’s score for Sorcerer (1977), we spoke the same language very quickly. I love the way the synth scores have this trance-inducing, meditative effect. They sometimes have even quasi-religious aspects to them, which seemed kind of appropriate, since we’re looking at The Shining the way some people interpret the Bible.

SFBG What is your reaction when you hear people say, “After seeing Room 237, I’ll never watch The Shining the same way again?”

RA That’s great! And another thing that a lot of them say is, “I’m gonna go and immediately re-watch The Shining,” which is awesome. The Shining is a maze that certainly me and the people that we talked to can’t get out of — so there’s something satisfying about luring other people back into the middle of it. 

ROOM 237 opens Fri/19 at the Roxie.

Able fables

Andrew Lam
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0
Able fables

arts@sfbg.com

FILM The weak recent likes of Jack the Giant Slayer and Hansel & Gretel: Witch Hunters revealed the extent of expensive, formulaic action-movie lameness with which Hollywood is now determined to treat every story of universal familiarity (and conveniently, no pesky copyright). No doubt there will be a Cinderella: Bitch is Goin’ Postal somewhere in our future before the cycle spins out, if it ever does.

But fairy tales have such appeal that it’s hard not to want filmmakers to do interesting things with them, as opposed to the things they generally are doing with them. Two new European movies for grown-ups take elements of such tales — one a very familiar story template, the other just the tenor of a shiny, hyper real fable — and while they haven’t a great deal else in common, they both happen to be among the most delightful entertainments we’re likely to see this year.

Mikael Buch’s French first feature Let My People Go! is a fairy tale in the sense of something like Ma vie en rose (1997) or Potiche (2010) — it’s a warmhearted social satire stylized as if everyday life were constantly poised to break into a production number. Also, its protagonist is such a fairy: in what’s possibly the most inspired physical comedy performance by a French (or maybe any) actor since Jean Dujardin was last sighted, Nicolas Maury plays Ruben, a Parisian who came to Finland to pursue a masters in “comparative sauna studies” but stayed on for perfect boyfriend Teemu (Jarkko Niemi). With his skinny body language so floppy it’s like a master class in theatrical nelliness, Ruben gives off an air of someone ready at any moment to deliver a shrill hissy fit or world-class sulk. Not that he has occasion to, however, in this northern paradise of friendly moose, candy-colored villages, and postal delivery customers (the sauna thing didn’t pan out) who invariably greet him at the door with tasty snacks.

Of course, it’s a paradise he must be cast out of, after an inexplicably violent altercation with a customer on his route results in Teemu calling Ruben a “thieving murderer” and sending him back to (as the BF’s mother puts it) “that horrible country.” There, torn from the political correctitude of the great white north, he’s forced to deal with his ever-dysfunctional family: Mom (Carmen Maura) still thinks he just needs to meet “a nice Jewish girl,” Dad (Jean-François Stevénin) is cheating on her, sis (Amira Casar) is probably divorcing her “asshole goy husband,” and bro (Clément Sibony) is fed up with having to hold their hands through every new crisis.

Written by Buch and Christophe Honoré (not a guy usually associated with levity), Let My People Go! wends its way toward the predictable reconciliations all around with a certain sweetness and a great deal of inspired silliness. None more inspired than everything done by Maury, whose extreme stereotype might be offensive in another context — but in this endearing fable of tolerance, Ruben is as lovable as he is haplessly funny.

Pablo Berger’s Blancanieves is something else — Snow White, to be exact, transplanted to 1920s Spain and told (à la 2011’s The Artist) in the dialogue-free B&W style of that era’s silent cinema. If you saw the two crappy overblown Hollywood takes on that fairy tale last year, my condolences, but this is probably its best cinematic incarnation ever not made by someone called Walt.

Here, Snow is the daughter of a famous bullfighter (a beautiful performance by Daniel Giménez Cacho) who’s paralyzed physically in the ring, then emotionally by the death of his flamenco star wife (Inma Cuesta) in childbirth. He can’t bring himself to see his daughter until a grandmother’s death brings little Carmencita (the marvelous Sofía Oria) to the isolated ranch he now shares with nurse-turned-second-wife Encarna — Maribel Verdú as a very Jazz Age evil stepmother, whose vanity expresses itself in outrageous fashion spreads for the socialite columns. Once the girl matures (now played by the ingratiating, slightly androgynous Macarena García), Encarna senses a rival, and to save her life Carmen literally runs away with the circus — at which point the narrative slumps a bit. But only a bit.

Where The Artist was essentially a cleverly sustained gimmick elevated by a wonderful central performance, Blancanieves transcends its ingenious retro trappings to offer something both charming and substantiative. Berger doesn’t treat the story template as a joke — he’s fully adapted it to a culture, place, and time, and treats its inherent pathos — you didn’t see much of that in last year’s Mirror Mirror or Snow White and the Huntsman, did you? — with great delicacy. It’s hard to imagine who wouldn’t enjoy Blancanieves — well, excepting the audience for Hansel & Gretel: Witch Hunters.

LET MY PEOPLE GO! and BLANCANIEVES open Fri/19 in Bay Area theaters.

Without limits

Andrew Lam
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0
Without limits

arts@sfbg.com

DANCE Despite a last-minute change in the program, AXIS Dance Company’s 25th anniversary concert was a success. Founded as an ensemble for dancers with and without physical abilities, the company started with homegrown choreography that focused on the reason the company came into being. But under the artistic leadership of Judy Smith, AXIS started to stretch its reach by commissioning professional choreographers. Smith realized that it doesn’t matter how good the dancers are; no company can succeed unless it has a solid repertoire.

For AXIS this challenge is particularly acute because so many of its pieces are specifically designed for the company as it is at that moment. It’s not just that dancers with a variety of physical capabilities cannot easily be changed for others with similar strengths and challenges. So-called able-bodied dancers also need a particularly broad perspective on what it means to dance at the top of your abilities.

AXIS choreographers, for their part, have to rethink their own dance making. Many of them — at least those I have talked with — relish the chance to step out of their comfort zone. That’s why AXIS has become the place to see new choreography by people whose work you think you know and, who more often than not, will surprise you.

So to celebrate a quarter century of making dance you can’t see anywhere else with three world premieres seemed both appropriate and something to look forward to. Unfortunately, dance being the high-risk endeavor it is, Murphy’s Law kicked in. A few days before the gala, dancer Emily Eifler got injured. Consequently Amy Seiwert’s The Reflective Surface and Sonya Delwaide’s Dix minutes plus tard (Ten Minutes Later) had to be cancelled for the time being.

The evening did offer one first-rate premiere — Victoria Marks’ gentle and wistful what if would you — and a reconfigured version of Full of Words, Marc Brew’s 2011 look at the vagaries of love.

Marks’ choreography, set to a lively (and live-performed) commissioned score by Beth Custer and her multi-talented band, was for five dancers, but performed only by Joel Brown, Sonsherée Giles, Sebastian Grubb, and Juliana Monin. Still, what if is a remarkable achievement, an appropriate tribute to what AXIS has become.

It started so simply, growing out of an ordinary gesture: the stretched arm with an open hand. Every day, you reach, you touch, and you open and close doors or books. It’s also how we go beyond ourselves. The work, playfully, humorously, but also seriously, raised questions about opportunities, choices, and priorities made or rejected.

We first saw the dancers with their backs to us. They reached for something beyond themselves. But quickly their actions communicated frustration, anger, impatience, or revolt. What was orderly became chaotic — and funny — as they fumbled through repeated short-circuits. A sense of urgency crept in, and they turned to us with “what if” questions.

The piece reached a lovely and unexpectedly gentle climax when each dancer chose a partner from the audience. As the pairs worked together — whispering, touching, reaching, walking — they developed trust. Then they changed partners. Eventually, these interactions grew into an image of community with the obligatory handholding and daisy chains, however messy.

Brews’ Full of Words has been restructured for Brown, who assumed the role of the recently departed Rodney Bell. The piece is less well balanced because Brown, though also a wheelchair dancer, at this point is a less physically articulate performer. So the relationship between him and fellow performer Giles was not as charged as the one she had with an almost frighteningly fierce Alice Sheppard. As a result, Full lost much of its teeter-totter quality.

On a positive note the focus of attention fell more strongly on Grubb and Monin’s excitingly danced lovers duet. In and out of a bathtub, they were erotic, tender, playful, contentious, and physically grounded. You name an emotion that committed partners go through; Brew probably put it there.

Let it roll

Andrew Lam
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0

le.chicken.farmer@yahoo.com

It’s between the airport and the ballpark in Oakland: the Dry Ice Arena, home of the immediate Bay Area’s thrivingest inline roller hockey scene. There’s a parking lot in back, and a store where you can get you your gear: skates, shirts, helmets. They rent these, too.

Against the windowless outside wall of the building, as you walk along looking for a door, you will find an occasional walk-in rat trap, badly parked cars, and a plastic bag full of crackers, which I wanted very badly to stomp on but didn’t.

Inside, Giant Robot was squaring off with the first-place Gentlemen’s Club in the Sunday Silver League B2 semifinals. The Gentlemen’s Club, top seed going in, had beaten Giant Robot during the regular season. That’s all I knew.

It’s five on five — a goalie, two up, two back — and they have a rule that any player can only score three goals. Which rule came in handy for the Gentlemen’s Club, or they might have lost even worse than 12-3.

Giant Robot team captain Len Amaral, who missed the whole first period on account of Giants’ game traffic, said he didn’t feel comfortable with their lead until near the end of the game.

“They can score in a hurry,” he said. “They’re a fast, good team.”

When he saw 4-1 on the scoreboard coming into the arena, he said, he thought at first his team was losing.

Nah. It was never in doubt. Thanks to some great goalie work by LeMarr Mojica, who had about a gazillion saves, Giant Robot never let the Gentlemen’s Club feel anything other than frustrated.

They extended their lead to 5-1 early in the second period, and by the end of the period it was 8-3.

A nice thing about roller hockey: since it’s not on ice, the puck moves a little slower, or seems to at any rate, and is easier to follow.

Another nice thing: no fights.

Seriously, I don’t believe I’ve watched a whole hockey game since the USA vs. Russia in the 1980 Olympics. And one reason pro hockey has eluded me, fandomwise, is the fighting. Not that I’m a pacifist; it’s not even that I’m a “good sport.” It’s that most of the time, under all that armor, you can’t tell who’s winning.

I’ll have my boxing in a ring, thanks. Without shirts, when possible.

Amateur hockey, though. Roller hockey . . . fun to watch!

We decided to stay for the championship game, but were too hungry to sit through the other semi-final, which would determine Giant Robot’s opponent in the finals.

Dry Ice Arena has a snack bar, but all they have is frozen fried things and candy bars. In retrospect I wish we had stayed put, because the takeout Indian we scored down on International was even inedibler than chicken nuggets.

We should have known. There was a calendar on the wall next to the refrigerator of this joint (which shall remain nameless), and it was still set to March.

“I hope they pay better attention to expiration dates than they do calendar ones,” Hedgehog observed.

“Don’t worry,” I said. I’d seen him take our food out. Of the freezer. It wasn’t going to make us sick. It just wasn’t going to taste any good.

Plus we had to wait forever for it, so we missed the most exciting game of the tournament. Empty Net and Apuckalips went down to the wire, swapping goals in the closing minutes, and Empty Net won by one to advance.

Problem: they didn’t have any subs.

Roller hockey, like the icier kind, is an incredibly strenuous sport. They sub often, when they have them. And Empty Net went into the championship already exhausted.

Giant Robot scored first, and fast. Their initial goal came 14 seconds in, and that was all they’d need. For good measure, they added six more.

Final score: Giant Robot 7, Empty Net 0.

I was them, I’d give the game puck to Mojica. Not only did he pitch a shutout in the Championship game, but he’d skunked the Gentlemen’s Club the final period of the first game. Remember? That’s four straight scoreless quarters! For rec-league hockey, I think, that’s pretty impressive.

Can you skate?

The Dry Ice Arena has beginner leagues, youth and adult leagues, co-ed, and even pickup. Check it out.

Dry Ice Arena, www.dryicehockey.com

Making CEQA work

Andrew Lam
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10

OPINION In San Francisco, a single person can file an 11th-hour appeal under the California Environmental Quality Act to stop a park, library, transit, or affordable housing project that has broad public support. It’s actually worse: that single person can file the appeal long after the project has been approved and even after it goes into construction. When the appeal is filed, the project must stop construction — creating huge costs — until the Board of Supervisors gets around to ruling on the appeal.

This is government dysfunction at its worst, and it needs to be reformed. Supervisor Scott Wiener is sponsoring legislation to do just that: to allow full public participation and challenges to projects while implementing the common-sense rule that for any project, there must be an end to the process and a clear deadline for filing CEQA appeals. Public participation in decision-making is important, but at some point, the decision is made, the process comes to a conclusion, and the project begins. Open-ended CEQA appeals with no deadlines — San Francisco’s current system — are anti-democratic.

Passed 40 years ago, CEQA is an important state law that requires environmental analysis before approving projects. CEQA has helped stop or modify environmentally problematic projects in our state. Pretty much every project in San Francisco — whether a mega-development or a smaller project, such as a homeowner replacing a rotted-out porch handrail, a playground or library renovation, an affordable housing project, or a bike or pedestrian-safety upgrade — must undergo CEQA evaluation. These myriad CEQA evaluations are then appealable to the Board of Supervisors. Yes, if you are replacing that rotted out handrail or working with your neighbors to renovate your local playground, those projects can be appealed to the Board of Supervisors under CEQA if a single person doesn’t like what you’re doing.

We support CEQA and support the right to appeal projects. What we cannot support is having no firm deadline to file those appeals. We’ve seen excellent projects, with broad public support, get delayed and have dramatically increased costs because of our bad process. A small group abused CEQA to fight the North Beach Library for years. After the Dolores Park renovation underwent dozens of community meetings and attained broad community support, a single person appealed the project, arguing that the dog areas of the park would lead to childhood obesity. San Francisco’s bike plan was delayed for years, costing millions of tax dollars.

By setting a clear deadline to file CEQA appeals — 30 days after the project is approved — and by improving notice to the public, Supervisor Wiener’s legislation will provide opponents every opportunity to challenge a project, but they will have to do so before the project goes into construction. That is a common sense rule, and as a result, the legislation has garnered broad support from affordable housing builders, the San Francisco Bicycle Coalition, Walk SF (our pedestrian safety advocacy group), SPUR, labor unions, and neighborhood associations and leaders.

Supervisor Jane Kim has introduced an alternative to Supervisor Wiener’s legislation. Supervisor Kim’s legislation would make our dysfunctional process even worse. It would allow for multiple CEQA appeals of projects instead of just one and would continue to allow CEQA appeals long after projects are approved and even after they go into construction.

It’s time to bring rationality to our CEQA appeal process. Supervisor Wiener’s CEQA appeal legislation is the right approach and deserves to be passed.

Scott Wiener is a member of the San Francisco Board of Supervisors. Pat Scott is Executive Director of Booker T. Washington Community Service Center in the Western Addition, which provides services and affordable housing to families and youth.

 

Billy and the golden toads

Andrew Lam
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1
Billy and the golden toads

Reverend Billy Talen and his Church of Stop Shopping — which evolved from anti-consumerism street theater in San Francisco in the 1990s into a venerable New York City protest/performance institution — is bringing its creative environmentalist prayers and ploys back to the Bay Area next week.

Talen is a talented talker and writer whose most recent book, The End of the World, is a poetic plea for people to finally get serious about climate change, loss of biodiversity, and other environmental indicators that are passing irreversible global tipping points, all of them fed by the relentless growth of global capitalism.

“When Hurricane Sandy hit New York, there was no discussion of the underlying causes,” Talen told us. “There’s a disconnect. We have a 1,000-mile wide storm that seems to be aimed at Wall Street, and we’re not mentioning Wall Street.”

Billy and his crew are, using street theater to make their point. As he spoke, Talen said he was surrounded by two dozen costumes of the extinct Golden Toad that his crew has been donning to invade and engage in media-friendly civil disobedience at branches of Chase Bank, which the Rainforest Action Network concluded is the leading investor in carbon-emitting projects.

“Amphibians are going extinct around the world, and if I can mix my metaphors, that’s the canary in the coal mine,” Talen said, calling climate change a systemic result of an economic system predicated on consumption and growth. “Corporations are made to not be sustainable. They have to expand every quarter.”

Talen begins his visit on Monday, April 22, with a 7pm reading at Booksmith, 1644 Haight Street, and he wraps up on April 27 at 8pm with a full 17-member Church of Stop Shopping performance at Victoria Theater, 2961 16th St., SF. In between, they’ll be Lone Mountain College in SF on April 24, Pt. Reyes Dance Palace on April 25, the Chalkupy event at Oakland City Plaza on April 26, the Live Coast West taping on April 27 — and perhaps exorcising a Chase Bank or two along the way.

Is there a “green” way to frack?

Andrew Lam
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5

Michael Klein is an unlikely oil industry executive. He’s also an unlikely environmental activist. For many years, the wealthy San Franciscan was a major donor and chair of the board of the Rainforest Action Network, an environmental organization famous for agitating aggressively against timber giants, coal companies, air polluters, and the dirty energy financiers of Wall Street.

But Klein stepped down from that role, and has since helped form a company called Hydrozonix, which might be called a “green” fracking enterprise.

Klein’s company seeks to eliminate the use of two particularly nasty fracking-fluid chemicals, known as biocides and scale inhibitors, while giving companies a way to treat and recycle wastewater fluid. Hydrozonix just completed its first year of operations, with 12 systems up and running in Texas oil fields. Does this mean Klein has crossed over to the dark side? “It was never an easy decision,” Klein told us. “I never thought I would tell anybody that I’m in the oil business.” He hasn’t exactly turned into a climate change denier. “I believe we have to stop using carbon-based fuels as soon as possible,” Klein says without hesitation, “and find the political will to put a price on carbon.” He also supports a temporary moratorium on fracking. But he claims he’s only trying to make fracking “dramatically safer” in the interim, because “until we stop subsidizing [fossil fuels], the alternatives are at a severe disadvantage.” But since entering the biz, he’s no longer convinced by the arguments made by proponents of fracking bans who cite health and safety concerns. “I’ve come to the conclusion that if best practices are used, it’s … considerably safer than deepwater drilling,” he told the Guardian. “I do believe it can be done without concerns about contaminating aquifers or poisoning everyone.”

By the numbers

Andrew Lam
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16
By the numbers

rebecca@sfbg.com

77: Years before climate scientists say the Sierra Snowpack, the state’s largest reservoir, could dwindle to half its historic size. [Source: Fact Sheet, California Air Resources Board]

2,500,000,000,000: Barrels of “produced” wastewater generated by onshore oil and gas wells in California in 2011.

[Source: California Department of Conservation]

2,294: New oil and gas wells drilled in California in 2011.

[Source: California Department of Conservation]

565: Gigatons of carbon that can be burned before global average temperatures rise by 2 degrees Celsius, the ceiling target established by the Copenhagen Accord to avert the worst consequences of global climate change.

[Source: 350.org]

2,795: Gigatons of carbon held in reserves by the world’s oil and gas companies, which would emit five times the “safe” amount of carbon into the atmosphere if burned.

[Source: 350.org]

$26,200,000,000: Annual profit reaped by San Ramon-based Chevron last year — the oil company’s second-highest profit ever earned.

[Source: San Francisco Chronicle]

$1,000,000: Approximate amount Chevron was fined by state regulators for the Aug. 6, 2012 Richmond Refinery fire, which resulted in about 200 hospital visits due to exposure to toxic fumes.

[Source: LA Times]

656,576: Miles of waterways, representing 55 percent of all rivers and streams in the U.S., ranked in “poor” condition in the EPA’s latest assessment, meaning they can’t support healthy aquatic life.

[Source: US EPA]

13,144: Miles of U.S. waterways where fish are not safe for human consumption, due to high levels of mercury.

[Source: US EPA]

16: Inches sea level is expected to rise in the San Francisco Bay by 2050, according to climate change scenarios.

[Source: Bay Conservation and Development Commission]

55: Inches sea level is expected to rise in the San Francisco Bay by 2099, according to climate change scenarios.

[Source: Bay Conservation and Development Commission]

234,167: Metric tons of greenhouse gases Pacific Gas & Electric Co. reported emitting in San Francisco in 2011, from natural gas distribution.

[Source: U.S. EPA]

195,061: Acres of pine or fir forest it would take to absorb PG&E’s 2011 San Francisco greenhouse gas emissions, assuming CO2 absorption for one year. (Roughly 6.5 times the land area of SF.)

[Calculation based on California Air Resources Board million metric ton equivalents]

$500,000,000: Estimated San Francisco Employee Retirement System holdings in 81 fossil fuel companies including Chevron, BP, Exxon Mobil, Occidental Petroleum and Arch Coal.

[Source: SFERS]

Fracking changes everything

Andrew Lam
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31
Fracking changes everything

In December 2012, the federal Bureau of Land Management held an annual auction for oil and gas development rights on federal territory in California, offering up wild lands in Fresno, Monterey, and San Benito counties. It sold off leases to 15 parcels, totaling nearly 18,000 acres. One bidder was a subsidiary of Occidental Petroleum, an oil company that drilled 675 new wells in California in 2011 alone.

The BLM affair works like any other auction: Bids are made verbally, and leasing rights are awarded to the highest bidder. Every last acre was snapped up, locking companies in for 10-year leases.

The average bid per acre? $4.21. The highest bid per acre? Ten bucks. The total federal government revenue? Just over $100,000.

The fact that oil companies can buy up mining rights to such a vast area of public land, for the price equivalent of about a tenth of a house in San Francisco, is nothing new. But this land auction was significant because BLM turned a blind eye to fracking, an oil and gas extraction technique that’s fueled widespread opposition. BLM green-lighted the leases based on an official assessment projecting that no more than a single acre of land would be disturbed by the anticipated oil drilling, the same argument used to justify the previous year’s auction.

Such a scenario may have been realistic in 2006, when the governmental agency drafted the document it relied on to make such a rosy prediction. But technological advancement has transformed the fossil-fuel sector over the past six years, and the oil industry is buzzing about vast untapped potential contained within the Monterey Shale, a leviathan geologic formation that extends across a major stretch of California, including beneath the federal lands in question.

“The Monterey area has become a focal point,” says Brendan Cummings, “because, but for fracking, these areas would never get tapped for oil.” An attorney with the Center for Biological Diversity, Cummings splits his work between offices in Joshua Tree and San Francisco. He led the Center in a lawsuit against BLM over its 2011 oil-and-gas lease auction, which affected 2,500 acres, arguing that the government should have realistically assessed the environmental threats posed by fracking before it started handing out drilling rights.

“Fracking changes the economics of oil,” Cummings says. “Fracking changes everything.”

And it’s happening all over California, and growing at a rapid rate.

 

 

DRILLING ON STEROIDS

Sounding more like an approximate substitute to circumvent a television ban on profanity, “fracking” is short for hydraulic fracturing. It consists of pumping high-pressure fluids up to 15,000 feet underground and into “horizontal wells” that can fan outward for a mile or more, with the aim of smashing up the shale formations. While a form of fracking has been in use for decades to “rework” oil wells, the kind of high-pressure, high-temperature operations now being employed represent a departure from traditional methods.

The exact contents of the proprietary fracking fluids are mostly secret, but they’re known to contain high volumes of water, sand, and a patented blend of toxic chemicals, sometimes incorporating acid to make the rock brittle enough to fracture.

“Once they’ve fracked up the shale,” explains Adam Scow, California campaigns director at San Francisco-based Food and Water Watch, “they can pump indefinitely.” It’s a short-term, expensive operation, Scow says, amounting to “drilling on steroids.”

On April 8, a federal judge ruled that the Obama Administration had violated federal law in the 2011 BLM auction by failing to first conduct an environmental impact study on fracking. It’s too soon to say how this will affect the 18,000 acres auctioned off in December, but Cummings says he expects to be back in court before long.

Yet the ruling has no effect on the oil wells already dotting the landscape in places like Kern County, an area already marked by poor air quality that supports the highest concentration of fracking operations in California. And for every acre of federal land now tied up in court, there are thousands more private parcels susceptible to being radically altered by fracking.

The U.S. Energy Information Administration estimates that the Monterey shale formation, which extends from the northern San Joaquin Valley to Los Angeles County and westward to the coast, holds more than 15 billion barrels of oil.

It’s an astounding quantity that dwarfs that of the Bakken Formation, which has helped light up North Dakota’s economy with a fracking boom, or the Eagle Ford Shale in West Texas, each of which are estimated to contain between 3 and 4 billion barrels.

 

 

NO SPECIAL PERMIT REQUIRED

Once a company has obtained a permit to extract oil and gas, “the state doesn’t require companies to get a permit to frack,” explains Scow, so it’s unknown just how much it’s currently happening. Voluntarily reported industry data shows that at least 91 wells were fracked in California between January 2011 and April 2012. Yet in 2011 alone, state records show, 2,294 new wells were drilled, while 3,376 notices were filed to “rework” existing wells.

In California, oil and gas drilling is regulated by the Division of Oil and Gas Resources. Speaking at a forum at the Commonwealth Club hosted by Climate One on April 2, Mark Nechodom, director of the California Department of Conservation, said DOGR never required reporting on fracking because it’s “one short blip” in oil production.

“In our historical use of fracturing in California, we have had no evidence that there is any environmental damage or hazard to human health—no evidence, I am saying—and therefore we have not required reporting,” said Nechodom, whose agency presides over DOGR. “Now we are requiring reporting and we are in the middle of developing a regulation for that.”

Nevertheless, the prospect of a pending California fracking boom on top of the loosely regulated activity already underway has galvanized Bay Area environmentalists. A host of environmental organizations are planning to form a coalition in the next several weeks to push for a permanent ban on fracking, targeting Gov. Jerry Brown.

Unchecked fracking could unleash a host of problems, says Scow, including a high risk of tainted groundwater, harmful air emissions, a spike in atmospheric carbon from the release of underground methane, and possibly even more frequent earthquakes due to wastewater disposal deep below the earth’s surface, which can destabilize faults.

“The process is just too dangerous,” he says. “There’s no safe way to frack. In the long term, we want fracking banned.”

 

 

OIL AND WATER

Policy discussions about fracking often arrive at the “Halliburton loophole.” In 2005, the story goes, when the federal Energy Bill was being drafted under the Bush Administration, then-Vice President Dick Cheney orchestrated the inclusion of a perplexing provision exempting “hydraulic fracturing” from the Safe Drinking Water Act.

Cheney famously presided over Halliburton, a company that invented a precursor to modern-day fracking in the 1940s. Few understood what it meant at the time, but the ascendance of fracking has made it clear that the loophole amounted to a munificent gift to the oil industry, clearing the way for rigs to bore downward and outward with toxic underground fluid injections unencumbered by regulatory slowdowns — all to the detriment of safe drinking water.

“The Safe Drinking Water Act loophole has really created a problem for us,” Steve Craig, an olive rancher from Monterey County, noted while speaking at the Commonwealth Club panel.

Craig described the frustrating process of trying to get agencies to intervene in a fracking operation nearby his ranch, right along the Salinas River. “At this point, we don’t know what’s in the fracking fluids. How can you know if it’s a problem if you don’t know the content of the chemistry? It’s not fair to the public to hide behind that trade secret veil and expect us to live with it.”

The risk of groundwater contamination tops Scow’s list of nightmarish scenarios. Fracking fluids can contain benzene and other carcinogens, as well as compounds linked with kidney or nervous system problems. “Once fracking fluid is injected underground, much of it stays underground indefinitely,” a Food and Water Watch issue briefing notes. “There is a network of different pathways through which contaminants … could flow into and contaminate groundwater.”

And since groundwater is drinking water in some places, Scow says this possibility is a major concern. “Prevention is really the key here,” he says. “We’re talking about some nasty stuff that could be irreversible.”

 

TOUGH FIGHT AHEAD

On April 29, the Assembly Resources Committee is scheduled to take up two nearly identical pieces of legislation that would impose indefinite moratoriums on fracking. The practice has already been subject to moratoriums in New York and New Jersey, and was permanently banned in Vermont and nationwide in France and Bulgaria.

But there’s likely to be stiff resistance, because for oil companies, fracking may as well be California’s modern-day gold mine.

“We’ve been a major petroleum state for a number of years, and the governor has indicated strongly that we want to continue to do that,” Dave Quast, head of an industry association called Energy in Depth, noted at the Climate One panel. “It’s been done safely, and it will continue to be done safely, and we should all be excited about that,” because it’s preferable to importing oil from the Middle East or places with weaker environmental regulations, Quast said.

But there’s a larger question: Do we really want to be burning more oil? If every last barrel of oil were extracted from the Monterey shale, says Scow, it could indeed meet the nation’s total oil needs — but based on current consumption rates, it would be entirely burned up in less than three years.

“Burning the 15 billion barrels of oil — even if that were some kind of achievement,” Scow says with a wry laugh, “is still going to make our climate crisis worse.”

Alerts

Andrew Lam
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0

WEDNESDAY 24

Forum: Art and politics with Rebar 518 Valencia, SF. rebargroup.org. 7:30-10:30pm, free. Operating in San Francisco since 2004, Rebar has been transforming cities with urban art and creative actions with an aim toward reclaiming the city by and for citizens themselves. Join founder and principal Blaine Merker for a discussion exploring how people both inside and outside positions of power can help the city benefit from urban art and other creative actions.

THURSDAY 25

Protest Gap sweatshops Gap Headquarters, 2 Folsom, SF. laborrights.org/gappetition. Noon, free. Call on the Gap to pay 10 cents more per garment and to join a fire safety agreement to improve conditions in their overseas garment factories. Sumi Abedin, a Bangladeshi garment worker who survived a factory fire that killed 112 workers producing garments for Walmart, and Bangladeshi labor organizer Kalpona Akter will attend this action. Sponsored by Corporate Action Network, International Labor Rights Forum, San Francisco Jobs with Justice, SumOfUs, SweatFree Communities, and United Students Against Sweatshops.

Muslim women’s transformative activism panel California Institute of Integral Studies, 1453 Mission, SF. tinyurl.com/ciismuslimwmn. 7-9pm, $15. RSVP. Facilitated by Dr. Anshu Chatterjee, this panel aims to spotlight the activism of Muslim women. Panelists include Samina Ali, a novelist, feminist organizer and curator of the International Museum of Women; Ghazala Anwar, a pioneer in the movement of LGBTIQ Muslims, and Jane Sloane, Vice President of Programs at Global Fund for Women.

FRIDAY 26

“Pipeline Paradigm” panel Commonwealth Club, 595 Market, SF. tinyurl.com/pipelinepdgm. 11:30am, $20 or $7 for students. Hosted by Climate One, this talk on the Keystone XL pipeline will focus on why the controversial oil pipeline project has inspired “the largest expression of civil disobedience since the Civil Rights movement of the 1960s.” Featuring Sam Avery, author of The Pipeline and the Paradigm, and others in a conversation about climate and activism.

Conference: Socialism versus capitalism Niebyl Proctor Marxist Library, 6501 Telegraph Ave. Oakl. sfsocialistaction@gmail.com, 510-268-9429. 7pm, $5-$10. This three day event will feature a host of speakers exploring socialist theory, attacks on civil liberties, and movements against the corporate elite.

SATURDAY 27

Annual Walk Against Rape The Women’s Building, 3543 18th St, SF. www.sfwar.org/walk. 11am, free. Registration required. Join the movement against sexual violence by participating in the Walk Against Rape. Registration begins at 10am. Followed by a festival from 1-3pm featuring dance, spoken word and musical performances.

SUNDAY 28

Public forum on education and the forces of gentrification San Francisco Community School, 125 Excelsior, SF. www.politicaleducation.org. 3-6pm, free. Pauline Lipman, an activist scholar and organizer with Teachers for Social Justice in Chicago, will lead a dialogue on the intersection between school closures, the attacks on City College of San Francisco, and the forces of gentrification.

 

New forms

Andrew Lam
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0
New forms

caitlin@sfbg.com

STREET SEEN What’s in a lookbook? When you’re a styling collective that works with one-of-a-kind vintage items, the question is somewhat challenging. Only one person can buy each outfit in Retrofit Republic‘s newest “Tastemakers” style book, after all.

But co-founder Julia Rhee explains to me in an email that her brand is about way more than call-and-response trend manufacturing. “We could’ve exclusively sourced from the big box stores when we started our business,” she writes. “But we wanted to show clients that we don’t have to live in a throwaway culture that constantly churns out fast fashion with no regard to the environment.”

Rhee and co-founder Jenny Ton counsel clients who make appointments at their private showroom for styling tips that unique pieces that don’t quite fit can be adjusted. “When in doubt, roll it, cuff it, belt it,” she says.

 

“Tastemakers” lookbook: Brown Boi Project founder B. Cole

 

>>CLICK HERE TO READ LAST YEAR’S SFBG PROFILE ON RETROFIT’S STYLE 

Angie Chang, founder of Women 2.0 and Bay Area Geek Girl dinners

 Given the preponderance of grown-and-sexy types at the release party for their newest lookbook on April 13 at the SoMa-sleek Tank18 tasting room, it would seem that SF (a town whose picked-over thrift stores should tip you off on our luv for secondhand) is down for the Retrofit message.

Or maybe there’s another message the party people were responding to. Because instead of populating their campaigns with traditional models, Retrofit is known for making mannequins out of the Bay’s social changers. “Tastemakers” features food justice activist-sustainable chef Bryant Terry, feminist tech networker Angie Chang, founder of genderqueer youth leadership advocates Brown Boi Project B. Cole. Past books have included Supervisors Jane Kim and David Chiu.

Founder of Four Barrell Coffee Jeremy Tooker

“As people of color, we’re not often given the space to be positively highlighted and affirmed that we are beautiful,” Ton writes. “So instead of waiting for that space and change to happen, we decided to take it into own hands, on our terms, to be the change we want to see in fashion and in this world.”

CAN YOU SAY Мишка?

Мишка lookbook photos by Chris Brennan

Five-panel ball caps printed with fresh fruit, outer galaxy scenes, or Harvey Comics panels. A cutely patterned cut-and-sew collection that includes button-downs speckled with astrological signs, classical sculptures interspersed with spray paint bursts, pot leaves and one-eyed skeleton heads arranged in Nordic ski sweater patterns. This is the look of Мишка (pronounced “Mishka,” in case your Cyrillic skills are rusty), the Brooklyn brand that opens its first SF store this week.

Are we really becoming the outer borough to Silicon Valley’s Manhattan? The fact that Мишка, a Greenpoint brand, is opening up its first store in the city next to a tattoo shop on 25th Street in the Mission is one sign that: yep, maybe. Or maybe it says more about how the Internet is globalizing hipster culture — the brand already has stores in Tokyo and Los Angeles.

Мишка is the kind of low brow movie-inspired streetwear brand (read: many hats and t-shirts) that inspires hordes of young enthusiasts so gung ho that the brand’s national marketing coordinator Leigh Barton tells me, her bloodshot eyeball-adorned fingernails lightly gripping a cappuccino cup in a Haight Street coffee shop a few blocks from where she was hosting last week’s warehouse sale, kids will show up to stores ready to work for free, just for good vibes and freebies to further their sartorial addiction.

The company already has a passionate Bay Area fan base, and co-founder Mikhail Bortnik tells me in an email the feeling is mutual. “The art, music, and culture that has been oozing out of the city for decades has influenced our brand and art greatly,” he writes.

SF store manager Chris Brennan actually shot a lookbook last summer featuring the Bay’s new crop of hip-hop heartthrobs: Chippy Nonstop, Antwon, and Trill Team 6 were among the models — which makes sense given that Мишка’s a hybrid project — Bortnik and co-founder Greg Rivera also run Мишка Records, which recently released Cakes Da Killa’s rad sophomore effort The Eulogy and had its hand in Das Racist’s early mixtape glory as well. Keep an eye out to see how the company will be contributing to the ongoing rhythms and melodies here in the Bay.

Мишка SF opening party Fri/12, 7-9pm, free. Мишка, 3422 25th St., SF. www.mishkasf.com


Psychic Dream Astrology: April 10-16, 2013

Andrew Lam
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0

ARIES

March 21-April 19

Positive thinking is a practice in investing in positive outcomes. If you don’t know what you think or which way to turn that’s okay. If things are undeveloped and unclear, why not expect the best? The energy you put in to things is what you are likely to get out of them this week. When in doubt, assume the best.

TAURUS

April 20-May 20

Martyrdom only invites persecution, and self-punishment only leads to misery. Find constructive ways of support yourself when you feel over it all, Taurus. You need to define your limits and call them out! Things do not need to be perfect this week but you do need to practice setting yourself up for success.

GEMINI

May 21-June 21

You have got to get in touch with yourself, ’cause repressing your feelings won’t work, Gem. Better understand what you’re mad about — whether you’re pissed at yourself or someone else. You don’t have a right to act any way you want but you do have the right to feel whatever is real for you. Make space for that this week.

CANCER

June 22-July 22

With effort and determination you are capable of seeing things as they really are. In order to create the kind of lasting happiness you desire you need to put in the work now. Create foundations that joyfulness can spring forth from, Moonchild. Be yourself even when you fear that it’s inconvenient this week.

LEO

July 23-Aug. 22

You have great ideas and inspiration, but do you have enough staying power to manage the pace you are traveling at? Instead of running around, try to make a plan that reflects not only where you wanna be but also the reality of where you’re at. You’re likely to burn yourself out if you don’t get more intentional, Leo.

VIRGO

Aug. 23-Sept. 22

When things feel insurmountable it’s easy to ride waves of panic into a sea of hopelessness. Don’t loose yourself in worry and needless struggle. This week challenge yourself to think of at least one creative solution to whatever problems arise. Stay at the drawing board until you think of something, pal.

LIBRA

Sept. 23-Oct. 22

If you let disappointments get you down you’ll be missing the point, Libra. This week you should strive to see how your own emotional tides affect you. Instead of getting defensive, get motivated. Work hard to bring things around to where you need them. Don’t minimize or dramatize your point of view.

SCORPIO

Oct. 23-Nov. 21

Be careful what you ask for, Scorpio, because you just might get it. Now is the time to learn about wish fulfillment. If you get what you’re going for are you happy with the results or do you end up feeling burdened? Balance of your desires against your needs and get clear about the difference between your fantasies and your goals.

SAGITTARIUS

Nov. 22-Dec. 21

Don’t meddle, Sagittarius! The best way to take perfectly good things and make them messy is to get entangled in the affairs of others. Move things forward in a positive direction without trying to change or coerce others. Just do you! It will give you more agency over how and where things go, pal.

CAPRICORN

Dec. 22-Jan. 19

Something’s gotta go, but you might not know what to let go of. Instead of indulging in "either/or" thinking, work on getting in touch with your feelings. Support your process with emotional presence this week. You don’t need to know all the answers but you do need to be nice to yourself as you search them out.

AQUARIUS

Jan. 20-Feb. 18

You are capable of creating more stability and growth than you’ve done in a while. The trick is to be willing to do it at your own pace. Work towards the long haul of your dreams. Work hard, Aquarius, and then slow your self down and see what comes. As matters develop so will your creativity this week.

PISCES

Feb. 19-March 20

So much can change in an instant. One minute you can feel on top of the world, and the next totally shut down and crappy. What you need most this week is patience and perseverance, Pisces. Trust that all things pass and don’t hang your identity and self esteem on what you feel in a given moment.


Jessica Lanyadoo has been a Psychic Dreamer for 18 years. Check out her website at www.lovelanyadoo.com to contact her for an astrology or intuitive reading.

Natural woofin’

Andrew Lam
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Natural woofin’

culture@sfbg.com

PETS If you shop at the farmers market, drive a Prius, have a compost bin, and read this newspaper, chances are you care about the environment. Doesn’t that mean that your dog does too, by extension? Diminish your canine’s carbon paw print with these eco-friendly pet products and services. Not only will they alleviate that non-existent doggie guilt, but used correctly, li’l buddy will be looking fly for this weekend’s amazing McKinley Elementary School fundraiser DogFest (Sat/13, 11am-4pm, free. Duboce Park, Duboce and Noe, SF. www.mckinleyschool.org/dogfest).

JEFFREY’S NATURAL PET FOODS

Prepared fresh five days a week, everything at local pet food store chain Jeffrey’s is fresh and locally sourced. This food contains high-quality raw, free-range meats, organic vegetables, vitamins, and minerals. Why go raw? Uncooked meats and vegetables contain a host of essential fatty acids, beneficial bacteria, and antioxidants in their natural state. This type of diet can result in better weight control for your baby, healthier skin and coat, and energy and stamina for endless rolls in the grass.

284 Noe, SF. (415) 864-1414; 1841 Powell, SF. (415) 402-0342, www.jeffreysnaturalpetfood.com

EO DOG SHAMPOO

After a play in the park, rinse Fido off with this gentle wash that combines essential oils with other natural botanicals for freshly scented canines. EO’s natural shampoo is made in Marin and consists primarily of herbal, organic ingredients like French lavender oil, aloe vera, chamomile, and white tea. The biodegradable shampoo is made without irritating sodium laureth or lauryl sulfates, and is perfectly safe for hands-on doggie scrubbing.

Available at various Bay Area stores. www.eoproducts.com

GREEN PAWZ DELIVERY PACK

If prefer receiving your puppy supplies in a manner similar to Chinese-food delivery, here’s a trick for you. Cole Valley’s Green Pawz Pet Boutique specializes in providing customers with environmentally friendly supplies and services. Become a Green Priority customer and receive scheduled ongoing deliveries of regular supplies like its in-house line of shampoos and natural pet foods. Priority customers are also sent information on store specials, coupons, free goodies, and invitations to Green Pawz events.

772 Stanyan, SF. (415) 221-7387, www.greenpawzsf.com

PRIMAL PET FOODS RECREATIONAL BONES

San Mateo-based Primal Pet Foods’ products abide by the “BARF” (bones and raw food) diet, so think raw, meaty bones, muscle meat, organs, fresh fruits, and veggies. We recommend Primal’s raw recreational bones, which are 100 percent human-grade (er, suitable for human consumption, as in stocks and such) and procured from ranches across the US. Choose from buffalo marrow, beef marrow, venison marrow, or lamb femur.

Available at various Bay Area stores. www.primalpetfoods.com

HOLISTIC HOUNDS ANESTHESIA-FREE TEETH CLEANING

You and your pup may love to snuggle, but when her breath is less-than-pleasant, tough love may be required. Walk your dog over to Berkeley’s Holistic Hounds for an annual anesthesia-free teeth cleaning. All cleanings are done on-site at Holistic Hound by Dawn Leiske and her staff at Waggin Smiles and are supervised and checked by veterinarian Dr. Jennifer Luna-Repose. Check Holistic Hound’s website to see when Dawn Leiske is next available to make your pup’s teeth sparkle, sans drugs.

1510 Walnut, Berk. (510) 843-2133, www.holistichound.com

Stage listings

Andrew Lam
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Stage listings are compiled by Guardian staff. Performance times may change; call venues to confirm. Reviewers are Robert Avila, Rita Felciano, and Nicole Gluckstern. Submit items for the listings at listings@sfbg.com.

THEATER

OPENING

Acid Test: The Many Incarnations of Ram Dass Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $15-50. Opens Fri/12, 8pm. Runs Fri, 8pm; Sat, 5pm (May 11, show at 8pm). Through May 18. Lynne Kaufman’s play (starring Warren Keith David as the spiritual seeker) moves from Berkeley to San Francisco.

Boomeraging: From LSD to OMG Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $15-50. Opens Tue/16, 8pm. Runs Tue, 8pm. Through May 28. Comedian Will Durst performs his brand-new solo show.

The Expulsion of Malcolm X Southside Theatre, Fort Mason Center, Marina at Laguna, SF; www.fortmason.org. $30-42.50. Opens Fri/12, 8pm. Runs Fri-Sat, 8pm; Sun, 3pm. Through May 5. Colors of Vision Entertainment and GO Productions present Larry Americ Allen’s drama about the relationship between Malcolm X and Elijah Muhammad.

Ghostbusters: Live On Stage Dark Room Theater, 2263 Mission, SF; www.darkroomsf.com. $20. Opens Thu/11, 8pm. Runs Thu-Sat, 8pm. Through April 27. Rhiannastan Productions brings the beloved 1984 comedy to the stage.

How To Make Your Bitterness Work For You Stage Werx Theatre, 446 Valencia, SF; www.bitternesstobetterness.com. $15-25. Opens Sun/14, 2pm. Runs Sun, 2pm. Through May 5. Fred Raker performs his comedy about the self-help industry.

I’m Not OK, Cupid 🙁 Shelton Theatre, 533 Sutter, SF; www.leftcoasttheatreco.org. $15-35. Opens Thu/12, 8pm. Runs Thu-Sat, 8pm. Through May 4. Left Coast Theatre Co. presents a new collection of one-act, LGBT-themed comedies about dating and relationships.

The Lost Folio: Shakespeare’s Musicals Un-Scripted Theater, 533 Sutter, Second Flr, SF; www.un-scripted.com. $10-20. Previews Thu/11, 8pm. Opens Fri/12, 8pm. Runs Thu-Sat, 8pm. Through May 18. Un-Scripted Theater Company performs a fully-improvised, full-length musical inspired by Shakespeare.

Sheherezade 13 Exit Theatre, 156 Eddy, SF; www.wilywestproductions.com. $25. Opens Fri/12, 8pm. Runs Thu-Sat, 8pm. Through April 27. Wily West Productions presents a short play showcase.

Stuck Elevator American Conservatory Theater, 415 Geary, SF; www.act-sf.org. $20-85. Previews Wed/10-Sat/13, 8pm; Sun/14, 2 and 7pm. Opens Tue/16, 8pm. Runs Tue-Sat, 8pm (also Wed and Sat, 2pm); Sun, 2 and 7pm (no evening performances April 21 or 28). Through April 28. American Conservatory Theater presents the world premiere of Byron Au Yong and Aaron Jafferis’ musical (sung in English with Chinese supertitles) about a Chinese immigrant trapped in a Bronx elevator for 81 hours.

BAY AREA

A Killer Story Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $20-50. Opens Fri/12, 8pm. Runs Thu-Sat, 8pm (pre-show cabaret at 7:15pm). Through May 18. Dan Harder’s film noir-inspired detective tale premieres at the Marsh Berkeley.

Pericles, Prince of Tyre Berkeley Repertory Theatre, 2025 Addison, Berk; www.berkeleyrep.org. $29-77. Previews Fri/12-Sat/13 and Tue/16, 8pm; Sun/14, 7pm. Opens April 17, 8pm. Runs Tue, Thu-Sat, 8pm (also Sat and April 25 and May 23, 2pm; no matinee April 27; no show May 24); Wed and Sun, 7pm (also Sun, 2). Through May 26. Mark Wing-Davey directs Berkeley Rep’s take on the Bard.

ONGOING

The Bereaved Thick House, 1695 18th St, SF; www.crowdedfire.org. $10-35. Wed-Sat, 8pm. Through April 27. Crowded Fire Theater launches its Mainstage season with Thomas Bradshaw’s wicked comedy about "sex, drugs, and the American dream."

The Bus New Conservatory Theatre Center, 25 Van Ness, SF; www.nctcsf.org. $32-45. Wed-Sat, 8pm; Sun, 2pm. Through April 28. NCTC performs James Lantz’s tale of two young men whose meeting place for their secret relationship is a church bus.

Carnival! Eureka Theatre, 215 Jackson, SF; www.42ndstreetmoon.org. $25-75. Wed, 7pm; Thu-Fri, 8pm; Sat, 6pm (also Sat/13, 1pm); Sun, 3pm. Through April 21. 42nd Street Moon performs the Tony Award-winning musical.

Eurydice Gough Street Playhouse, 1622 Gough, SF; www.custommade.org. $25-30. Thu/11-Sat/13, 8pm; Sun/14, 7pm. Custom Made Theatre Co. performs Sarah Ruhl’s inventive take on the Orpheus and Eurydice myth, exploring the story through the heroine’s eyes.

Foodies! The Musical Shelton Theater, 533 Sutter, SF; www.foodiesthemusical.com. $30-34. Fri-Sat, 8pm. Open-ended. AWAT Productions presents Morris Bobrow’s musical comedy revue all about food.

The Happy Ones Magic Theatre, Fort Mason Center, Bldg D, Third Flr, SF; www.magictheatre.org. $22-62. Wed-Sat, 8pm (also Sat, 2:30pm; no matinee April 20); Sun, 2:30pm; Tue, 7pm. Through April 21. An Orange County appliance store owner finds his life turned upside down in Julie Marie Myatt’s drama at Magic Theatre.

reasons to be pretty San Francisco Playhouse, 450 Post, Second Flr, SF; www.sfplayhouse.org. $30-100. Tue-Thu, 7pm; Fri-Sat, 8pm (also Sat, 3pm). Through May 11. San Francisco Playhouse’s tenth season continues with Neil LaBute’s romantic drama.

Sex and the City: LIVE! Rebel, 1760 Market, SF; trannyshack.com/sexandthecity. $25. Wed, 7 and 9pm. Open-ended. It seems a no-brainer. Not just the HBO series itself — that’s definitely missing some gray matter — but putting it onstage as a drag show. Mais naturellement! Why was Sex and the City not conceived of as a drag show in the first place? Making the sordid not exactly palatable but somehow, I don’t know, friendlier (and the canned a little cannier), Velvet Rage Productions mounts two verbatim episodes from the widely adored cable show, with Trannyshack’s Heklina in a smashing portrayal of SJP’s Carrie; D’Arcy Drollinger stealing much of the show as ever-randy Samantha (already more or less a gay man trapped in a woman’s body); Lady Bear as an endearingly out-to-lunch Miranda; and ever assured, quick-witted Trixxie Carr as pent-up Charlotte. There’s also a solid and enjoyable supporting cast courtesy of Cookie Dough, Jordan Wheeler, and Leigh Crow (as Mr. Big). That’s some heavyweight talent trodding the straining boards of bar Rebel’s tiny stage. The show’s still two-dimensional, even in 3D, but noticeably bigger than your 50" plasma flat panel. (Avila)

Show Me Yours: Songs of Innocence and Experience Alcove Theater, 414 Mason, Ste 502, SF; www.thealcovetheater.com. $27. Thu-Sat, 8pm; Sun, 5pm. Through April 27. New Musical Theater of San Francisco performs a new musical revue written by Pen and Piano, the company’s resident group of writers and composers.

Steve Seabrook: Better Than You Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $15-50. Thu, 8pm; Sat, 8:30pm. Extended through May 18. Self-awareness, self-actualization, self-aggrandizement — for these things we turn to the professionals: the self-empowerment coaches, the self-help authors and motivational speakers. What’s the good of having a "self" unless someone shows you how to use it? Writer-performer Kurt Bodden’s Steve Seabrook wants to sell you on a better you, but his "Better Than You" weekend seminar (and tie-in book series, assorted CDs, and other paraphernalia) belies a certain divided loyalty in its own self-flattering title. The bitter fruit of the personal growth industry may sound overly ripe for the picking, but Bodden’s deftly executed "seminar" and its behind-the-scenes reveals, directed by Mark Kenward, explore the terrain with panache, cool wit, and shrewd characterization. As both writer and performer, Bodden keeps his Steve Seabrook just this side of overly sensational or maudlin, a believable figure, finally, whose all-too-ordinary life ends up something of a modest model of its own. (Avila)

Tinsel Tarts in a Hot Coma: The Next Cockettes Musical Hypnodrome, 575 10th St, SF; www.thrillpeddlers.com. $30-35. Thu-Sat, 8pm. Through June 1. Thrillpeddlers’ sixth annual Theatre of the Ridiculous Revival presents a restored version of the Cockettes’ 1971 Art Deco-inspired musical extravaganza.

BAY AREA

The Arsonists Aurora Theatre, 2081 Addison, Berk; www.auroratheatre.org. $35-60. Previews Wed/10, 8pm. Opens Thu/11, 8pm. Runs Tue and Sun, 7pm (also Sun, 2pm); Wed-Sat, 8pm. Through May 12. Aurora Theatre Company performs Max Frisch’s classic comic parable, translated by Alistair Beaton.

Being Earnest Mountain View Center for the Performing Arts, 500 Castro, Mtn View; www.theatreworks.org. $23-73. Tue-Wed, 7:30pm; Thu-Sat, 8pm (also Sat, 2pm); Sun, 2 and 7pm. Through April 28. TheatreWorks performs the world premiere of Paul Gordon’s musical take on Oscar Wilde’s comedy.

The Coast of Utopia: Voyage & Shipwreck Ashby Stage, 1901 Ashby, Berk; www.shotgunplayers.org. $20-35. Shipwreck runs Wed-Thu, 7pm; Fri-Sat, 8pm; Sun, 5pm. Through May 5. Voyage runs Sat/13, April 20, 27, and May 4, 3pm. Last year in the Shotgun Players’ production of Voyage, the first part of Tom Stoppard’s The Coast of Utopia trilogy (also playing in repertory through May 4), we were introduced to a tight circle of Russian thinkers and dreamers, chafing against the oppressive regime of Nicholas I. In the second part, Shipwrecked, we find them older, perhaps wiser, struggling to keep their revolutionary ideals alive while also juggling familial concerns and personal passions. Focused mainly on Alexander Herzen (Patrick Kelley Jones) and family, Shipwrecked travels from Russia to Germany, France, Italy, and the English Channel, buffeted from all directions by the forces of the uprisings and burgeoning political consciousness of the European proletariat. It’s an unwieldy, sprawling world that Stoppard, and history, have built (made somewhat more so by the Shotgun production’s strangely languid pace during even the most dramatic sequences) but it’s worth making the effort to spend time absorbing the singular world views of Russian émigré Herzen, his impulsively passionate wife Natalie (Caitlyn Louchard), the cantankerous, influential critic Vissarion Belinsky (Nick Medina), professional rabble-rouser Michael Bakunin (Joseph Salazar) and up-and-coming writer Ivan Turgenev (Richard Reinholdt) as they desperately seek to carve out both their personal identities and a greater, cohesive Russian one from the imperfect turmoil of Western philosophy. (Gluckstern)

Fallaci Berkeley Repertory Theatre, 2015 Addison, Berk; www.berkeleyrep.org. $29-89. Tue, Thu-Sat, 8pm (also Sat, 2pm); Wed and Sun, 7pm (also Sun, 2pm). Through April 21. Berkeley Rep performs Pulitzer-winning journalist Lawrence Wright’s new play about Italian journalist Oriana Fallaci.

Love Letters Various Marin County venues; www.porchlight.net. $15-30. Through April 28. Porch Light Theater performs A.R. Gurney’s romantic play at four different Marin venues; check website for addresses and showtimes.

"Pear Slices" Pear Avenue Theatre, 1220 Pear, Mtn View; www.thepear.org. $10-30. Thu-Sat, 8pm; Sun, 2pm. Through April 28. Nine original short plays by members of the Pear Playwrights Guild.

The Whipping Man Marin Theatre Center, 397 Miller, Mill Valley; www.marintheatre.org. $36-57. Tue-Sat, 8pm (also Thu/11, 1pm; April 20, 2pm); Wed, 7:30pm; Sun, 2 and 7pm. Through April 21. Marin Theatre Company performs the Bay Area premiere of Matthew Lopez’s Civil War drama.

PERFORMANCE/DANCE

Caroline Lugo and Carolé Acuña’s Ballet Flamenco Peña Pachamama, 1630 Powell, SF; www.carolinalugo.com. Sat/13, 6:15pm. $15-19. Flamenco performance by the mother-daughter dance company, featuring live musicians.

CubaCaribe Festival This week: Dance Mission Theater, 3316 24th St, SF; www.cubacaribe.org. Fri/12-Sat/13, 8pm; Sun/14, 3 and 7pm. $10-35. Master artists performing music and dance from the Caribbean Diaspora.

Jamel Debbouze Nob Hill Masonic Auditorium, 1111 California, SF; www.masonicauditorium.com. Fri/12, 8pm. $35.50-125. If you understand French: check out this comedian. If you don’t: probably not the show for you.

"Ecstatic Dance" Regency Ballroom, Sutter Room, 1290 Sutter, SF; www.ecstaticdance.org. Tue/16, 7pm. $15-20. Free-form conscious dance for all.

"Feria with Mision Flamenca" Bissip Baobab, 3388 19th St, SF; www.misionflamenca.com. Sat/13, 7:30pm. $15. Flamenco music and dance.

"KALW presents Heard Here" Victoria Theatre, 2961 16th St, SF; www.victoriatheatre.org. Fri/12, 8pm. Free. Storytelling inspired by real people in the Bay Area.

"Mission Position Live" Cinecave, 1034 Valencia, SF; www.missionpositionlive.com. Thu, 8pm. Ongoing. $10. Stand-up comedy with rotating performers.

"Mortified" DNA Lounge, 375 11th St, SF; www.getmortified.com. Fri/12, 7:30pm. $21. Also Sat/13, 7:30pm, $20, Uptown, 1928 Telegraph, Oakl. Embarrassing tales with an April Fools’ Day theme.

"The Naked Stage" Bayfront Theater, Fort Mason Center, Marina at Laguna, SF; www.improv.org. Sat, 8pm. Through April 27. $20. BATS Improv performs an improvised stage play.

Ophelia Fort Mason Center (starting at the Firehouse), Marina at Laguna, SF; www.carteblanche-sf.com. Thu/11 and Sat/13-Sun/14, 8:30pm. $22. Carte Blanche performs a walk-through performance featuring dance, theater, and interactive video.

Red Hots Burlesque El Rio, 3158 Mission, SF; www.redhotsburlesque.com. Wed, 7:30-9pm. Ongoing. $5-10. Come for the burlesque show, stay for OMG! Karaoke starting at 8pm (no cover for karaoke).

"San Francisco Magic Parlor" Chancellor Hotel Union Square, 433 Powell, SF; www.sfmagicparlor.com. Thu-Sat, 8pm. Ongoing. $40. Magic vignettes with conjurer and storyteller Walt Anthony.

"Take 5" ODC Theater, 3153 17th St, SF; www.odctheater.org. Fri/12, 5pm. $5. Works-in-progress by dance artists Andrea Mock, Nicole Klaymoon, and Rachael Lincoln, with discussion to follow.

BAY AREA

"Axis Dance Company Celebrates 25 Years of Inspired Dance" Malonga Casquelourd Center for the Arts, 1428 Alice, Oakl; www.brownpapertickets.com. Fri/12-Sat/13, 8pm; Sun/14, 2pm. $22. The veteran company celebrates 25 years with three works by Victoria Marks, Amy Seiwert, and Sonya Delwaide.

"The Divine Game" Ashby Stage, 1901 Ashby, Berk; www.shotgunplayers.org. Mon/15 and April 29, 8pm. $20. A spur to thought, to reading, to listening, to sparring over the meaning and magnitude of art — they’re all there in the brilliantly expansive, acute, and sometimes barbed observations of professor Vladimir Nabokov (a delighting, animated John Mercer), as he expounds on the subject of Russian literature in this simply staged but witty, well-honed dramatic reading from First Person Singular and adapter-director Joe Christiano. Presented as part of Shotgun’s Monday night Cabaret series, The Divine Game, drawing verbatim on Nabokov’s Cornell lectures of the 1950s, is an invitation to a heady walk down several byways in the land of great literary art, and there are few more discerning or inspiring guides whether or not you share in every conclusion about the relative merits and demerits of Chekhov (Joshua Han) or Dostoyevsky (Brian Quackenbush) — both of whom appear onstage alongside their idiosyncratic peers Gogol (Colin Johnson) and Tolstoy (Jess Thomas). There’s a frisson of mental joy in a distillation like, "Chekhov’s books are sad books for humorous people," or the sweet-talking yet penetrating pronouncement that, "Of all the great characters that a great artist creates, his readers are the best," and their cumulative impact over the course of 90 minutes offers enough inspiration for several reckless bookstore sprees. (Avila)

"Marin Ballet’s 50th Anniversary Reunion Performance" College of Marin, 835 College, Kentfield; www.marinballet.org. Sat/13, 8pm. $50. Featuring Marin Ballet alumni performing works by Ronn Guidi, Julia Adam, Robert Moses, and more.

"Rhythm of Life" 142 Throckmorton Theatre, 142 Throckmorton, Mill Valley; www.142throckmortontheatre.com. Fri/12, 8pm. $20-30. The cabaret and theater star performs songs from throughout his extensive career.

"Sagala 2013" Brentwood Community Center, 35 Oak, Brentwood; www.philippinearts.org. Sat/13, 3pm. $50. Support the American Center of Philippine Arts’ youth dance and music programs by attending this Sagala parade celebrating springtime, with music by jazz vocalist Mitch Franco.

"UniverSoul Circus" Under the Big Top, 633 Hegenberger, Oakl; www.ticketmaster.com. Wed/10-Fri/12, 10:30am and 7:30pm; Sat/13, noon, 4pm, 7:30pm; Sun/14, 1pm, 4pm, 7pm. $16-40. Circus arts acts from Vietnam, Ethiopia, and the US.

Film listings

Andrew Lam
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0

Film listings are edited by Cheryl Eddy. Reviewers are Kimberly Chun, Dennis Harvey, Lynn Rapoport, and Sara Maria Vizcarrondo. For rep house showtimes, see Rep Clock.

OPENING

The Company You Keep In this political thriller, a young journalist (Shia LaBeouf) pursues a scoop that uncovers the secret identity of a Weather Underground activist (Robert Redford, who also directs). (2:05) Albany.

Disconnect Ensemble drama about the darker effects of technology starring Jason Bateman, Hope Davis, Andrea Riseborough, and Alexander Skarsgard. (1:55)

42 Biopic about baseball great and civil rights hero Jackie Robinson (played by TV actor Chadwick Boseman); also stars Harrison Ford and John C. McGinley. (2:08) Marina, Vogue.

The Mafu Cage and The Witch Who Came from the Sea Don’t miss this Roxie double-bill of two neglected but fascinating 1970s psychological horrors about craaaaaazy women. Karen Arthur’s 1978 The Mafu Cage has Lee Grant and Carol Kane are sisters who were raised by an eccentric anthropologist father in Africa. Grant, the older, "normal" one, is now a professional astronomer who resists romantic overtures from her nice coworker (James Olson) because she has a "secret" life — care taking the wildly unstable Kane, who never leaves their house and appears to have been warped beyond salvage by their bizarre childhood. She keeps pet apes, acts like them, and in occasional rages kills them. When Grant goes away for a few days, all hell breaks loose as Kane goes "savage" — and unfortunately, she finds a human quarry to put in the ape cage. The performances are terrific (Kane is electrifying here), the situation farfetched yet very credibly drawn, and the whole atmosphere both suspenseful and strangely poignant. Italian director Matt Cimber’s 1976 Witch — a bizarre, disorienting psycho chiller-cum-suspense-drama — was little-seen when it first came out, and has been very hard to find since. Millie Perkins (of 1959’s The Diary of Anne Frank and Monte Hellman’s cult classics) plays Molly, a cocktail waitress in a Santa Monica dive bar who lives with her two young nephews and sad-sack welfare-mother sister. No one seems to be paying attention, but Molly is going quite insane, apparently the result of childhood molestation by the father she claims was "lost at sea" (the truth, we discover, is a lot more sordid). Prone to irrational rages, blackouts, drinking binges, and indiscriminate pill-popping, plus the occasional homicide, Molly has increasing trouble separating fantasy from reality … and so do we, since the movie deploys distortive sound/visuals and unclear time progression to convey her slippery sanity. With its very thorny protagonist and depressing view of LA’s "fringe" life, Witch is moody, creepy, and unique. Roxie. (Harvey)

My Brother the Devil Though its script hits some unsurprising beats, Sally El Hosaini’s drama is buoyed by authentic performances and a strong command of its setting: diverse London ‘hood Hackney, where sons of Egyptian immigrants Rashid (James Floyd) and Mo (Fady Elsayed) stumble toward maturity. After his best friend is killed in a gang fight, older "bruv" Rashid turns away from a life of crime, but dropping his tough-guy façade forces him to explore feelings he’s been desperately trying to deny, especially after he meets photographer Sayyid (Saïd Taghmaoui). The only thing he knows for certain is that he doesn’t want his little brother to start running with the drug-dealing crew he’s lately abandoned. The less-worldly Mo, already dealing with a tidal wave of typical teenage emotions, idolizes his brother — until he finds out Rashid’s secret, and reacts … badly, and the various conflicts careen toward a suspenseful, dread-filled, life-lessons-learned conclusion. Added bonus to this well-crafted film: sleek, vibrant lensing, which earned My Brother the Devil a cinematography prize at Sundance 2012. (1:51) Opera Plaza, Shattuck. (Eddy)

No Place on Earth "Every cave I enter has a secret," muses caver Chris Nicola in his clipped New York accent at the start of No Place on Earth. An interest in his family’s Eastern Orthodox roots brought him to the Ukraine soon after the Soviet Union dissolved; while exploring one of the country’s lengthy gypsum caves, he literally stumbled over what he calls "living history:" artifacts (shoes, buttons) that suggested people had been living in the caves in the not-too-distant past. Naturally curious, Nicola investigated further, eventually learning that two families of Ukrainian Jews (including young children) hid in the caves for 18 months during World War II. Using tasteful re-enactments and interviews with surviving members of the families, as well as narration taken from memoirs, director Janet Tobias reconstructs an incredible tale of human resilience and persistence; there are moments of terror, literally hiding behind rocks to escape roaming German soldiers, and moments of joy, as when a holiday snowfall enables precious outdoor playtime. Incredibly, the film ends with now-elderly survivors — one of whom lived just seven miles from Nicola in NYC — returning to "say thank-you to the cave," as one woman puts it, with awed and grateful grandchildren in tow. (1:24) Elmwood, Embarcadero. (Eddy)

Scary Movie 5 Not to be confused with A Haunted House, which came out earlier this year and also spoofed the Paranormal Activity series — but did not feature cameos by Charlie Sheen and Lindsay Lohan. (1:35)

To the Wonder See "Rambling Man." (1:53) California, Embarcadero.

Trance Where did Danny Boyle drop his noir? Somewhere along the way from Shallow Grave (1994) to Slumdog Millionaire (2008)? Finding the thread he misplaced among the obfuscating reflections of London’s corporate-contempo architecture, Boyle strives to put his own character-centered spin on the genre in this collaboration with Grave and Trainspotting (1996) screenwriter John Hodge, though the final product feels distinctly off, despite its Hitchcockian aspirations toward a sort of modern-day Spellbound (1945). Untrustworthy narrator Simon (James McAvoy) is an auctioneer for a Sotheby’s-like house, tasked with protecting the multimillion-dollar artworks on the block, within reason. Then the splashily elaborate theft of Goya’s Witches’ Flight painting goes down on Simon’s watch, and for his trouble, the complicit staffer is concussed by heist leader Franck (Vincent Cassel). Where did those slippery witches fly to? Simon, mixed up with the thieves due to his gambling debts, cries amnesia — the truth appears to be locked in the opaque layers of his jostled brain, and it’s up to hypnotherapist Elizabeth (Rosario Dawson) to uncover the Goya’s resting place. Is she trying to help Simon extricate himself from his impossible situation, seduce Franck, or simply help herself? Boyle tries to transmit the mutable mind games on screen, via the lighting, glass, and watery reflections that are supposed to translate as sleek sophistication. But devices like speedy, back-and-forth edits and off-and-on fourth-wall-battering instances as when Simon locks eyes with the audience, read as dated and cheesy as a banking commercial. The seriously miscast actors also fail to sell Trance on various levels — believability, likeability, etc. — as the very unmesmerized viewer falls into a light coma and the movie twirls, flaming, into the ludicrous. (1:44) Piedmont, Shattuck. (Chun)

Upstream Color See "Stop Making Sense." (1:35) Elmwood, Roxie.

ONGOING

Admission Tina Fey exposes the irritating underbelly of the Ivy League application process as Princeton admissions officer Portia Nathan. When her school falls to number two in U.S. News and World Report‘s annual ranking, Portia and her colleagues are tasked by their boss (Wallace Shawn) with boosting application numbers to bring the university back into the lead. Alterna-school headmaster John Pressman (Paul Rudd) has one more applicant to add to the pile: a charmingly gawky autodidact named Jeremiah (Nat Wolff), who John is convinced is the child Portia gave up for adoption back when they were both students at Dartmouth. Stuck in a dreary 10-year relationship with an English professor (Michael Sheen) whose bedtime endearments consist of absentmindedly patting her on the head while reading aloud from The Canterbury Tales, and seeming less than thrilled with the prospect of another season of sifting through the files of legacies and overachievers, Portia is clearly ripe for some sort of purgative crisis. When it arrives, the results are fairly innocuous, if ethically questionable. Directed by Paul Weitz, the man responsible for bringing Little Fockers (2010) into the world, but About a Boy (2002) as well, Admission is sweet and sometimes funny but unmemorable, even with Lily Tomlin playing Portia’s surly, iconoclast mother. (1:50) Presidio, SF Center, Sundance Kabuki. (Rapoport)

The Call (1:34) SF Center.

The Croods (1:38) Metreon, 1000 Van Ness, Presidio.

Evil Dead "Sacrilege!" you surely thought when hearing that Sam Raimi’s immortal 1983 classic was being remade. But as far as remakes go, this one from Uruguayan writer-director Fede Alvarez (who’d previously only made some acclaimed genre shorts) is pretty decent. Four youths gather at a former family cabin destination because a fifth (Jane Levy) has staged her own intervention — after a near-fatal OD, she needs her friends to help her go cold turkey. But as a prologue has already informed us, there is a history of witchcraft and demonic possession in this place. The discovery of something very nasty (and smelly) in the cellar, along with a book of demonic incantations that Lou Taylor Pucci is stupid enough to read aloud from, leads to … well, you know. The all-hell that breaks loose here is more sadistically squirm-inducing than the humorously over-the-top gore in Raimi’s original duo (elements of the sublime ’87 Evil Dead II are also deployed here), and the characters are taken much more seriously — without, however, becoming more interesting. Despite a number of déjà vu kamikaze tracking shots through the Michigan forest (though most of the film was actually shot in New Zealand), Raimi’s giddy high energy and black comedy are replaced here by a more earnest if admittedly mostly effective approach, with plenty of decent shocks. No one could replace Bruce Campbell, and perhaps it was wise not to even try. So: pretty good, gory, expertly crafted, very R-rated horror fun, even with too many "It’s not over yet!" false endings. But no one will be playing this version over and over and over again as they (and I) still do the ’80s films. (1:31) Balboa, Metreon, 1000 Van Ness. (Harvey)

From Up on Poppy Hill Hayao (dad, who co-wrote) and Goro (son, who directed) Miyazaki collaborate on this tale of two high-school kids — Umi, who does all the cooking at her grandmother’s boarding house, and Shun, a rabble-rouser who runs the school newspaper — in idyllic seaside Yokohama. Plans for the 1964 Olympics earmark a beloved historic clubhouse for demolition, and the budding couple unites behind the cause. The building offers a symbolic nod to Japanese history, while rehabbing it speaks to hopes for a brighter post-war future. But the past keeps interfering: conflict arises when Shun’s memories are triggered by a photo of Umi’s father, presumed lost at sea in the Korean War. There are no whimsical talking animals in this Studio Ghibli release, which investigates some darker-than-usual themes, though the animation is vivid and sparkling per usual. Hollywood types lending their voices to the English-language version include Jamie Lee Curtis, Christina Hendricks, Ron Howard, and Gilllian Anderson. (1:31) Embarcadero, Shattuck, Sundance Kabuki. (Eddy)

GI Joe: Retaliation The plot exists to justify the action, but any fan of badass-ness will forgive the skimpy storyline for the outlandish badassery in GI Joe: Retaliation. Inspired by action figures and tying loosely to the first flick, Retaliation starts with a game of "secure the defector," followed by "raise the flag," but as soon as the stakes aren’t real, the Joes outright suck. They don’t have "neutral," which is maybe why a mission to rescue and revive the Joes as a force is the most ferocious fight that ever pit metal against plastic. The set pieces are stunning: a mostly silent sequence with Snake Eyes (Ray Park) and Jinx (Elodie Yung) on a mountainside will leave the audience gaping in its high speed wake, and a prison break featuring covert explosives is nonstop amazing. You’ll notice an emphasis on chain link fences and puddles (terra nostra for action figures) and set pieces conceived as if by kids who don’t have a concept of basic irrefutable truths like gravity. It’s just that kind of imagination and ardor and limitlessness that makes this Joe incredible, memorable, and a reason to crack out your toys again. (1:50) Metreon, 1000 Van Ness. (Vizcarrondo)

Ginger and Rosa It’s the 1960s, nuclear war is a real possibility, and nuclear-family war is an absolute certainty, at least in the London house occupied by Ginger (Elle Fanning), her emotionally wounded mother (Mad Men‘s Christina Hendricks), and her narcissistic-intellectual father (Alessandro Nivola). In this downbeat coming-of-age tale from Sally Potter (1992’s Orlando), Ginger’s teenage rebellion quickly morphs into angst when her BFF Rosa (Beautiful Creatures‘ Alice Englert) wedges her sexed-up neediness between Ginger’s parents. Hendricks (playing the accordion — just like Joan!) and Annette Bening (as an American activist who encourages Ginger’s political-protest leanings) are strong, but Fanning’s powerhouse performance is the main focus — though even she’s occasionally overshadowed by her artificially scarlet hair. For an interview with writer-director Potter, visit www.sfbg.com/pixel_vision. (1:30) Smith Rafael. (Eddy)

The Host (2:01) Metreon, 1000 Van Ness.

The Incredible Burt Wonderstone Steve Carell dips into the men-at-work comic genre so associated with Will Ferrell: he’s Burt Wonderstone, who starts out as a picked-on kid discovering his powers via a kit by Las Vegas magician Rance Holloway (Alan Arkin). The ensuing years have not been kind to Burt, a relatively decent guy struggling to shed the douchey buildup of ego, corn, and dated moves à la David Copperfield (ta-da, who magically appears), while working for benevolently threatening casino boss Doug Munny (James Gandolfini) with his childhood best friend Anton (Steve Buscemi, reviving the naifitude of The Big Lebowski‘s Donny) and side fox Jane (Olivia Wilde). The shot of adrenalin to the moribund heart of Burt and Anton’s act: Jim Carrey’s "Brain Rapist," who aims to ream his colleagues by cutting playing cards from his flesh and going to bed on fiery coals. How can the old-schoolers remain relevant? Hard work is key for Carell, who rolls out the straight-man sweetness that seem to make him a fit for romantic comedies — though his earnestness and need to be liked, as usual, err on the side of convention, while taking for granted the not-quite-there chemistry with, in this instance, Wilde. Fortunately whatever edge is lacking materializes whenever Carrey’s ridiculously ombré-tressed daredevil is on screen. Using his now-battered, still-malleable features to full effect, he’s a whole different ball of cheese, lampooning those who will go to any lengths — gouging, searing, and maiming — to entertain. (1:40) Metreon. (Chun)

Jack the Giant Slayer (1:55) Metreon.

Jurassic Park 3D "Life finds a way," Jeff Goldblum’s leather-clad mathematician remarks, crystallizing the theme of this 1993 Spielberg classic, which at its core is more about human relationships than genetically manufactured terrors. Of course, it’s got plenty of those, and Jurassic Park doesn’t really need its (admittedly spiffy) 3D upgrade to remain a thoroughly entertaining thriller. The dinosaur effects — particularly the creepy Velociraptors and fan-fave T. rex — still dazzle. Only some early-90s computer references and Laura Dern’s mom jeans mark the film as dated. But a big-screen viewing of what’s become a cable TV staple allows for fresh appreciation of its less-iconic (but no less enjoyable) moments and performances: a pre-megafame Samuel L. Jackson as a weary systems tech; Bob Peck as the park’s skeptical, prodigiously thigh-muscled game warden. Try and forget the tepid sequels — including, dear gawd, 2014’s in-the-works fourth installment. This is all the Jurassic you will ever need. (2:07) 1000 Van Ness, Presidio, SF Center, Shattuck. (Eddy)

No Long before the Arab Spring, a people’s revolution went down in Chile when a 1988 referendum toppled the country’s dictator, Augusto Pinochet, thanks in part to an ad exec who dared to sell the dream to his countrymen and women — using the relentlessly upbeat, cheesy language of a Pepsi Generation. In No‘s dramatization of this true story, ad man Rene Saavedra (Gael Garcia Bernal) is approached by the opposition to Pinochet’s regime to help them on their campaign to encourage Chile’s people to vote "no" to eight more years under the brutal strongman. Rene’s well-aware of the horrors of the dictatorship; not only are the disappeared common knowledge, his activist ex (Antonia Zegers) has been beaten and jailed with seeming regularity. Going up against his boss (Alfredo Castro), who’s overseeing the Pinochet campaign, Rene takes the brilliant tact in the opposition’s TV programs of selling hope — sound familiar? — promising "Chile, happiness is coming!" amid corny mimes, dancers, and the like. Director-producer Pablo Larrain turns out to be just as genius, shooting with a grainy U-matic ’80s video camera to match his footage with 1988 archival imagery, including the original TV spots, in this invigorating spiritual kin of both 2012’s Argo and 1997’s Wag the Dog. (1:50) Opera Plaza, Shattuck. (Chun)

Olympus Has Fallen Overstuffed with slo-mo shots of the flag rippling (in breezes likely caused by all the hot air puffing up from the script), this gleefully ham-fisted tribute to America Fuck Yeah estimates the intelligence of its target audience thusly: an establishing shot clearly depicting both the Washington Monument and the US Capitol is tagged "Washington, DC." Wait, how can you tell? This wannabe Die Hard: The White House follows the one-man-army crusade of secret service agent Mike Banning (Gerard Butler), the last friendly left standing when the President (Aaron Eckhart) and assorted cabinet members are taken hostage by North Korean terrorists. The plot is to ridiculous to recap beyond that, though I will note that Morgan Freeman (as the Speaker of the House) gets to deliver the line "They’ve just opened the gates of hell!" — the high point in a performance that otherwise requires him to sit at a table and look concerned for two hours. With a few more over-the-top scenes or slightly more adventurous casting, Olympus Has Fallen could’ve ascended to action-camp heights. Alas, it’s mostly just mildly amusing, though all that caked-on patriotism is good for a smattering of heartier guffaws. (2:00) Four Star, 1000 Van Ness, SF Center, Sundance Kabuki. (Eddy)

On the Road Walter Salles (2004’s The Motorcycle Diaries) engages Diaries screenwriter Jose Rivera to adapt Jack Kerouac’s Beat classic; it’s translated to the screen in a streamlined version, albeit one rife with parties, drugs, jazz, danger, reckless driving, sex, philosophical conversations, soul-searching, and "kicks" galore. Brit Sam Riley (2007’s Control) plays Kerouac stand-in Sal Paradise, observing (and scribbling down) his gritty adventures as they unfold. Most of those adventures come courtesy of charismatic, freewheeling Dean Moriarty (Garrett Hedlund of 2010’s Tron: Legacy), who blows in and out of Sal’s life (and a lot of other people’s lives, too, including wives played by Kristen Stewart and Kirsten Dunst). Beautifully shot, with careful attention to period detail and reverential treatment of the Beat ethos, the film is an admirable effort but a little too shapeless, maybe simply due to the peripatetic nature of its iconic source material, to be completely satisfying. Among the performances, erstwhile teen dream Stewart is an uninhibited standout. (2:03) Shattuck, Smith Rafael. (Eddy)

Oz: The Great and Powerful Providing a backstory for the man behind the curtain, director Sam Raimi gives us a prequel of sorts to 1939’s The Wizard of Oz. Herein we follow the adventures of a Depression-era Kansas circus magician named Oscar (James Franco) — Oz to his friends — as he cons, philanders, bickers with his behind-the-scenes assistant Frank (Zach Braff), and eventually sails away in a twister, bound for a Technicolor land of massively proportioned flora, talking fauna, and witches ranging from dazzlingly good to treacherously wicked. From one of them, Theodora (Mila Kunis), he learns that his arrival — in Oz, just to clarify — has set in motion the fulfillment of a prophecy: that a great wizard, also named Oz, will bring about the downfall of a malevolent witch (Rachel Weisz), saving the kingdom and its cheery, goodhearted inhabitants. Unfortunately for this deserving populace, Oz spent his last pre-twister moments with the Baum Bros. Circus (the name a tribute to L. Frank Baum, writer of the Oz children’s books) demonstrating a banged-up moral compass and an undependable streak and proclaiming that he would rather be a great man than a good man. Unfortunately for the rest of us, this theme is revisited ad nauseam as Oz and the oppressively beneficent witch Glinda (Michelle Williams) — whose magic appears to consist mainly of nice soft things like bubbles and fog — stand around debating whether he’s the right man for the task. When the fog clears, though, the view is undeniably pretty. While en route to and from the Emerald City, Oz and his companions — among them a non-evil flying monkey (voiced by Braff) and a rather adorable china doll (Joey King) — wander through a deliriously arresting, Fantasia-esque landscape whose intricate, inventive construction helps distract from the plodding, saccharine rhetoric and unappealing story line. (2:07) 1000 Van Ness, SF Center, Shattuck, Sundance Kabuki. (Rapoport)

The Place Beyond the Pines Powerful indie drama Blue Valentine (2010) marked director Derek Cianfrance as one worthy of attention, so it’s with no small amount of fanfare that this follow-up arrives. The Place Beyond the Pines‘ high profile is further enhanced by the presence of Bradley Cooper (currently enjoying a career ascension from Sexiest Man Alive to Oscar-nominated Serious Actor), cast opposite Valentine star Ryan Gosling, though they share just one scene. An overlong, occasionally contrived tale of three generations of fathers, father figures, and sons, Pines‘ initial focus is Gosling’s stunt-motorcycle rider, a character that would feel more exciting if it wasn’t so reminiscent of Gosling’s turn in Drive (2011), albeit with a blonde dye job and tattoos that look like they were applied by the same guy who inked James Franco in Spring Breakers. Robbing banks seems a reasonable way to raise cash for his infant son, as well as a way for Pines to draw in another whole set of characters, in the form of a cop (Cooper) who’s also a new father, and who — as the story shifts ahead 15 years — builds a political career off the case. Of course, fate and the convenience of movie scripts dictate that the mens’ sons will meet, the past will haunt the present and fuck up the future, etc. etc. Ultimately, Pines is an ambitious film that suffers from both its sprawl and some predictable choices (did Ray Liotta really need to play yet another dirty cop?) Halfway through the movie I couldn’t help thinking what might’ve happened if Cianfrance had dared to swap the casting of the main roles; Gosling could’ve been a great ambitious cop-turned-powerful prick, and Cooper could’ve done interesting things with the Evel Knievel-goes-Point Break part. Just sayin’. (2:20) California, Embarcadero, Piedmont, Sundance Kabuki. (Eddy)

Quartet Every year there’s at least one: the adorable-old-cootfest, usually British, that proves harmless and reassuring and lightly tear/laughter producing enough to convince a certain demographic that it’s safe to go to the movies again. The last months have seen two, both starring Maggie Smith (who’s also queen of that audience’s home viewing via Downton Abbey). Last year’s The Best Exotic Marigold Hotel, in which Smith played a bitchy old spinster appalled to find herself in India, has already filled the slot. It was formulaic, cute, and sentimental, yes, but it also practiced more restraint than one expected. Now here’s Quartet, which is basically the same flower arrangement with quite a bit more dust on it. Smith plays a bitchy old spinster appalled to find herself forced into spending her twilight years at a home for the elderly. It’s not just any such home, however, but Beecham House, whose residents are retired professional musicians. Gingerly peeking out from her room after a few days’ retreat from public gaze, Smith’s Jean Horton — a famed English soprano — spies a roomful of codgers rolling their hips to Afropop in a dance class. "This is not a retirement home — this is a madhouse!" she pronounces. Oh, the shitty lines that lazy writers have long depended on Smith to make sparkle. Quartet is full of such bunk, adapted with loving fidelity, no doubt, from his own 1999 play by Ronald Harwood, who as a scenarist has done some good adaptations of other people’s work (2002’s The Pianist). But as a generator of original material for about a half-century, he’s mostly proven that it is possible to prosper that long while being in entirely the wrong half-century. Making his directorial debut: 75-year-old Dustin Hoffman, which ought to have yielded a more interesting final product. But with its workmanlike gloss and head-on take on the script’s very predictable beats, Quartet could as well have been directed by any BBC veteran of no particular distinction. (1:38) Opera Plaza, Shattuck, Smith Rafael. (Harvey)

Reality Director Matteo Garrone’s Cannes Grand Prix winner couldn’t be more different from his 2008 Gomorrah, save one similarity: that film was about organized crime, and dark comedy Reality stars Aniello Arena, a former gangster who was allowed out of prison to shoot his scenes. All things considered, he’s rather winning as Neapolitan everyman Luciano, whose daily life slinging fish can’t compete with his big dreams of appearing on the Italian version of Big Brother. He makes it through the second round of auditions — and soon starts believing he’s being watched by casting agents considering whether to put him on the show. His level-headed wife (Loredane Simioli) suspects he’s being paranoid (as does the audience, before long), though he’s told "never give up!" by cheesy-sleazy Big Brother vet Enzo (Raffaele Ferrante), a character clearly designed to comment on reality TV’s own peculiar brand of insta-fame. Nobody who’s ever watched reality TV will be surprised at the film’s ultimate messages about the hollow rewards of that fame, but Arena’s powerful performance makes the journey worthwhile. (1:55) Sundance Kabuki. (Eddy)

Renoir The gorgeous, sun-dappled French Riviera setting is the high point of this otherwise low-key drama about the temperamental women (Christa Theret) who was the final muse to elderly painter Auguste Renoir (Michel Bouquet), and who encouraged the filmmaking urges in his son, future cinema great Jean (Vincent Rottiers). Cinematographer Mark Ping Bin Lee (who’s worked with Hou Hsiao-hsein and Wong Kar Wai) lenses Renoir’s leafy, ramshackle estate to maximize its resemblance to the paintings it helped inspire; though her character, Dédée, could kindly be described as "conniving," Theret could not have been better physically cast, with tumbling red curls and pale skin she’s none too shy about showing off. Though the specter of World War I looms in the background, the biggest conflicts in Gilles Bourdos’ film are contained within the household, as Jean frets about his future, Dédée faces the reality of her precarious position in the household (which is staffed by aging models-turned-maids), and Auguste battles ill health by continuing to paint, though he’s in a wheelchair and must have his brushes taped to his hands. Though not much really happens, Renoir is a pleasant, easy-on-the-eyes experience. (1:51) Clay, Shattuck, Smith Rafael. (Eddy)

The Revolutionary Optimists If the children, as someone once sang, are our future, the inspiring work done by youth activists living in the slums of Kolkata, India hints that there might be brighter days ahead for some of the poorest communities in the world. Under the guidance of Amlan Ganguly and his non-profit, Prayasam, kids whose daily struggles include lacking easy access to drinking water, having to work backbreaking long hours at the local brick field, and worrying that their parents will marry them off as soon as they turn 13, find hope via education and artistic expression. Sensitively directed over the span of several years by Nicole Newnham (who made the excellent 2006 doc The Rape of Europa) and Maren Grainger-Monsen, The Revolutionary Optimists shows stories of both success (12-year-old sparkplug Salim speaks before Parliament about bringing water to his neighborhood) and failure (16-year-old Priyanka is forced into an abusive marriage, ending her dreams of becoming a dance teacher). With harsh reality keeping its stories firmly grounded, the film — which is, of course, ultimately optimistic — offers a look at how the youngest members of a community can help effect real change. (1:23) Marina. (Eddy)

The Sapphires The civil rights injustices suffered by these dream girls may be unique to Aboriginal Australians, but they’ll strike a chord with viewers throughout the world — at right about the same spot stoked by the sweet soul music of Motown. Co-written by Tony Briggs, the son of a singer in a real-life Aboriginal girl group, this unrepentant feel-gooder aims to make the lessons of history go down with the good humor and up-from-the-underdog triumph of films like The Full Monty (1997) — the crucial difference in this fun if flawed comedy-romance is that it tells the story of women of color, finding their voices and discovering, yes, their groove. It’s all in the family for these would-be soul sisters, or rather country cousins, bred on Merle Haggard and folk tunes: there’s the charmless and tough Gail (Deborah Mailman), the soulful single mom Julie (Jessica Mauboy, an Australian Idol runner-up), the flirty Cynthia (Miranda Tapsell), and the pale-skinned Kay (Shari Sebbens), the latter passing as white after being forcibly "assimilated" by the government. Their dream is to get off the farm, even if that means entertaining the troops in Vietnam, and the person to help them realize that checkered goal is dissolute piano player Dave (Chris O’Dowd). And O’Dowd is the breakout star to watch here — he adds an loose, erratic energy to an otherwise heavily worked story arc. So when romance sparks for all Sapphires — and the racial tension simmering beneath the sequins rumbles to the surface — the easy pleasures generated by O’Dowd and the music (despite head-scratching inclusions like 1970’s "Run Through the Jungle" in this 1968-set yarn), along with the gently handled lessons in identity politics learned, obliterate any lingering questions left sucking Saigon dust as the narrative plunges forward. They keep you hanging on. (1:38) Albany, Piedmont, SF Center. (Chun)

Side Effects Though on the surface Channing Tatum appears to be his current muse, Steven Soderbergh seems to have gotten his smart, topical groove back, the one that spurred him to kick off his feature filmmaking career with the on-point Sex, Lies, and Videotape (1989) and went missing with the fun, featherweight Ocean’s franchise. (Alas, he’s been making claims that Side Effects will be his last feature film.) Here, trendy designer antidepressants are the draw — mixed with the heady intoxicants of a murder mystery with a nice hard twist that would have intrigued either Hitchcock or Chabrol. As Side Effects opens, the waifish Emily Taylor (Rooney Mara), whose inside-trading hubby (Tatum) has just been released from prison, looks like a big-eyed little basket of nerves ready to combust — internally, it seems, when she drives her car into a wall. Therapist Jonathan Banks (Jude Law), who begins to treat her after her hospital stay, seems to care about her, but nevertheless reflexively prescribes the latest anti-anxiety med of the day, on the advice of her former doctor (Catherine Zeta-Jones). Where does his responsibility for Emily’s subsequent actions begin and end? Soderbergh and his very able cast fill out the issues admirably, with the urgency that was missing from the more clinical Contagion (2011) and the, ahem, meaty intelligence that was lacking in all but the more ingenious strip scenes of last year’s Magic Mike. (1:30) 1000 Van Ness. (Chun)

The Silence Maybe "fun" is a tasteless way to describe The Silence, which hinges on pederasty and child murder — though in the end this is more an intelligent pulp thriller than serious address of those issues, uneasily as it straddles both at times. In 1986 two men abduct an 11-year-old girl — one the initially excited, then horrified observer to the second’s murderous sexual assault. Twenty-three years later, another young girl disappears in the same place under disturbingly identical circumstances. This event gradually pulls together a large cast of characters, many initial strangers — including the original victim’s mother (Katrin Sass) and the just-retired detective (Burghart Klaubner) who failed to solve that crime; parents (Karoline Eichhorn, Roeland Wiesnekker) of the newly disappeared teen, who experience full-on mental meltdown; a solidly bourgeoise husband and father of two girls (Wotan Wilke Möhring), inordinately distressed by this repeat of history; and the erstwhile friend he hasn’t contacted in decades, an apartment-complex handyman with a secret life (Ulrich Thomsen). Part procedural, part psychological thriller, part small-town-community portrait, director-scenarist (from Jan Costin Wagner’s novel) Baran bo Odar’s The Silence is just juicy and artful enough to get away with occasional stylistic hyperbole. It’s a conflicted movie, albeit handled with such engrossing confidence that you might not notice the credibility gaps. At least until thinking it over later. Which, don’t. (1:59) Opera Plaza. (Harvey)

Silver Linings Playbook After guiding two actors to Best Supporting Oscars in 2010’s The Fighter, director David O. Russell returns (adapting his script from Matthew Quick’s novel) with another darkly comedic film about a complicated family that will probably earn some gold of its own. Though he’s obviously not ready to face the outside world, Pat (Bradley Cooper) checks out of the state institution he’s been court-ordered to spend eight months in after displaying some serious anger-management issues. He moves home with his football-obsessed father (Robert De Niro) and worrywart mother (Jacki Weaver of 2010’s Animal Kingdom), where he plunges into a plan to win back his estranged wife. Cooper plays Pat as a man vibrating with troubled energy — always in danger of flying into a rage, even as he pursues his forced-upbeat "silver linings" philosophy. But the movie belongs to Jennifer Lawrence, who proves the chops she showcased (pre-Hunger Games megafame) in 2010’s Winter’s Bone were no fluke. As the damaged-but-determined Tiffany, she’s the left-field element that jolts Pat out of his crazytown funk; she’s also the only reason Playbook‘s dance-competition subplot doesn’t feel eye-rollingly clichéd. The film’s not perfect, but Lawrence’s layered performance — emotional, demanding, bitchy, tough-yet-secretly-tender — damn near is. (2:01) Metreon, Presidio, Sundance Kabuki. (Eddy)

Spring Breakers The idea of enfant terrible emeritus Harmony Korine — 1997’s Gummo, 2007’s Mister Lonely, 2009’s Trash Humpers — directing something so utterly common as a spring break movie is head-scratching enough, even moreso compounded by the casting of teen dreams Vanessa Hudgens, Selena Gomez, and Ashley Benson as bikini-clad girls gone wild. James Franco co-stars as drug dealer Alien, all platinum teeth and cornrows and shitty tattoos, who befriends the lasses after they’re busted by the fun police. "Are you being serious?" Gomez’s character asks Alien, soon after meeting him. "What do you think?" he grins back. Unschooled filmgoers who stumble into the theater to see their favorite starlets might be shocked by Breakers‘ hard-R hijinks. But Korine fans will understand that this neon-lit, Skrillex-scored tale of debauchery and dirty menace is not to be taken at face value. The subject matter, the cast, the Britney Spears songs, the deliberately lurid camerawork — all carefully-constructed elements in a film that takes not-taking-itself-seriously, very seriously indeed. Korine has said he prefers his films to make "perfect nonsense" instead of perfect sense. The sublime Spring Breakers makes perfect nonsense, and it also makes nonsense perfect. (1:34) 1000 Van Ness, SF Center, Shattuck, Sundance Kabuki. (Eddy)

Starbuck Starbuck has a great (if not entirely original) comedic concept it chooses to play seriocomedically — i.e., less for the laughs it seldom earns than for the heart-tugging it eventually pretty much does. An ingratiatingly rumpled Patrick Huard (a major Quebec star best known for the mega-hit Les Boys series and 2006’s Good Cop, Bad Cop) plays David, erstwhile stellar contributor to a Montreal sperm bank in his salad days. Now older but no wiser, he finds himself confronted by the reality of 533 biologically fathered, now-grown offspring who’ve filed a class action lawsuit to discover his identity even as he deals with mob debt and an exasperated, pregnant semi-ex-girlfriend (Julie LeBreton). This is one of those "loser manboy must semi-grow up fast amid crisis, finding family values en route" scenarios tailor-fit for Adam Sandler. That said, the overlong, stubbornly endearing Starbuck is so much less insufferable than anything Sandler has made since … um, ever? Halfway through, this agreeable movie gets clever — as David stumbles into a meeting of his prodigious anonymous progeny — and remains reasonably so to the satisfyingly hard-won happy ending. It’s still got moments of contrivance, editorial fat (too many montages, for one thing), and more climactic hugs than any self-respecting dramedy needs to get the redemptive point across. Yet it’s also got something few comedies of any national origin have today: a lovely, distinctive, bright yet non-cartoonish widescreen look. (1:48) Opera Plaza. (Harvey)

Tyler Perry’s Temptation: Confessions of a Marriage Counselor (2:06) 1000 Van Ness, Shattuck.

Warm Bodies A decade and a half of torrid, tormented vampire-human entanglements has left us accustomed to rooting for romances involving the undead and the still-alive. Some might argue, however, that no amount of pop-cultural prepping could be sufficient to get us behind a human-zombie love story for the ages. Is guzzling human blood really measurably less gross than making a meal of someone’s brains and other body parts? Somehow, yes. Recognizing this perceptual hurdle, writer-director Jonathan Levine (2011’s 50/50, 2008’s The Wackness) secures our sympathies at the outset of Warm Bodies by situating us inside the surprisingly active brain of the film’s zombie protagonist. Zombies, it turns out, have internal monologues. R (Nicholas Hoult) can only remember the first letter of his former name, but as he shambles and shuffles and slumps his way through the terminals of a postapocalyptic airport overrun by his fellow corpses (as they’re called by the film’s human population), he fills us in as best he can on the global catastrophe that’s occurred and his own ensuing existential crisis. By the time he meets not-so-cute with Julie (Teresa Palmer), a young woman whose father (John Malkovich) is commander-in-chief of the human survivors living in a walled-off city center, we’ve learned that he collects vinyl, that he has a zombie best friend, and that he doesn’t want to be like this. We may still be flinching at the thought of his and Julie’s first kiss, but we’re also kind of rooting for him. The plot gapes in places, where a tenuous logic gets trampled and gives way, but Levine’s script, adapted from a novel by Isaac Marion, is full of funny riffs on the zombie condition, which Hoult invests with a comic sweetness as his character staggers toward the land of the living. (1:37) Metreon. (Rapoport)

Silent sting

Andrew Lam
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12
Silent sting

rebecca@sfbg.com

If the FBI is trying to track down a suspect in your neighborhood, investigators could sweep up information from your mobile device just because you happen to be nearby.

It’s been going on for years with little public notice or attention.

Records obtained through the Freedom of Information Act request shed new light on a surveillance device known as a Stingray that allows law enforcement to automatically collect cell phone data from potentially hundreds of subscribers in a given area — even when the vast majority of those affected have nothing to do with the criminal investigation at hand.

The documents came in response to an FOIA request from the Bay Guardian and the Northern California Chapter of the American Civil Liberties Union.

Stingray is a brand name; the devices might also be known as a Triggerfish, a digital analyzer, a cell site emulator, or an IMSI catcher, the latter being a technical term describing the gadget’s ability to detect International Mobile Subscriber Identities. It essentially behaves like cell phone tower, putting out a strong signal that tricks mobile devices into connecting automatically.

If there are 200 cell phone customers in an area where it’s being deployed, all of their phones will automatically connect to the device.

Once cell phones are talking to the Stingray, the device scoops up digital information and uses it to help agents ferret out their target. Some Stingrays have the capability to capture actual content — texts or telephone conversations — while others act like eyes and ears that can guide police to the precise geographic location of a targeted suspect, even within a couple meters.

And it doesn’t even require a warrant.

“You can operate it without having to involve the cell phone providers at all,” Peter Scheer, executive director of the California First Amendment Coalition, told us. His organization helped a journalist obtain records about the Los Angeles Police Department’s use of Stingrays.

“The service providers, while they don’t stand as a major barrier, tend to insist on police having some kind of judicial authorization,” Scheer said. “It has been an important check on police use of these technologies.”

MANY AGENTS USING IT

The FBI initially refused to provide the documents, but after the ACLU filed suit, the U.S. Attorney for the Northern District of California finally released some information, including a particularly juicy set of internal emails documenting federal agents’ use of these devices.

In one of the emails, Criminal Division Chief Miranda Kane wrote: “Our office has been working closely with the magistrate judges in an effort to address their collective concerns regarding whether a pen register is sufficient to authorize the use of law enforcement’s WIT technology … to locate an individual.”

(“WIT technology” is described as a box that simulates a cell tower and can be placed inside a van to help pinpoint an individual’s location with some specificity.”)

Kane added: “Many agents are still using [this] technology in the field although the pen register application does not make that explicit.” In a clarifying email sent later on the same thread, Assistant U.S. Attorney Kyle Waldinger noted: “Just to be super clear, the agents may not use the term ‘WIT’ but rather may be using the term … ‘Stingray.'”

Kane’s reference to a “pen register application” describes a request for court approval to use an investigative tactic that can trace the outgoing numbers dialed from a particular phone. While Stingrays can potentially sweep in hundreds of cell phone customers’ information, pen-register wiretaps focus narrowly on the digits being punched in by one individual.

The US Supreme Court ruled in 1979 that the use of a pen register is “not a search under the Fourth Amendment,” Susan Freiwald, a law professor at the University of San Francisco, told us. That means law-enforcement agents don’t need a full-scale search warrant. And court orders permitting pen-register wiretaps are “really easy to get,” Friewald explained.

To secure a judge’s blessing, law enforcement agents need only to submit complete applications and show that the phone numbers dialed are “relevant” to an investigation.

Kane’s email, dated in 2011, is significant because it suggests that “many agents” were using Stingrays for investigations after clearing only the low hurdle of court approval for a pen register. “The federal government was routinely using Stingray technology in the field, but failing to make that explicit in its applications to the court to engage in electronic surveillance,” ACLU Staff Attorney Linda Lye wrote in a recent blog post. “When the magistrate judges in the Northern District of California finally found out what was happening, they expressed ‘collective concerns,’ according to the emails.”

The revelation is closely tied to an electronic surveillance case that’s currently making its way through court, most recently prompting the ACLU and the Electronic Frontier Foundation to file an amicus brief challenging the constitutionality of a Stingray use.

TRACKING A HACKER

It all began back in 2008, when FBI agents used the technology to track down a hacker and alleged fraudster named Daniel David Rigmaiden — a guy who sometimes goes by an alias, represented himself in court, and seems to possess enough technical savvy and disposable income to challenge his prosecutors at every turn.

Through discovery proceedings, Rigmaiden “managed to get the government to admit that it has used this location tracking technology to find him,” Lye noted. “That is quite extraordinary, because there have been suspicions that that this device has been around and in use for quite a long time, but there are really very few cases where we talk about it, and this is the only criminal case where the government has plainly admitted to using it to locate a suspect.”

Because FBI agents used a Stingray to locate Rigmaiden, they not only figured out that he was inside a Santa Clara apartment building, but successfully sniffed down to the level of his exact unit.

But the request for court orders that authorized this investigation made only a fleeting mention of a mobile tracking device, without conveying just how powerful the surveillance tool actually is. “When we read the orders, we were very, very surprised and troubled,” Lye said. “Because the government was arguing in the criminal proceeding in Rigmaiden, yes, we acknowledge that we’ve used this cell site emulator, and we’re even … acknowledging that the device is intrusive enough in the way it operates to constitute a search — which is a significant concession.”

In this case, the FBI agents obtained a court order to use a pen register, and separately obtained court approval to solicit Verizon’s help in locating Rigmaiden, which the government claims constituted a warrant (though this is a point of contention). But nowhere did agents make it clear to the judge that in order to work, this surveillance device vacuums up vast amounts of third-party data. The search potentially affected hundreds of subscribers in Rigmaiden’s apartment complex, none of whom were suspected of any involvement in wrongdoing. The government noted in court filings that it purged the third-party data after the fact, presumably as a way to deflect privacy concerns.

“It did not explain that the device broadcasts signals to all devices in the area, receives information about other devices in the possession of third parties, potentially disrupts the connections of third-party devices, and penetrates the walls of every private residence in the vicinity, not solely that of the target,” the ACLU-EFF brief argues.

At the end of March, Lye argued in an Arizona federal court hearing that evidence gathered using a Stingray should be suppressed in the Rigmaiden case, because the government used the tracking tool but failed to tell the federal magistrate judge that it was doing so. But in the course of that hearing, “the government stated … that ‘use of these devices is a very common practice,'” Lye note in an update following the hearing. “It also stated that there were many parts of the country in which the FBI successfully obtains authorization to use this device through a trap and trace [pen register] order.”

Nor is it just federal agencies that use these surveillance tools. The results of a FOIA request filed by a Los Angeles journalist with the assistance of the First Amendment Coalition revealed that LAPD used this technology in 21 out of 155 cell phone investigation cases — from June to September of last year alone. The devices were used to investigate five homicide cases and a roster of other offenses, including a burglary, a narcotics investigation, two suicides, a robbery and three kidnappings.

For civil liberties advocates, the aim is to require stronger judicial oversight and a warrant before this kind of surveillance practice can be used. “The argument here is about, well this technology is so powerful and so intrusive — it really needs to be under extensive oversight by members of the judiciary,” notes Friewald, the law professor. “And in order for that to happen, the judge needs to have that technology described to them.”

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