California

Don’t police the pot docs

Michael Redmond
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By Ahimsa Porter Sumchai

OPINION

Senate Bill 1262 was introduced in the California Senate on Feb. 21 by veteran legislator Lou Correa. It is a medical marijuana bill designed to regulate physicians, dispensaries, and cultivation sites via rigid government oversight. Sponsored by the California Police Chiefs Association, SB 1262 promises to “provide a clear road map for the responsible implementation of Proposition 215 in California since voters approved it in 1996.”

The Compassionate Use Act of 1996, which created Heath & Safety Code 11362.5, ensures that seriously ill Californians have the right to obtain and use marijuana for medical purposes when the use is deemed appropriate and recommended by a physician.

As a licensed physician with a registered medical practice in San Francisco, I have reviewed the wording of SB 1262. The bill is highly punitive, clearly seeking to punish doctors who recommend medical marijuana (MM). SB 1262 concerns me most because it duplicates and violates existing state and federal statutes that clarify the physicians’ role in recommending MM.

In the 2002 case Conant v. McCaffrey, the federal government was enjoined by the US District Court in San Francisco from punishing physicians for recommending MM. That ruling affirms physicians’ First Amendment right to make recommendations.

SB 1262 requires the Medical Board of California to audit any physician who recommends MM more than 100 times a year. On April 2, the US Supreme Court struck down limits on federal campaign donations under the auspices of First Amendment free speech rights. Thus, a SCOTUS precedent was set that can be legally interpreted to defend a physician’s free speech right to authorize as many patients to use MM as deemed medically necessary.

SB 1262 establishes requirements for prescribing and record-keeping for physicians who recommend MM in a bill sponsored by law enforcement officials who lack medical or relevant education training. Guidelines and accepted standards for recommending MM were developed by licensed California physicians and adopted by the MBC on May 7, 2004.

SB 1262 violates the California law that protects the privacy of patient medical information — The Confidentiality of Medical Information Act — as well as federal law protecting health information, by mandating physicians report all MM recommendations along with private patient records. The Health Insurance Portability and Accountability Act (HIPAA) requires patient authorization for disclosure of patient health information. HIPAA is a federal regulation, and MBC has no authority to evaluate HIPAA violations.

SB 1262 mandates a training and certification requirement for any doctor who recommends MM, with a $5,000 fine for noncompliance. I support SB 1262’s efforts to establish standards for quality assurance and testing of marijuana cultivated for medical use, but even that section duplicates guidelines developed and adopted by the Attorney General’s Office in 2008.

Physicians are capable of regulating their practice standards without law enforcement oversight and SB 1262 is opposed by the California Medical Association, which issued guidelines for physicians recommending MM in 2004, which includes proper record-keeping and annual examinations.

“Medical marijuana evaluation clinics are engaged in the practice of medicine, and physicians are responsible for their patients,” that 20-page Digest for Medical Marijuana Clinics affirms.

Marijuana remains listed in Schedule 1 of the federal Controlled Substances Act and has no accepted medical use. The lack of dose response curve research conducted in large population-controlled trials coupled with the lack of standardized cannabinoid profiling, potency, pesticide, and microbiological testing make it difficult for the physician to offer dosing recommendations for MM short of the adage “start low, go slow.”

The American Public Health Association, American Academy of HIV Medicine, and many other medical institutions join Americans for Safe Access — the largest member-based marijuana advocacy organization in the country — in promoting safe and legal access to MM for therapeutic uses and research. Polling shows Americans of all political stripes support medical marijuana, and SB 1262 would be a step backward that the public doesn’t want to take.

Ahimsa Porter Sumchai is a physician and former District 10 supervisorial candidate.

Guardian Intelligence: April 30 – May 6, 2014

Michael Redmond
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ONE FOR THE BOOKS

Polish your reading glasses: Sat/3 marks this first ever California Bookstore Day, a party featuring readings, author and artist appearances, and one-day-only, limited-edition book releases, taking place simultaneously at some 90 bookstores up and down the state. It’s modeled on the mega-successful Record Store Day, natch. A dozen bookstores in San Francisco have signed on, including Green Apple, City Lights, Booksmith, Books Inc., and Borderlands. Check www.cabookstoreday.com to find the celebration closest to you. Because hey, what kind of party has Amazon thrown for you lately?

ANOTHER ONE BITES THE DUST

The Attic, the dank 24th Street dive bar known for its decrepit vinyl booths, a pervasive questionable smell, and, somehow, boatloads of charm, closed its doors for good last week. Those in the know say owner Roger Howell (a former owner of Mad Dog in the Fog) will be using his liquor license at the schmancy new Gashead Tavern on Mission. No word yet on whether there will be DJs at that establishment who play nothing but the Clash if you ask them, or bartenders who give you endless bowls of Goldfish crackers, or a welcoming gang of hard-drinking regulars who cheer when you find your phone still at the bar after leaving it there the night before. RIP.

AIRBNB REG SHIT SHOW

Last year, when we at the Guardian were the only ones shouting about Airbnb‘s tax evasion and illegal short-term rentals, is was a lonely struggle. Then other journalists caught onto the story, Sup. David Chiu introduced his regulatory legislation a couple weeks ago, and the issue began to heat up. This week it all became a full-blown shit show, with rival rallies at City Hall on April 29. Opponents of the legislation are threatening a fall ballot measure that would reinforce the short-term rental ban in residential areas and give rewards to people who rat out their Airbnb-using neighbors. Perhaps we should be careful what we wish for.

MANY HAPPY RETURNS

It’s alive! The UC Theatre — the 1,460-seat Berkeley landmark, once beloved for its killer repertory film programming, but closed since 2001 — will undergo an eight-month renovation starting this summer and re-open as a nonprofit live music venue in 2015. According to a press release sent out by its new directors, Berkeley Music Group, the venue will present “approximately 75 to 100 shows a year, featuring a culturally diverse range of local, national, and international artists performing music genres ranging from Americana to zydeco and everything in between.” Located just two blocks from the Downtown Berkeley BART station, it will feature both touring and local bands and musicians, as well as comedy shows, a speaker series, and (yesss!) film screenings. Bonus: a full-service restaurant and bar, too. Bookmark www.theuctheatre.org to stay posted on the latest.

GLOBAL ECO-ACTIVISTS HONORED

Six winners of the Goldman Environmental Prize were awarded this week in San Francisco. The prestigious awards were given to Desmond D’Sa of South Africa, who organized a campaign to shut down a toxic waste dump; Ramesh Agrawal of India, who led disenfranchised communities in a successful effort to seek information on industrial activities and shut down a proposed coal mine; Suren Gazaryan of Russia, who helped expose the illegal use of federally protected forestland; Rudi Putra of Indonesia, who is targeting palm oil plantations that have triggered massive deforestation; Helen Slottje of New York, who provided pro-bono legal assistance to help pass bans on fracking; and Ruth Buendía Mestoquiari who led indigenous people of Peru in a fight against large-scale dams that would have displaced them.

WESTERN HIPNESS

Missionites and other east-side San Franciscans are always bashing the Outer Richmond and the Outer Sunset. Dubbed the Outerlands, its too foggy, too far, too quiet, or too-blah to make the visit worthwhile. You know what? The Outerlands doesn’t need you anymore, Mission! They’ve got a brand new parklet at Simple Pleasures Cafe on 35th avenue. Soon they’ll have overpriced coffee, Google buses, and white-washed ethnic food too! Avenues, represent.

TECH HEAD GOES FREE

San Francisco-based RaidumOne CEO Gurbaksh Chalal allegedly beat his girlfriend 117 times, but the man will not go to jail. A jury found Chalal guilty of misdemeanor violence and battery charges, and will serve three years probation, spend 52 weeks in a domestic violence program and perform 25 hours of community service. The court through out video evidence of the incident that police had seized from Chalal’s home as inadmissible. Chalal wrote on his blog, “This was all overblown drama because it generates huge volumes of page views for the media given what I have accomplished in the valley.” He then invoked the “American Dream” and lamented the cost to his soon-to-go-public company. Silicon Valley doesn’t have an entitlement problem. Nope.

FLAPPING FANCY

The Guardian’s Roaring ’20s-themed “Feathers and Fedoras” party last Friday at the de Young Museum drew a huge crowd of vintage-lovers. Zincalo Trio performed old-time favorites and gypsy jazz, the flapper-attired Decobelles dance troupe did a mean Charleston, and the de Young’s dazzling “Georgia O’Keefe and Lake George” exhibit provided a perfect artistic backdrop.

NOW READ THESE

The 2014 Northern California Independent Book Awards were announced last week, and must-read winners include Anthony Marra’s A Constellation of Vital Phenomena (fiction), George Albon’s Fire Break (poetry), Mary Roach’s Gulp: Adventures on the Alimentary Canal (nonfiction), Amy Stewart’s The Drunken Botanist (food writing) and Al Capone Does My Homework by Gennifer Choldenko (middle-grade readers). The NCIBA winners were determined by a coalition of independent bookstores, see more at www.nciba.com

CLIPPERS OWNER RACISM

How did people react to the racist comments allegedly made by Los Angeles Clippers owner Don Sterling? Clippers players: Removed their warmup shirts in a silent protest so that Clippers team logos would not be displayed. Magic Johnson: “He shouldn’t own a team any more. And he should stand up and say, ‘I don’t want to own a team any more.'”

President Barack Obama: “When ignorant folks want to advertise their ignorance, you don’t really have to do anything, you just let ’em talk.”

Snoop Dogg (in an online video addressing Sterling directly): “Fuck you, your mama, and everything connected to you, you racist piece of shit.”

 

Guardian endorsements

Michael Redmond
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Guardian endorsements

OUR CLEAN SLATE VOTERS GUIDE TO TAKE TO THE POLLS IS HERE.

 

Editor’s Note: Election endorsements have been a long and proud part of the Guardian’s 48-year history of covering politics in San Francisco, the greater Bay Area, and at the state level. In low-turnout elections like the one we’re expecting in June, your vote counts more than usual, and we hope our endorsements and explanations help you make the best decisions.

 

GOVERNOR: JERRY BROWN

There is much for progressives to criticize in Jerry Brown’s latest stint as governor of California. He has stubbornly resisted complying with federal court orders to substantially reduce the state’s prison population, as well as shielding the system from needed journalistic scrutiny and reforms of solitary confinement policies that amount to torture. Brown has also refused to ban or limit fracking in California, despite the danger it poses to groundwater and climate change, irritating environmentalists and fellow Democrats. Even Brown’s great accomplishment of winning passage for the Prop. 30 tax package, which eased the state back from financial collapse, sunsets too early and shouldn’t have included a regressive sales tax increase. Much more needs to be done to address growing wealth disparities and restore economic and educational opportunity for all Californians.

For these reasons and others, it’s tempting to endorse one of Brown’s progressive challenges: Green Party candidate Luis Rodriguez or Peace and Freedom Party candidate Cindy Sheehan (see “Left out,” April 23). We were particularly impressed by Rodriguez, an inspiring leader who is seeking to bring more Latinos and other marginalized constituencies into the progressive fold, a goal we share and want to support however we can.

But on balance, we decided to give Brown our endorsement in recognition of his role in quickly turning around this troubled state after the disastrous administration of Arnold Schwarzenegger — and in the hope that his strong leadership will lead to even greater improvement over his next term. While we don’t agree with all of his stands, we admire the courage, independence, and vision that Brown brings to this important office. Whether he is supporting the California High-Speed Rail Project against various attacks, calling for state residents to live in greater harmony with the natural world during the current drought, or refusing to shrink from the challenges posed by global warming, Jerry Brown is the leader that California needs at this critical time.

 

LIEUTENANT GOVERNOR: GAVIN NEWSOM

Gavin Newsom was mayor of San Francisco before he ascended to the position of Lieutenant Governor, and we at the Bay Guardian had a strained relationship with his administration, to put it mildly. We disagreed with his fiscally conservative policies and tendency to align himself with corporate power brokers over neighborhood coalitions. As lieutenant governor, Newsom is tasked with little — besides stepping into the role of governor, should he be called upon to do so — but has nevertheless made some worthwhile contributions.

Consider his stance on drug policy reform: “Once and for all, it’s time we realize that the war on drugs is nothing more than a war on communities of color and on the poor,” he recently told a crowd at the Democratic Party convention in Los Angeles. “It is fundamentally time for drug policies that recognize and respect the full dignity of human beings. We can’t wait.” In his capacity as a member of the UC Board of Regents, Newsom recently voted against a higher executive compensation package for a top-level administrator, breaking from the pack to align with financially pinched university students. In Sacramento, Newsom seems to come off as more “San Francisco” than in his mayoral days, and we’re endorsing him against a weak field of challengers.

 

SECRETARY OF STATE: DEREK CRESSMAN

Although the latest Field Poll shows that he has only single-digit support and is unlikely to make the November runoff, we’re endorsing Derek Cressman for Secretary of State. As a longtime advocate for removing the corrupting influence of money from politics through his work with Common Cause, Cressman has identified campaign finance reform as the important first step toward making the political system more responsive to people’s needs. As Secretary of State, Cressman would be in a position to ensure greater transparency in our political system.

We also like Alex Padilla, a liberal Democrat who has been an effective member of the California Senate. We’ll be happy to endorse Padilla in November if he ends up in a runoff with Republican Pete Peterson, as the current polling seems to indicate is likely. But for now, we’re endorsing Cressman — and the idea that campaign finance reform needs to be a top issue in a state and country that are letting wealthy individuals and corporations have disproportionate influence over what is supposed to be a democracy.

 

CONTROLLER: BETTY YEE

The pay-to-play politics of Leland Yee and two other California Democrats has smeared the Assembly. Amid the growls of impropriety, a report by the Center for Investigative Reporting has painted Speaker of the Assembly John Perez, a leading candidate for Controller, with a similar brush. CIR revealed Perez raised money from special interest groups to charities his lover favored, a lover later sued for racketeering and fraud.

Betty Yee represents an opportunity for a fresh start. On the state’s Board of Equalization she turned down campaign donations from tobacco interests, a possible conflict of interest. She also fought for tax equity between same-sex couples. The Controller is tasked with keeping watch on and disbursing state funds, a position we trust much more to Yee’s careful approach than Perez’s questionable history. Vote for Yee.

 

TREASURER: JOHN CHIANG

While serving as California’s elected Controller, John Chiang displayed his courage and independence by refusing to sign off on budgetary tricks used by then-Gov. Arnold Schwarzenegger and some legislative leaders, insisting on a level of honesty that protected current and future Californians. During those difficult years — as California teetered on the brink of bankruptcy, paralyzed by partisan brinksmanship each budget season, written off as a failed state by the national media — Chiang and retiring Treasurer Bill Lockyer were somehow able to keep the state functioning and paying its bills.

While many politicians claim they’ll help balance the budget by identifying waste and corruption, Chiang actually did so, identifying $6 billion by his estimate that was made available for more productive purposes. Now, Chiang wants to continue bringing fiscal stability to this volatile state and he has our support.

 

ATTORNEY GENERAL: KAMALA HARRIS

Kamala Harris has kept the promise she made four years ago to bring San Francisco values into the Attorney General’s Office, focusing on the interests of everyday Californians over powerful vested interests. That includes strengthening consumer and privacy protections, pushing social programs to reduce criminal recidivism rather than the tough-on-crime approach that has ballooned our prison population, reaching an $18 billion settlement with the big banks and mortgage lenders to help keep people in their homes, and helping to implement the Affordable Care Act and the legalization of same-sex marriage in the state.

Harris has maintained her opposition to the death penalty even though that has hurt her in the statewide race, and she brings to the office an important perspective as the first woman and first African American ever to serve as the state’s top law enforcement officer. While there is much more work to be done in countering the power of wealthy individuals and corporations and giving the average Californian a stronger voice in our legal system, Harris has our support.

 

INSURANCE COMMISSIONER: DAVE JONES

We’ve been following Dave Jones’s legislative career since his days on the Sacramento City Council and through his terms in the California Legislature, and we’ve always appreciated his autonomy and progressive values. He launched into his role as Insurance Commissioner four years ago with an emergency regulation requiring health insurance companies to use no more than 20 percent of premiums on profits and administrative costs, and he has continued to do what he can to hold down health insurance rates, including implementing the various components of the Affordable Care Act.

More recently, Jones held hearings looking at whether Uber, Lyft, and other transportation network companies are adequately insured to protect both their drivers and the general public, concluding that these companies need to self-insure or otherwise expand the coverage over their business. It was a bold and important move to regulate a wealthy and prosperous new industry. Jones deserves credit for taking on the issue and he has earned our endorsement.

 

SUPERINTENDENT OF SCHOOLS: TOM TORLAKSON

This race is a critical one, as incumbent Tom Torlakson faces a strong challenge from the charter school cheerleader Marshall Tuck. An investment banker and Harvard alum, Tuck is backed by well-heeled business and technology interests pushing for the privatization of our schools. Tech and entertainment companies are pushing charter schools heavily as they wait in the wings for lucrative education supply contracts, for which charter schools may open the doors. And don’t let Waiting for Superman fool you, charter schools’ successful test score numbers are often achieved by pushing out underperforming special needs and economically disadvantaged students.

As national education advocate Diane Ravitch wrote in her blog, “If Tuck wins, the privatization movement will gain a major stronghold.” California ranks 48th in the nation in education spending, a situation we can thank Prop. 13 for. We’d like to see Torlakson advocate for more K-12 school dollars, but for now, he’s the best choice.

 

BOARD OF EQUALIZATION: FIONA MA

Fiona Ma was never our favorite member of the San Francisco Board of Supervisors, and in the California Legislature, she has seemed more interested in party politics and leadership than moving legislation that is important to San Francisco. There are a few exceptions, such as her attempts last year to require more employers to offer paid sick days and to limit prescription drug co-payments. But she also notoriously tried to ban raves at public venues in 2010, a reactionary bill that was rejected as overly broad.

But the California Board of Equalization might just be a better fit for Ma than the Legislature. She’s a certified public accountant and would bring that financial expertise to the state’s main taxing body, and we hope she continues in the tradition of her BOE predecessor Betty Yee in ensuring the state remains fair but tough in how it collects taxes.

 

ASSEMBLY, DISTRICT 17: DAVID CAMPOS

The race to replace progressive hero Tom Ammiano in the California Assembly is helping to define this important political moment in San Francisco. It’s a contest between the pragmatic neoliberal politics of Board of Supervisors President David Chiu and the populist progressive politics of Sup. David Campos, whom Ammiano endorsed to succeed him.

It’s a fight for the soul of San Francisco, a struggle to define the values we want to project into the world, and, for us at the Bay Guardian, the choice is clear. David Campos is the candidate that we trust to uphold San Francisco’s progressive values in a state that desperately needs that principled influence.

Chiu emphasizes how the two candidates have agreed on about 98 percent of their votes, and he argues that his effectiveness at moving big legislation and forging compromises makes him the most qualified to represent us in Sacramento. Indeed, Chiu is a skilled legislator with a sharp mind, and if “getting things done” — the prime directive espoused by both Chiu and Mayor Ed Lee — was our main criterion, he would probably get our endorsement.

But when you look at the agenda that Chiu and his allies at City Hall have pursued since he came to power — elected as a progressive before pivoting to become a pro-business moderate — we wish that he had been a little less effective. The landlords, tech titans, Realtors, and Chamber of Commerce have been calling the shots in this city, overheating the local economy in a way that has caused rapid displacement and gentrification.

“Effective for whom? That’s what’s important,” Campos told us during his endorsement interview, noting that, “Most people in San Francisco have been left behind and out of that prosperity.”

Campos has been a clear and consistent supporter of tenants, workers, immigrants, small businesses, environmentalists — the vast majority of San Franciscans, despite their lack of power in City Hall. Chiu will sometimes do right by these groups, but usually only after being pushed to do so by grassroots organizing and lobbying efforts.

Campos correctly points out that such lobbying is more difficult in Sacramento, with its higher stakes and wider range of competing interests, than it is on the local level. Chiu’s focus on always trying to find a compromise often plays into the hands of wealthy interests, who sometimes just need to be fought and stopped.

We have faith in Campos and his progressive values, and we believe he will skillfully carry on the work of Ammiano — who is both an uncompromising progressive and an effective legislator — in representing San Francisco’s values in Sacramento.

 

ASSEMBLY, DISTRICT 19: PHIL TING

Incumbent Phil Ting doesn’t have any challengers in this election, but he probably would have won our support anyway. After proving himself as San Francisco’s Assessor, taking a strong stance against corporate landowners and even the Catholic Church on property assessments, Ting won a tough race against conservative businessman Michael Breyer to win his Assembly seat.

Since then, he’s been a reliable vote for legislation supported by most San Franciscans, and he’s sponsoring some good bills that break new ground, including his current AB 1193, which would make it easier to build cycletracks, or bike lanes physically separated from cars, all over the state. He also called a much-needed Assembly committee hearing in November calling out BART for its lax safety culture, and we hope he continues to push for reforms at that agency.

 

PROPOSITION 41: YES

Over a decade ago, Californians voted to use hundreds of millions of our dollars to create the CalVet Home and Farm Loan Program to help veterans purchase housing. But a reduction in federal home loan dollars, the housing crisis, and a plummeting economy hurt the program.

Prop. 41 would repurpose $600 million of those bond funds and raise new money to create affordable housing rental units for some of California’s 15,000 homeless veterans. This would cost Californians $50 million a year, which, as proponents remind us, is one-tenth of 1 percent of the state budget. Why let hundreds of millions of dollars languish unused? We need to reprioritize this money to make good on our unfulfilled promises to homeless veterans.

 

PROPOSITION 42: YES

This one’s important. Last year, Gov. Jerry Brown sought to gut the California Public Records Act by making it optional for government agencies to comply with many of the requirements built into this important transparency law. The CPRA and the Ralph M. Brown Act require government agencies to make records of their activities available for public scrutiny, and to provide for adequate notice of public meetings. Had the bill weakening these laws not been defeated, it would have removed an important defense against shadowy government dealings, leaving ordinary citizens and journalists in the dark.

Prop. 42 is a bid to eliminate any future threats against California’s important government transparency laws, by expressly requiring local government agencies — including cities, counties, and school districts — to comply with all aspects of the CPRA and the Brown Act. It also seeks to prevent local agencies from denying public records requests based on cost, by eliminating the state’s responsibility to reimburse local agencies for cost compliance (the state has repeatedly failed to do so, and local bureaucracies have used this as an excuse not to comply).

 

SF’S PROPOSITION A: YES

Prop. A is a $400 million general obligation bond measure that would cover seismic retrofits and improvements to the city’s emergency infrastructure, including upgrades to the city’s Emergency Firefighting Water System, neighborhood police and fire stations, a new facility for the Medical Examiner, and seismically secure new structures to house the police crime lab and motorcycle unit.

The Board of Supervisors voted unanimously to place Prop. A on the ballot, and a two-thirds majority vote is needed for it to pass. Given that San Franciscans can expect to be hit by a major earthquake in the years to come, upgrading emergency infrastructure, especially the high-pressure water system that will aid the Fire Department in the event of a major blaze, is a high priority.

 

SF’S PROPOSITION B: YES

As we report in this issue (see “Two views of the waterfront”), San Francisco’s waterfront is a valuable place targeted by some ambitious development schemes. That’s a good thing, particularly given the need that the Port of San Francisco has for money to renovate or remove crumbling piers, but it needs to be carefully regulated to maximize public benefits and minimize private profit-taking.

Unfortunately, the Mayor’s Office and its appointees at the Port of San Francisco have proven themselves unwilling to be tough negotiators on behalf of the people. That has caused deep-pocketed, politically connected developers to ignore the Waterfront Land Use Plan and propose projects that are out-of-scale for the waterfront, property that San Francisco is entrusted to manage for the benefit of all Californians.

All Prop. B does is require voter approval when projects exceed existing height limits. It doesn’t kill those projects, it just forces developers to justify new towers on the waterfront by providing ample public benefits, restoring a balance that has been lost. San Francisco’s waterfront is prime real estate, and there are only a few big parcels left that can be leveraged to meet the needs of the Port and the city. Requiring the biggest ones to be approved by voters is the best way to ensure the city — all its residents, not just the politicians and power brokers — is getting the best deals possible.

 

SF SUPERIOR COURT JUDGE: DANIEL FLORES

Daniel Flores has an impressive list of endorsers, including the Democratic, Republican, and Green parties of San Francisco — a rare trifecta of political party support. But don’t hold the GOP nod against Flores, who was raised in the Excelsior by parents who immigrated from El Salvador and who interned with La Raza Centro Legal while going to McGeorge School of Law. And he did serve in the Marines for six years, which could explain the broad range of support for him.

Flores is a courtroom litigator with experience in big firms and his own practice, representing clients ranging from business people to tenants fighting against their landlords. Flores told us that he wants to ensure those without much money are treated fairly in court, an important goal we support. We also liked Kimberly Williams and hope she ends up on the bench someday, but in this race, Flores is the clear choice.

 

CONGRESS, DISTRICT 12: NANCY PELOSI

This was a hard decision for us this year. Everyone knows that Pelosi will win this race handily, but in past races we’ve endorsed third party challengers or even refused to endorse anyone more often than we’ve given Pelosi our support. While Pelosi gets vilified by conservatives as the quintessential San Francisco liberal, she’s actually way too moderate for our tastes.

Over her 21 years in Congress, she has presided over economic policies that have consolidated wealth in ever fewer hands and dismantled the social safety net, environmental policies that have ignored global warming and fed our over-reliance on the private automobile, and military policies that expanded the war machine and overreaching surveillance state, despite her insider’s role on the House Intelligence Committee.

Three of her opponents — Democrat David Peterson, Green Barry Hermanson, and fiery local progressive activist Frank Lara of the Peace and Freedom Party — are all much better on the issues that we care about, and we urge our readers to consider voting for one of them if they just can’t stomach casting a ballot for Pelosi. In particular, Hermanson has raised important criticisms of just how out of whack our federal budget priorities are. We also respect the work Lara has done on antiwar and transit justice issues in San Francisco, and we think he could have a bright political future.

But we’ve decided to endorse Pelosi in this election for one main reason: We want the Democrats to retake the House of Representatives this year and for Pelosi to once again become Speaker of the House. The Republican Party in this country, particularly the Tea Party loyalists in the House, is practicing a dangerous and disgusting brand of political extremism that needs to be stopped and repudiated. They would rather shut the government down or keep it hopelessly hobbled by low tax rates than help it become an effective tool for helping us address the urgent problems that our country faces. Pelosi and the Democrats aren’t perfect, but at least they’re reasonable grown-ups and we’d love to see what they’d do if they were returned to power. So Nancy Pelosi has our support in 2014.

 

CONGRESS, DISTRICT 13: BARBARA LEE

Barbara Lee has been one of our heroes since 2001, when she was the only member of Congress to vote against the Authorization for the Use of Military Force Against Terrorists, braving the flag-waving nationalism that followed the 9/11 attacks on the World Trade Center and Pentagon to warn that such an overly broad declaration of war was dangerous to our national interests. She endured death threats and harsh condemnation for that principled stand, but she was both courageous and correct, with our military overreach still causing problems for this country, both practical and moral.

Lee has been a clear and consistent voice for progressive values in the Congress for 16 years, chairing both the Congressional Black Caucus and Congressional Progressive Caucus, taking stands against capital punishment and the Iraq War, supporting access to abortions and tougher regulation of Wall Street, and generally representing Oakland and the greater Bay Area well in Washington DC. She has our enthusiastic support.

 

CONGRESS, DISTRICT 14: JACKIE SPEIER

Jackie Speier has given her life to public service — almost literally in 1978 when she was an aide to then-Rep. Leo Ryan and survived the airstrip shootings that triggered the massacre at Jonestown — and she has earned our ongoing support. Speier has continued the consumer protection work she started in the California Legislature, sponsoring bills in Congress aimed at protecting online privacy. She has also been a strong advocate for increasing federal funding to public transit in the Bay Area, particularly to Muni and for the electricification of Caltrain, an important prelude to the California High-Speed Rail Project. In the wake of the deadly natural gas explosion in San Bruno, Speier has pushed for tough penalties on Pacific Gas & Electric and expanded pipeline safety programs. She has been a strong advocate of women’s issues, including highlighting the epidemic of sexual assault on college campuses and in the military, seeking greater protections, institutional accountability, and recourse for victims. More recently, Speier has become a key ally in the fight to save City College of San Francisco, taking on the federal accreditation process and seeking reforms. Speier is a courageous public servant who deserves your vote.

The future of Piers 30-32

Michael Redmond
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EDITORIAL

It was good news for San Francisco when the Golden State Warriors withdrew a proposal to build a new arena on Piers 30-32 and to instead build it on private land in Mission Bay, sparing city residents a costly and divisive fight sullied by millions of dollars in political advocacy and propaganda.

The new location near the intersection of 16th and Third streets is still close enough to the water to provide picturesque images for network television, but without sparking concerns about the city’s stewardship of coastal land held in trust for the people of California. The new site will have better public access once the Central Subway is completed, and it could help encourage the teardown of Interstate 280 and its conversion into a multi-modal boulevard like Octavia, a good idea the city is now studying.

Best of all, this provides a golden opportunity for the city and the Port of San Francisco to launch a truly public process for how to use Pier 30-32, the largest remaining open stretch of the central waterfront, as well as the adjacent Seawall Lot 330. Rather than simply reacting to big ideas hatched behind closed doors, the public could take part in a truly democratic process to proactively shape this high-profile public property.

Admittedly, there are challenges to overcome, starting with the high cost of demolishing these aging piers, so it’s likely that the valuable Seawall Lot 330 will be part of the equation, with its pure profit potential used to help pay for whatever happens to the piers. But how that balancing act is done would be for the public to decide.

Should we open up that stretch of waterfront by not replacing the piers, or replacing it with a much smaller pier? Could it become an artificial wetland that is both pretty and ecologically beneficial in an era of rising seas? Would we accept a luxury condo tower on the seawall lot to help pay for this new open space? Or maybe the city would want to float a bond and seek grants to help remove this bay fill and keep the seawall lot to a more limited and public-interest use?

These are the kinds of honest and direct questions San Francisco should be asking its citizens. The waterfront is an invaluable resource, and it shouldn’t be treated as merely a liability because the Port needs money. The same goes for Seawall Lot 351 that was part of the 8 Washington project that voters rejected, as well as Seawall Lot 337 that is part of the Giants proposal at Pier 48.

The views of the people of San Francisco shouldn’t be afterthought to be avoided, as opponents of Proposition B seem to believe, but a creative resource that could help shape the San Francisco of tomorrow.

 

Bill would tax companies with wide CEO-worker pay disparities

Erica Hanna
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Bill would tax companies with wide CEO-worker pay disparities

California companies pouring big cash on their CEOs may be forced to tighten the spigot under a new bill that seeks to limit CEOs paid excessively at the expense of their workers.

Senate Bill 1372, authored by state Sens. Mark DeSaulnier (D-Concord) and Loni Hancock (D-Oakland), would increase taxes on companies with wide disparities between CEO and worker pay, and give a tax break to companies with a low ratio between CEO and worker pay.

“History has taught us that the gross disparity between CEO and worker pay is a direct threat to American democracy,” DeSaulnier said in a press statement. “It is unsustainable and a danger to our society. We must focus on restoring the middle class and stop fueling excessive income inequality.”

The pay-disparity bill cleared the Senate and Governance Finance Committee last Friday, and is headed to the Senate Appropriations Committee.

Local tech companies have much reason to fear the bill. Larry Ellison, CEO of the Redwood City-based Oracle, was paid 1,287 times the median salary of an Oracle employee in 2012, according to a Bloomberg study. Ellison pulled in $96.2 million in 2012, and the median employee working for his company brought in $74,693.

That’s less pay gap, more pay canyon. Former Secretary of Labor Robert Reich, a professor at UC Berkeley and a supporter of the pay-disparity bill, connected CEO pay with our troubled economy.

“This growing divergence between CEO pay and that of the typical American worker isn’t just wildly unfair. It’s also bad for the economy,” Reich wrote on his website last week. “It means most workers these days lack the purchasing power to buy what the economy is capable of producing — contributing to the slowest recovery on record. Meanwhile, CEOs and other top executives use their fortunes to fuel speculative booms followed by busts.”

The pay-disparity bill would lower taxes on companies with CEOs making less than 100 times more than its median employee. The tax rate for the company would be metered on a scale of CEO-to-worker pay ratio, with the highest penalties for companies paying their CEOs more than 400 times their median employee pay.

The bill also targets non-salaried independent contractors, a significant portion of the state’s workers.

Many local companies have wide pay gaps between CEOs and workers. In 2012, Apple had a CEO:worker pay ratio of 192:1, Wells Fargo had a ratio of 186:1, and Intel squeaked by with a ratio of 99:1, according to PayScale.com.

The PayScale.com study only looked at non-stock compensation. CEOs are often paid in stock and other bonuses, a significant part of their earnings. In lieu of this, recently many CEOs jumped on the $1 salary bandwagon, including Google CEO Larry Page. Ellison took home a single dollar for his salary in 2013, according to CNN Money.

This seemingly forward-thinking gesture is a good PR move, but in reality CEOs still take home millions of dollars in stocks, options, and bonuses. Page owned more than 24 million shares in Google as of 2013, for instance. Ellison took in $92.2 million in stocks, options, and other pay in 2013.

Luckily, that’s a loophole that DeSaulnier and Hancock considered when crafting the bill.

The bill would calculate executive compensation based on the Summary Compensation Table the company in question reports to the Securities and Exchange Commission. That includes salary, bonus, grants of stock options and stock appreciation rights, long-term incentive plan awards, pension plans, and employment contracts and related arrangements.

In 2012, the average CEO pay in California was $5,054,959, according to a statement from DeSaulnier, while the median worker pay in California was $48,029.

Below is a series of graphs detailing local Bay Area CEO and worker pay disparities, as of 2012.

SF may go through Marin County to bypass CleanPowerSF subversion

Sasha Cuttler
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106
SF may go through Marin County to bypass CleanPowerSF subversion

Just in time for Earth Day, a renewed effort to reduce the city’s carbon emissions was introduced at the Board of Supervisors yesterday [Tues/22]. Sup. John Avalos introduced a resolution calling for a study of San Francisco joining Marin Clean Energy, which provides renewable energy to that county’s residents.

The move is seen largely as an effort to circumvent Mayor Ed Lee’s opposition to implementing a controversial renewable energy plan called CleanPowerSF.

“Mayor Lee and the Public Utilities Commission objected to CleanPowerSF, but they have offered no other solution to provide San Franciscans with 100 percent renewable electricity,” Avalos said in a public statement. “With this ordinance, we can either join Marin or we can implement our own program, but we can no longer afford to do nothing.”

The resolution is the latest effort in the long saga to implement CleanPowerSF, San Francisco’s proposed renewable energy alternative to PG&E, whose current energy mix is only 19 percent renewable. Much of PG&E’s current mix is dirty and directly contributes to half of San Francisco’s carbon footprint, according to the city’s own recent Climate Action Strategy.

Joining Marin under a Joint Powers Authority would provide a vehicle for San Francisco to enact CleanPowerSF’s goals, long blocked by the mayor. San Francisco’s renewable energy effort may have lingered in legal limbo for years, but Marin made the switch to renewables in 2010.

“It’s something people want, and it also reduces greenhouse gas emissions,” Marin Clean Energy Executive Officer Dawn Weisz told the Guardian. Much of Northern California, she noted, has little choice but to use PG&E for their electricity.

“The people never chose to have a monopoly in place,” she said. “People like having choices.”

Marin chose to switch to renewable energy in 2010, and MCE offers two energy mix options: A 100 percent renewable energy option, and a less expensive 50 percent renewable option. MCE officials told the Guardian they have a 75 percent customer adoption rate, meaning most of Marin County is running on clean, renewable energy.

Using an energy bill calculator on MCE’s website, the average homeowner pays about $80 a month for their renewable energy in the summer, just $2 more than their dirty PG&E power. The program has been so successful for MCE’s approximately 125,000 customers that other cities have joined with Marin under what is called a Joint Powers Authority, allowing those cities to access MCE’s grid.

The City of Richmond joined into a Joint Powers Authority with Marin County in 2012, and Napa County also expressed interest in providing renewable energy through MCE.  That large adoption rate may be what has PG&E running scared.

“We faced very strong opposition from the incumbent utility during our launch,” Weisz told the Guardian, referring to PG&E. “Fortunately, we have a much better relationship with them now, and they serve as a good partner.”

The renewable energy is distributed along PG&E’s existing infrastructure, so the utility still has a role to play in providing electricity to Marin. But the utility certainly has worries when it comes to generating electricity, as Marin is building new sources of renewable energy up and down California.

“We have 24 different power supply contracts,” Weisz told us. This includes new solar facilities in San Rafael and the Central Valley, and renewable energy sources in Roseville and and Placer County.

Though other cities have signed on to receive energy through Marin County’s MCE program, San Francisco joining would be another ballgame entirely, Weisz said.

MCE has a policy of incremental expansion, she told us, and defines potential affiliate cities and counties as having fewer than 30,000 customers who are less than 30 miles away. Though San Francisco is a stone’s throw from Marin County, the potential customer base is huge: San Francisco has a population of over 800,000 people.

“It would require some analysis,” Wisz said dryly.

MCE’s analysis to include Napa County in its energy mix took 60 days, she said. Notably, San Francisco may produce its own power and use its own mix, and simply use MCE’s billing setup. Basically, San Francisco would provide energy through CleanPowerSF, but MCE would be a contractor that administers San Francisco’s program.

But joining into Marin’s renewable energy program has more hurdles than just figuring out the mix. Clean Power SF is a Community Choice Aggregation program, defined by state law as exactly that — part of the community. Jumping over to Marin may create a legal mess for San Francisco, but there is hope.

Assembly Bill 2159, introduced by Assemblyman Tom Ammiano, would allow a county’s Board of Supervisors to approve joining a Joint Powers Authority with another municipality, in this case, allowing San Francisco to join up with Marin, while still creating its own CCA program.

The bill just cleared the Assembly Utilities and Commerce Committee yesterday, and has a ways to go.

If that sounds like a legal headache, it is. But advocates say its necessary because Mayor Ed Lee has “stacked the deck” at the San Francisco Public Utilities Commission, hiring people friendly to blocking CleanPowerSF on his behalf.

“The main purpose of passing it is to get through the mayor’s log jam,” clean power advocate Eric Brooks told the Guardian. “We want San Francisco to go faster and make more green jobs.”

And, of course, to reduce greenhouse gas emissions. Avalos’ office estimates that in the time the mayor has stalled Clean Power SF, San Francisco has generated 80 million pounds of CO2.

Sounds of silence

Michael Redmond
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1
Sounds of silence

arts@sfbg.com

THEATER How we hear — or if we hear — is to some extent a matter of association. We’re inclined to listen to, take seriously, and treat as equal those people with whom we identify and can sympathize, people who seem to share basic things, including certain values, with us. Such is the implication (and provocation) in English playwright Nina Raine’s engaging drama, Tribes, which roots itself in an eccentric London family — one of whose members is deaf — in order to explore wider social questions of affiliation and communication, exclusion and indifference. The play in this way takes on literal and metaphorical deafness, exploring clan-like thinking and behavior in and through the politics of the deaf community.

The serious questions at the heart of the play, however, come agreeably packaged in a very loud and amusing family of cantankerous extraverts headed by a former scholar turned author named Christopher (a gruffly and charmingly expansive Paul Whitworth) and his wife, a novice novelist named Beth (a cheerful yet concerned Anita Carey, in an admirably supple performance). The household has recently expanded to former proportions with the return of grown 20-something children Sylvia (Nell Geisslinger) and Daniel (Dan Clegg), who rejoin their grown and deaf brother, Billy (a sympathetic, impressively complex James Caverly), around the family’s book-lined living room (in Todd Rosenthal’s detailed, naturalistic scenic design, which transforms when necessary into offsite locations or inner spaces via Christopher Akerlind’s mutable lighting and Jake Rodriguez’s evocative sound design).

We meet this dysfunctional, codependent set of oddball overachievers and outcasts around the long table to the left of center stage, where they engage in clearly quotidian bouts of whining and dining. “Why am I surrounded by my children again,” wonders Christopher rhetorically. “When are you going to fuck off?”

Playwright Raine has an ear for the kinds of cruel jabs, off-color remarks, and outrageous propositions that, it seems, only a family can indulge in (let along get away with) without so much as a tremor of trepidation or regret. In this smarty secular Jewish household, that sniping is especially vituperative, colorfully earthy (especially in Dad’s frequent bon mots), and colored over by an intellectual hue: Christopher’s pet theme is the rootedness of feeling and personality in language. Daniel, plagued by a damning superego that has produced condemnatory voices in his head, is writing a thesis more or less arguing the opposite — that language does not determine meaning. His socially awkward sister, meanwhile, has taken up the pursuit of music (where feeling transcends language), singing opera in pubs. Moreover, despite their constant assailing of one another, there’s a collective pride undergirding it all — a satisfied sense of the family’s own positive difference from the rest of the (alternatingly intimidating and pitiable) world.

But, notably, these animated discussions among the family tribe, with which the play begins, rarely include Billy. When he speaks — in the pronounced but muted tones of someone who does not completely hear his own voice — it’s usually to ask what everyone else is talking about. Treated as an equal (with a nonchalance bordering at times on indifference) and yet simultaneously eclipsed by his loudmouthed, self-involved relatives, Billy ironically stands out (to us) by virtue of his quiet remove.

He soon breaks free and into clearer view after meeting a woman named Ruth (a sharp and vital Elizabeth Morton) with whom he falls instantly in love. Ruth is losing her hearing, but coming from deaf parents, she is well acquainted with the community and culture of the deaf. This does not make her transition any easier, however. Indeed, it complicates it in subtle ways. More than any other character, she straddles both worlds: the hearing and the non-hearing. It makes her both threatening and attractive to Billy’s family, who fear Billy’s categorization and cooptation as part of a deaf minority.

Billy, unusually adept at lip reading and emboldened by his love for Ruth and the community she provides access to, takes a job with a law court providing crucial transcriptions from audio-less video for criminal trials. This allows him to move out of the family home for the first time. Ruth teaches him ASL, which he begins to use more and more exclusively. Both he and Ruth meanwhile confront a family that places a premium on the connection between language and feeling. From this constellation of voices and positions, a serious split emerges that throws the family into a tailspin while asking a series of stimulating questions about where, and how, we belong.

Raine’s 2010 play (originally produced by London’s Royal Court Theatre) gets a spirited, involving production from Berkeley Rep and director Jonathan Moscone. Moscone (the artistic director of California Shakespeare Theater who excelled at another contemporary family-social drama when he helmed Bruce Norris’s Clybourne Park at ACT) stirs the hornet’s nest of mad, madcap family living with an expert hand, and his fine cast delivers Raine’s witty (albeit sometimes too thematically forceful) dialogue with precision and ease. If the play wraps up a little abruptly, it also leaves much in the ensuing silence to continue listening to. 2

TRIBES

Through May 18

Tue and Thu-Sat, 8pm (also Sat, 2pm); Wed and Sun, 7pm (also Sun, 2pm; no 2pm show May 18), $29-99

Berkeley Repertory Theatre

2015 Addison, Berk

www.berkeleyrep.org

 

Film Listings: April 23 – 29, 2014

Michael Redmond
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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.

SF INTERNATIONAL FILM FESTIVAL

The 57th San Francisco International Film Festival runs April 24-May 8. Screening venues include the Castro Theatre, 429 Castro, SF; New People Cinema, 1746 Post, SF; Pacific Film Archive, 2575 Bancroft, Berk; and Sundance Kabuki Cinemas, 1881 Post, SF. For tickets (most shows $15) and complete schedule, visit festival.sffs.org. For coverage, see film section.

OPENING

Alan Partridge Steve Coogan recently took a serious-movie detour in last year’s Philomena, but he’s primarily a comedian — famed stateside for roles in cult movies like 24 Hour Party People (2002) and The Trip (2011). In his native England, he’s also beloved for playing buffoonish, image-obsessed host Alan Partridge in multiple TV and radio series — and now, a feature film, in which a giant media conglomerate takes over Alan’s North Norwich Digital radio station and gives it a cheesy corporate makeover. When he learns staffing cuts are afoot, Alan secretly throws his longtime friend and fellow DJ Pat (Colm Meany) under the bus. Though he’s oblivious to Alan’s betrayal, the depressed and disgruntled Pat soon bursts into the station, toting a shotgun and taking hostages, and Alan is designated the official go-between — to his utter delight, since he becomes the center of the surrounding media circus (“I’m siege-face!” he crows), and his already-inflated head balloons to even more gargantuan proportions. Along the way, he and Pat continue broadcasting, taking calls from listeners, spinning Neil Diamond records, and occasionally interfacing with an increasingly annoyed police force. Fear not if you haven’t seen any previous Alan Partridge outings — this film is stand-alone hilarious. (1:30) Embarcadero, Shattuck, Smith Rafael. (Eddy)

Brick Mansions This Luc Besson-produced thriller about an undercover Detroit cop stars Paul Walker in one of his final roles. (1:30) Presidio.

Dancing in Jaffa World champion ballroom dancer Pierre Dulaine, possessed of perfect posture and a flamboyant personality, returns to his native Jaffa, a city he hasn’t laid eyes on since his family (Palestinian mother, Irish father) fled in 1948. His love of teaching was dramatized in 2006’s Take the Lead — hey, if someone’s gonna make a movie about your life, you could do worse than being played by Antonio Banderas — but his task in Dancing in Jaffa is a far less glitzy one. Here, the real-life Dulaine aims to train a group of 11-year-olds how to merengue, rumba, tango, and jive, which is tall order under any circumstances, since these kids are still firmly entrenched in the awkward “boys/girls are icky” zone. Complicating matters even further is Dulaine’s determined quest to pair up tiny dancers from both Jewish and Palestinian Israeli schools, despite skeptical parents and religious restrictions against mingling with the opposite sex; it’s his fervent hope that performing together will help the kids see past their differences, and signal hope for the future. Though her documentary hits the expected beats — a depressed youngster we meet early in the film is delightfully (yet unsurprisingly) transformed by the power of dance — director Hilla Medalia (2007’s To Die in Jerusalem) does an admirable job contextualizing the students’ stories, capturing the cultural tensions that permeate everyday life in Jaffa. And a hat-tip to the kids themselves, who become surprisingly graceful hoofers despite all initial suggestions to the contrary. (1:28) Opera Plaza. (Eddy)

The German Doctor Argentine writer-director Lucía Puenzo (2007’s XXY) adapts her novel Wakolda for this drama imagining a post-World War II chapter in the life of Nazi doctor Josef Mengele. It’s 1960, and there’s a new doctor residing in Bariloche, Argentina — a stunningly picturesque town in the Andean foothills that seems to harbor an awful lot of Germans. Polite, well-dressed “Helmut” (Alex Brendemühl) befriends innkeepers Eva (Natalia Oreiro) and Enzo (Diego Peretti), taking a special interest in their 12-year-old daughter Lilith (Florencia Bado), whose petite frame (cruel classmates call her “dwarf”) awakens his let’s-experiment impulses. He gets even more attached when he finds out a pregnant Eva is carrying twins. Meanwhile, Israeli agents are moving in, having just snagged Mengele’s fellow war criminal Eichmann in Buenos Aires, and Lilith’s family soon catches on to their new friend’s true identity. Measured, multi-lingual performances — Brendemühl is both suave and menacing as the “Angel of Death,” forever penciling in his grotesque medical sketchbook — and the contrast between The German Doctor‘s dark themes and the Patagonian beauty of its setting bring haunting nuance to Puenzo’s twisted-history tale. (1:33) Embarcadero, Shattuck. (Eddy)

“Human Rights Watch Film Festival” The 2014 fest wraps up with a pair of nightmarish tales about men who endured wrongful imprisonment. Marc Wiese’s Camp 14 — Total Control Zone follows the solemn Shin Dong-hyuk, who was born in a North Korean death camp and managed to escape not only the camp, but the country itself; he’s thought to be the only person ever to do so. He endured unimaginable horrors both physical (beatings, starvation, torture) and mental (being forced to watch his mother and brother’s executions), and finally gathered the courage to flee when he met a recent detainee who was full of tales from the outside world. These days, he no longer lives in fear; he’s based in South Korea but travels the world speaking with human-rights groups. But he’s a man understandably scarred by his past, living in a nearly empty apartment and rarely raising his voice above a whisper. Meanwhile, American injustice gives a showcase performance in An Unreal Dream: The Michael Morton Story, Al Reinert’s emotional documentary about an innocent man convicted of killing his wife, thanks to some shoddy good ol’ boy police work. Though his own son turned against him as his years behind bars stretched into decades, Morton — now free and reconciled with his family, thanks to the Innocence Project — remains an inspiring, almost beatific example of the power of forgiveness. In Morton’s case, it helps that the real murderer was eventually nabbed and punished; in Camp 14, we meet a pair of former guards who shrug off the horrific cruelty they regularly inflicted on prisoners — and we’re reminded of the hundreds of thousands of North Koreans who remain behind bars, serving life sentences for made-up “crimes.” Not a shred of closure to be found in that one. Yerba Buena Center for the Arts. (Eddy)

Next Goal Wins World Cup fever is imminent — first game is June 12! — so there’s no better timing for this doc, which chronicles the transformation of American Samoa’s soccer team from international joke (thanks to a record-breaking 31-0 drubbing by Australia in 2001) to inspirational underdogs. Filmmakers Steve Jamison and Mike Brett visit the close-knit island nation just as Dutch hired-gun coach Thomas Rongen swoops in to whip the team into shape. Though he’s initially unimpressed, Rongen soon realizes that what his players lack in athletic ability, they make up for in heart, particularly beleaguered keeper Nicky Salapu (coaxed out of retirement, he’s still haunted by the 2001 loss) and upbeat Jaiyah Saelua, who is 100 percent accepted by her teammates, even though she happens to be transgender (“I’m not a male or a female — I’m a soccer player!”) Next Goal Wins is ultimately as much a window into American Samoan culture as it is a sports saga, adding richness to a tale that’s already heart-poundingly rousing. (1:30) Roxie. (Eddy)

The Other Woman Cameron Diaz, Leslie Mann, and Kate Upton star in this comedy about a trio of women who gang up on the man (Game of Thrones’ Nikolaj Coster-Waldau) who’s been playing them all. (1:49) Presidio.

The Quiet Ones Jared Harris (Mad Men) stars in this spooky Hammer Films drama about an Oxford professor studying the supernatural. (1:38)

Teenage This collage documentary by Matt Wolf (2008’s Wild Combination: A Portrait of Arthur Russell) is based on Jon Savage’s Teenage: The Creation of Youth Culture, spanning the adolescent experience from 1875-1945. First-person narrators (voiced by Jena Malone and Ben Whishaw, among others) reflect on the lives of teens from the US, the UK, and Germany, emphasizing current events (notably the stock market crash and World Wars I and II, the latter including segments on the Hitler Youth), and social problems (child labor, racial intolerance) and changes (the rise of Hollywood idols and teen gangs), as well as dance, fashion, nightlife (London’s Bright Young Things get a special spotlight), and music fads. Stock footage, vintage images, textured sound design, and creative reenactments shape this unusually artistic look at the rise of an age group that didn’t merit distinct status 150 years ago — but has since become popular culture’s most influential force, for better and worse. (1:17) Opera Plaza, Shattuck. (Eddy)

Walking with the Enemy Movie history abounds with dramas about the obvious dangers and complicated delights of passing during World War II — Agnieszka Holland’s Europa Europa (1990) and Paul Verhoeven’s Black Book (2006) come immediately to mind. But despite the inherent interest in this story (based on a real person, Pinchas Tibor Rosenbaum), Walking with the Enemy doesn’t hold its own next to those efforts. Elek (Jonas Armstrong), the handsome, intrepid son of a rabbi, is working in Budapest doing what any red-blooded young man of any era might, joking with his boss and flirting with the adorable Hannah (Hannah Tointon). When Hungary’s relations with the Nazis sour, the country’s Jewish citizens are gradually packed off and subjected to deadly crackdowns instigated by Adolf Eichmann, and Hungary’s Regent Horthy (Ben Kingsley) seems powerless to do very much, apart from allowing the neutral Swiss consulate to issue a stream of documents claiming the city’s Jewish denizens as its own. When two SS officers come calling in the Jewish quarter, attack Hannah, and are ultimately killed, fluent German speaker Elek and his friends snatch at the desperate measure of donning their uniforms to spy on their oppressors and save as many Jews as they can. What may have made for a fascinating tale, however, is reduced to broad strokes, awkward choices like onscreen IDs, and comically simplistic characterization, making Walking feel more like a TV movie or an educational film than anything with real power. (2:08) (Chun)

ONGOING

Bears (1:26) 1000 Van Ness, Shattuck.

Captain America: The Winter Soldier Marvel’s most wholesome hero returns in this latest film in the Avengers series, and while it doesn’t deviate from the expected formula (it’s not a spoiler to say that yes, the world is saved yet again), it manages to incorporate a surprisingly timely plot about the dangers of government surveillance. Steve Rogers (Chris Evans), hunkiest 95-year-old ever, is still figuring out his place in the 21st century after his post-World War II deep freeze. Nick Fury (Samuel L. Jackson) has him running random rescue missions with the help of Black Widow (Scarlett Johansson), but SHIELD is working on a top-secret project that will allow it to predict crimes before they occur. It isn’t long before Cap’s distrust of the weapon — he may be old-fashioned, but he ain’t stupid — uncovers a sinister plot led by a familiar enemy, with Steve’s former BFF Bucky doing its bidding as the science-experiment-turned-assassin Winter Soldier (Sebastian Stan). Anthony Mackie, Robert Redford, and series regular Cobie Smulders are fine in supporting roles, and Johansson finally gets more to do than punch and pose, but the likable Evans ably carries the movie — he may not have the charisma of Robert Downey Jr., but he brings wit and depth to a role that would otherwise be defined mainly by biceps and CG-heavy fights. Oh, and you know the drill by now: superfans will want to stick around for two additional scenes tucked into the end credits. (2:16) Balboa, Marina, Metreon, 1000 Van Ness, Sundance Kabuki. (Eddy)

Cesar Chavez “You always have a choice,” Cesar Chavez (Michael Peña) tells his bullied son when advising him to turn the other cheek. Likewise, actor-turned-director Diego Luna had a choice when it came to tackling his first English-language film; he could have selected a less complicated, sprawling story. So he gets props for that simple act — especially at a time when workers’ rights and union power have been so dramatically eroded — and for his attempts to impact some complicated nuance to Chavez’s fully evident heroism. Painting his moving pictures in dusty earth tones and burnt sunlight with the help of cinematographer Enrique Chediak, Luna vaults straight into Chavez’s work with the grape pickers that would come to join the United Farm Workers — with just a brief voiceover about Chavez’s roots as the native-born son of a farm owner turned worker, post-Depression. Uprooting wife Helen (America Ferrera) and his family and moving to Delano as a sign of activist commitment, Chavez is seemingly quickly drawn into the 1965 strike by the Mexican workers’ sometime rivals: Filipino pickers (see the recent CAAMFest short documentary Delano Manongs for some of their side of the story). From there, the focus hones in on Chavez, speaking out against violence and “chicken shit macho ideals,” hunger striking, and activating unions overseas, though Luna does give voice to cohorts like Dolores Huerta (Rosario Dawson), growers like Bogdanovitch (John Malkovich), and the many nameless strikers — some of whom lost their lives during the astonishingly lengthy, taxing five-year strike. Luna’s win would be a blue-collar epic on par with 1979’s Norma Rae, and on some levels, he succeeds; scanning the faces of the weathered, hopeful extras in crowd scenes, you can’t help but feel the solidarity. The people have the power, as a poet once put it, and tellingly, his choice of Peña, stolidly opaque when charismatic warmth is called for, might be the key weakness here. One suspects the director or his frequent costar Gael García Bernal would make a more riveting Chavez. (1:38) Metreon. (Chun)

Divergent Based on the blockbuster dystopian-future YA novel by Veronica Roth (the first in a trilogy), Divergent is set in a future city-state version of Chicago in which society is divided into five character-based, color-coded factions: Erudite, Amity, Candor, Abnegation, and Dauntless. Like her peers, Beatrice Prior (Shailene Woodley), the film’s Abnegation-born teenage heroine, must choose a permanent faction — with the help of a standardized aptitude test that forgoes penciling in bubbles in favor of virtual reality psychic manipulation. When the test fails to triangulate her sole innate personality trait, she learns that she belongs to a secret, endangered sixth category: Divergent, an astonishing set of people who are not only capable of, say, acts of selflessness but can also produce intelligent thought, or manifest bravery in the face of danger. Forced to hide her aberrant nature in a society whose leaders (Kate Winslet) are prone to statements like “The future belongs to those who know where they belong,” and seemingly bored among Abnegation’s hive of gray cardigan-wearing worker bees, Beatrice chooses Dauntless, a dashing gang of black-clad, alterna-rock music video extras who jump on and off moving trains and live in a warehouse-chic compound whose dining hall recalls the patio at Zeitgeist. Fittingly, a surly, tattooed young man named Four (Theo James) leads Beatrice, now Tris, and her fellow initiates through a harsh proving regimen that, if they fail, will cast them into an impoverished underclass. Director Neil Burger (2006’s The Illusionist, 2011’s Limitless) and the behemoth marketing force behind Divergent are clearly hoping to stir up the kind of madness stoked by the Twilight and Hunger Games series, but while there are bones a-plenty to pick with those franchises, Divergent may have them beat for pure daffiness of premise and diameter of plot holes — and that’s after screenwriters Evan Daugherty and Vanessa Taylor’s major suturing of the source material’s lacunae. The daffiness doesn’t translate into imaginative world-building, and while a couple of scenes convey the visceral thrills of life in Dauntless, the tension between Tris and Four is awkwardly ratcheted up, and the film’s shift into a mode of crisis is equally jolting without generating much heat. (2:20) Metreon, 1000 Van Ness. (Rapoport)

Dom Hemingway We first meet English safecracker Dom (Jude Law) as he delivers an extremely verbose and flowery ode to his penis, addressing no one in particular, while he’s getting blown in prison. Whether you find this opening a knockout or painfully faux will determine how you react to the rest of Richard Shepard’s new film, because it’s all in that same overwritten, pseudo-shocking, showoff vein, Sprung after 12 years, Dom is reunited with his former henchman Dickie (Richard E. Grant), and the two go to the South of France to collect the reward owed for not ratting out crime kingpin Mr. Fontaine (Demian Bichir). This detour into the high life goes awry, however, sending the duo back to London, where Dom — who admits having “anger issues,” which is putting it mildly — tries to woo a new employer (Jumayn Hunter) and, offsetting his general loutishness with mawkish interludes, to re-ingratiate himself with his long-estranged daughter (Emilia Clarke). Moving into Guy Ritchie terrain with none of the deftness the same writer-director had brought to debunking James Bond territory in 2006’s similarly black-comedic crime tale The Matador, Dom Hemingway might bludgeon some viewers into sharing its air of waggish, self conscious merriment. But like Law’s performance, it labors so effortfully hard after that affect that you’re just as likely to find the whole enterprise overbearing. (1:33) Metreon, Sundance Kabuki. (Harvey)

Draft Day (2:00) 1000 Van Ness, Presidio, SF Center, Sundance Kabuki.

Faust It’s taken nearly three years for Aleksandr Sokurov’s Faust to get to the Bay Area. That seems apt for what was surely, in 2011, the least popular recipient of the Venice Film Festival’s Golden Lion in decades. Sokurov is a bit of a weirdo; even his popular triumphs — 1997’s rhapsodic Mother and Son; 2002’s extraordinary 300-years-of-history-in-one-traveling-shot Russian Ark — are very rarefied stuff, disinterested in conventional narrative or making their meanings too clear. In production scale, Faust is Sokurov’s biggest project, which hardly stops it also being possibly his most perverse. It rings bells redolent of certain classic 1970s Herzog features, and of course Sokurov’s own prior ones (as well as those by his late mentor Tarkovsky). But it has a stoned strangeness all its own. It’s not 140 minutes you should enter lightly, because you are going to exit it headily, drunk off the kind of questionable homebrew elixir that has a worm floating in it. In a clammy mittle-Yurropeon town in which the thin margin between pissy bourgeoisie and dirty swine is none too subtly delineated when a funeral march collides with a cartful of porkers, Professor Faust (the marvelously plastic Johannes Zeiler) dissects a corpse in his filthy studio. Impoverished and hungry, the questionably good doctor is an easy mark for Mephistophelean moneylender Mauricius Muller (physical theater specialist Anton Adasinsky), an insinuating snake who claims the soul is “no heavier than a coin,” and will happily relieve Faust of his in return for some slippery satisfactions. Coming complete with the director’s trademark distortion effects (in both color tinting and image aspect), Faust has a soft, queasy, pickled feel, like a disquieting dream too fascinating to wake yourself from. (2:14) Roxie. (Harvey)

Finding Vivian Maier Much like In the Realms of the Unreal, the 2004 doc about Henry Darger, Finding Vivian Maier explores the lonely life of a gifted artist whose talents were discovered posthumously. In this case, however, the filmmaker — John Maloof, who co-directs with Charlie Siskel — is responsible for Maier’s rise to fame. A practiced flea-market hunter, he picked up a carton of negatives at a 2007 auction; they turned out to be striking examples of early street photography. He was so taken with the work (snapped by a woman so obscure she was un-Google-able) that he began posting images online. Unexpectedly, they became a viral sensation, and Maloof became determined to learn more about the camerawoman. Turns out Vivian Maier was a career nanny in the Chicago area, with plenty of former employers to share their memories. She was an intensely private person who some remembered as delightfully adventurous and others remembered as eccentric, mentally unstable, or even cruel; she was a hoarder who was distrustful of men, and she spoke with a maybe-fake French accent. And she was obsessed with taking photographs that she never showed to anyone; the hundreds of thousands now in Maloof’s collection (along with 8mm and 16mm films) offer the only insight into her creative mind. “She had a great eye, a sense of humor, and a sense of tragedy,” remarks acclaimed photographer Mary Ellen Mark. “But there’s a piece of the puzzle missing.” The film’s central question — why was Maier so secretive about her hobby? — may never be answered. But as the film also suggests, that mystery adds another layer of fascination to her keenly observed photos. (1:23) Clay, Shattuck. (Eddy)

The Galapagos Affair: Satan Came to Eden Extensive archival footage and home movies (plus one short, narrative film) enhance this absorbing doc from San Francisco-based Dayna Goldfine and Dan Geller (2005’s Ballets Russes). It tells the tale of a double murder that occurred in the early 1930s on Floreana — the most remote of the already scarcely-populated Galapagos Islands. A top-notch cast (Cate Blanchett, Diane Kruger, Connie Nielsen, Josh Radnour) gives voice to the letters and diary entries of the players in this stranger-than-fiction story, which involved an array of Europeans who’d moved away from civilization in search of utopian simplicity — most intriguingly, a maybe-fake Baroness and her two young lovers — and realized too late that paradise isn’t all it’s cracked up to be. Goldfine and Geller add further detail to the historic drama by visiting the present-day Galapagos, speaking with residents about the lingering mystery and offering a glimpse of what life on the isolated islands is like today. (2:00) Embarcadero, Shattuck. (Eddy)

The Grand Budapest Hotel Is this the first Wes Anderson movie to feature a shootout? It’s definitely the first Anderson flick to include a severed head. That’s not to say The Grand Budapest Hotel, “inspired by” the works of Austrian novelist Stefan Zweig, represents too much of a shift for the director — his intricate approach to art direction is still very much in place, as are the deadpan line deliveries and a cast stuffed with Anderson regulars. But there’s a slightly more serious vibe here, a welcome change from 2012’s tooth-achingly twee Moonrise Kingdom. Thank Ralph Fiennes’ performance as liberally perfumed concierge extraordinaire M. Gustave, which mixes a shot of melancholy into the whimsy, and newcomer Tony Revolori as Zero, his loyal lobby boy, who provides gravitas despite only being a teenager. (Being played by F. Murray Abraham as an older adult probably helps in that department.) Hotel‘s early 20th century Europe setting proves an ideal canvas for Anderson’s love of detail — the titular creation rivals Stanley Kubrick’s rendering of the Overlook Hotel — and his supporting cast, as always, looks to be enjoying the hell out of being a part of Anderson’s universe, with Willem Dafoe, Jeff Goldblum, and Adrien Brody having particularly oversized fun. Is this the best Wes Anderson movie since 2001’s The Royal Tenenbaums? Yes. (1:40) Balboa, California, 1000 Van Ness, Piedmont, Presidio, SF Center, Sundance Kabuki, Vogue. (Eddy)

A Haunted House 2 (1:26) 1000 Van Ness, SF Center.

Heaven is for Real (1:40) Metreon.

Jodorowsky’s Dune A Chilean émigré to Paris, Alejandro Jodorowsky had avant-garde interests that led him from theater and comic book art to film, making his feature debut with 1968’s Fando y Lis. Undaunted by its poor reception, he created El Topo (1970), a blood-soaked mix of spaghetti western, mysticism, and Buñuellian parabolic grotesquerie that became the very first “midnight movie.” After that success, he was given nearly a million dollars to “do what he wanted” with 1973’s similarly out-there The Holy Mountain, which became a big hit in Europe. French producer Michel Seydoux asked Jodorowsky what he’d like to do next. Dune, he said. In many ways it seemed a perfect match of director and material. Yet Dune would be an enormous undertaking in terms of scale, expense, and technical challenges. What moneymen in their right mind would entrust this flamboyant genius/nut job with it? They wouldn’t, as it turned out. So doc Jodorowsky’s Dune is the story of “the greatest film never made,” one that’s brain-exploding enough in description alone. But there’s more than description to go on here, since in 1975 the director and his collaborators created a beautifully detailed volume of storyboards and other preproduction minutiae they hoped would lure Hollywood studios aboard this space phantasmagoria. From this goldmine of material, as well as input from the surviving participants, Pavich is able to reconstruct not just the film’s making and unmaking, but to an extent the film itself — there are animated storyboard sequences here that offer just a partial yet still breathtaking glimpse of what might have been. (1:30) Embarcadero. (Harvey)

The Lunchbox Ila (Nimrat Kaur) is a self-possessed housewife and a great cook, whose husband confuses her for another piece of furniture. She tries to arouse his affections with elaborate lunches she makes and sends through the city’s lunchbox delivery service. Like marriage in India, lunchbox delivery has a failure rate of zero, which is what makes aberrations seem like magical occurrences. So when widow Saajan (Irrfan Khan) receives her adoring food, he humbly receives the magical lunches like a revival of the senses. Once Ila realizes her lunchbox is feeding the wrong man she writes a note and Saajan replies — tersely, like a man who hasn’t held a conversation in a decade — and the impossible circumstances lend their exchanges a romance that challenges her emotional fidelity and his retreat from society. She confides her husband is cheating. He confides his sympathy for men of lower castes. It’s a May/December affair if it’s an affair at all — but the chemistry we expect the actors to have in the same room is what fuels our urge to see it; that’s a rare and haunting dynamic. Newcomer Kaur is perfect as Ila, a beauty unmarked by her rigorous distaff; her soft features and exhausted expression lend a richness to the troubles she can’t share with her similarly stoic mother (Lillete Dubey). Everyone is sacrificing something and poverty seeps into every crack, every life, without exception — their inner lives are their richness. (1:44) Albany, Opera Plaza. (Vizcarrondo)

Noah Darren Aronofsky’s Biblical epic begins with a brief recap of prior Genesis events — creation is detailed a bit more in clever fashion later on — leading up to mankind’s messing up such that God wants to wipe the slate clean and start over. That means getting Noah (Russell Crowe), wife Naameh (Jennifer Connelly), and their three sons and one adopted daughter (Emma Watson) to build an ark that can save them and two of every animal species from the imminent slate-wiping Great Flood. (The rest of humanity, having sinned too much, can just feed the fishes.) They get some help from fallen angels turned into Ray Harryhausen-type giant rock creatures voiced by Nick Nolte and others. There’s an admirable brute force and some startling imagery to this uneven, somber, Iceland-shot tale “inspired” by the Good Book (which, needless to say, has endured more than its share of revisions over the centuries). Purists may quibble over some choices, including the device of turning minor Biblical figure Tubal-Cain (Ray Winstone) into a royal-stowaway villain, and political conservatives have already squawked a bit over Aronofsky’s not-so-subtle message of eco-consciousness, with Noah being bade to “replenish the Earth” that man has hitherto rendered barren. But for the most part this is a respectable, forceful interpretation that should stir useful discussion amongst believers and non believers alike. Its biggest problem is that after the impressively harrowing flood itself, we’re trapped on the ark dealing with the lesser crises of a pregnancy, a discontented middle son (Logan Lerman), and that stowaway’s plotting — ponderous intrigues that might have been leavened if the director had allowed us to hang out with the animals a little, rather than sedating the whole menagerie for the entire voyage. (2:07) 1000 Van Ness, SF Center, Shattuck, Sundance Kabuki. (Harvey)

Oculus Tim (Brenton Thwaites) and Kaylie (Karen Gillan) are grown siblings with a horrible shared past: When they were children, their parents (Rory Cochrane, Katee Sankhoff) moved them all into a nice suburban house, decorating it with, among other things, a 300-year-old mirror. But that antique seemed to have an increasingly disturbing effect on dad, then mom too, to ultimately homicidal, offspring-orphaning effect. Over a decade later, Tim is released from a juvenile mental lockup, ready to live a normal life after years of therapy have cleaned him of the supernatural delusions he think landed him there in the first place. Imagine his dismay when Kaylie announces she has spent the meantime researching aforementioned “evil mirror” — which turns out to have had a very gruesome history of mysteriously connected deaths — and painstakingly re-acquiring it. She means to destroy it so it can never wreak havoc, and has set up an elaborate room of camcorders and other equipment in which to “prove” its malevolence first, with Tim her very reluctant helper. Needless to say, this experiment (which he initially goes along with only in order to debunk the whole thing for good) turns out to be a very, very bad idea. The mirror is clever — demonically clever. It can warp time and perspective so our protagonists don’t know whether what they’re experiencing is real or not. Expanding on his 2006 short film (which was made before his excellent, little-seen 2011 horror feature Absentia), Mike Flanagan’s tense, atmospheric movie isn’t quite as scary as you might wish, partly because the villain (the spirit behind the mirror) isn’t particularly well-imagined in generic look or murky motivation. But it is the rare new horror flick that is genuinely intricate and surprising plot-wise — no small thing in the current landscape of endless remakes and rehashes. (1:44) Metreon, 1000 Van Ness, Shattuck. (Harvey)

On My Way Not for nothing too does the title On My Way evoke Going Places (1974): director Emmanuelle Bercot is less interested in exploring Catherine Deneuve’s at-times-chilled hauteur than roughing up, grounding, and blowing fresh country air through that still intimidatingly gorgeous image. Deneuve’s Bettie lost her way long ago — the former beauty queen, who never rose beyond her Miss Brittany status, is in a state of stagnation, working at her seafood restaurant, having affairs with married men, living with her mother, and still sleeping in her girlhood room. One workday mid-lunch hour, she gets in her car and drives, ignoring all her ordinary responsibilities and disappearing down the wormhole of dive bars and back roads. She seems destined to drift until her enraged, equally lost daughter Muriel (Camille) calls in a favor: give her son Charly (Nemo Schiffman) a ride to his paternal grandfather’s. It’s chance to reconnect and correct course, even after Bettie’s money is spent, her restaurant appears doomed, and the adorable, infuriating Charly acts out. The way is clear, however: what could have been a musty, predictable affair, in the style of so many boomer tales in the movie houses these days, is given a crucial infusion of humanity and life, as Bercot keeps an affectionate eye trained on the unglamorous everyday attractions of a French backwater and Deneuve works that ineffable charm that draws all eyes to her onscreen. Her Bettie may have kicked her cigarette habit long ago, but she’s still smokin’ — in every way. (1:53) Embarcadero. (Chun)

Only Lovers Left Alive Jim Jarmusch has subverted genre films before — you don’t have to dig deep to find fierce defenders of 1995 Western Dead Man — but his latest, Only Lovers Left Alive, is poised to be his biggest commercial hit to date. That’s not merely because it’s a vampire film, though this concession to trendiness will certainly work in its favor, as will the casting of high-profile Avengers (2012) star Tom Hiddleston. But this is still a Jarmusch vampire movie, and though it may be more accessible than some of the director’s more existential entries, it’s still wonderfully weird, witty, and — natch — drenched in cool. The opening credits deploy a gothic, blood red font across a night sky — a winking nod to the aesthetics of Hammer classics like Horror of Dracula (1958). Then, the camera begins to rotate, filming a record as it plays, and symbolizing the eternal life of the two figures who’ve entered the frame: gloomy Adam (Hiddleston, rocking a bedhead version of Loki’s dark ‘do), who lurks in a crumbling Detroit mansion, and exuberant Eve (Tilda Swinton, so pale she seems to glow), who dwells amid piles of books in Tangier. These two live apart, partially due to the hassle of traveling when one can’t be in the sun (red-eye flights are a must). Yet they remain entangled in spirit, a phenomenon referenced amid much talk of what Einstein called “spooky action at a distance,” and when at last they reunite, it’s glorious. Unlike those old Hammer films, there’s no stake-wielding Van Helsing type pursuing these creatures of the night; if there’s a villain, it’s actual and emotional vampire Ava (Mia Wasikowska), Eve’s bad-penny sibling, who swoops in for a most unwelcome visit. But Only Lovers Left Alive‘s biggest antagonist is simply the outside world, with its epidemics of dull minds and blood-borne diseases. The delight Jarmusch takes in tweaking the vampire mythos is just as enjoyable as his interest in exploring the agony, ecstasy, and uneventful lulls of immortality. (2:03) Embarcadero, Shattuck, Sundance Kabuki. (Eddy)

Particle Fever “We are hearing nature talk to us,” a physicist remarks in awe near the end of Particle Fever, Mark Levinson’s intriguing doc about the 2012 discovery of the Higgs boson particle. Earlier, another scientist says, “I’ve never heard of a moment like this in [science] history, where an entire field is hinging on a single event.” The event, of course, is the launch of the Large Hardon Collider, the enormous machine that enabled the discovery. Though some interest in physics is probably necessary to enjoy Particle Fever, extensive knowledge of quarks and such is not, since the film uses elegant animation to refresh the basics for anyone whose eyes glazed over during high-school science. But though he offers plenty of context, Levinson wisely focuses his film on a handful of genial eggheads who are involved in the project, either hands-on at the European Organization for Nuclear Research (CERN), or watching from afar as the mighty LHC comes to life. Their excitement brings a welcome warmth to the proceedings — and their “fever” becomes contagious. (1:39) Opera Plaza, Shattuck. (Eddy)

The Raid 2 One need not have seen 2011’s The Raid: Redemption to appreciate this latest collaboration between Welsh director Gareth Evans and Indonesian actor, martial artist, and fight choreographer Iko Uwais — it’s recommended, of course, but the sequel stands alone on its own merits. Overstuffed with gloriously brutal, cleverly choreographed fight scenes, The Raid 2 — sometimes written with the subtitle “Berendal,” which means “thugs” — picks up immediately after the events of the first film. Quick recap of part one: a special-forces team invades an apartment tower controlled by gangsters. Among the cops is idealistic Rama (Uwais). Seemingly bulletproof and fleet of fists and feet, Rama battles his way floor-by-floor, encountering machete-toting heavies and wild-eyed maniacs; he also soon realizes he’s working for a police department that’s as corrupt as the gangster crew. The Raid‘s gritty, unadorned approach resonated with thrillseeking audiences weary of CG overload. A second Raid film was inevitable, especially since Evans — who became interested in Indonesian martial arts, or pencak silat, while working on 2007 doc The Mystic Art of Indonesia — already had its story in mind: Rama goes undercover within a criminal organization, a ploy that necessitates he do a prison stint to gain the trust of a local kingpin. Naturally, not much goes according to plan, and much blood is shed along the way, as multiple power-crazed villains set their sinister plans into motion. With expanded locations and ever-more daring (yet bone-breakingly realistic) fight scenes aplenty — including a brawl inside a moving vehicle, and a muddy, bloody prison-yard riot — The Raid 2 more than delivers. Easily the action film of the year so far, with no contenders likely to topple it in the coming months. (2:19) Metreon, 1000 Van Ness, Sundance Kabuki. (Eddy)

The Railway Man The lackluster title — OK, it’s better than that of director Jonathan Teplitzky’s last movie, 2011’s Burning Man, which confused sad Burners everywhere — masks a sensitive and artful adaptation of Eric Lomax’s book, based on a true story, about an English survivor of WWII atrocities. As Railway Man unfolds, we find Eric (Colin Firth), a stammering, attractive eccentric, oddly obsessed with railway schedules, as he meets his sweet soul mate Patti (Nicole Kidman) in vaguely mid-century England. Their romance, however, takes a steep, downward spiral when Patti discovers her new husband’s quirks overlay a deeply damaged spirit, one with scars that never really healed. As Eric grows more isolated, his best friend Finlay (Stellan Skarsgard) reveals some of their experiences as POWs forced to toil on the seemingly impossible-to-build Thai-Burma Railway by Japanese forces. The brutality of the situation comes home when the young Eric (played by Jeremy Irvine of 2011’s War Horse) takes the rap for building a radio and undergoes a period of torture. The horror seems rectifiable when Finlay discovers that the most memorable torturer Nagase (played at various ages by Tanroh Ishida and Hiroyuki Sanada) is still alive and, outrageously, leading tours of the area. Revenge is sweet, as so many other movies looking at this era have told us, but Railway Man strives for a deeper, more difficult message while telling its story with the care and attention to detail that points away from the weedy jungle of a traumatic past — and toward some kind of true north where reconciliation lies. (1:53) Albany, Embarcadero, Piedmont. (Chun)

Rio 2 (1:41) Four Star, Metreon, 1000 Van Ness.

That Demon Within Hong Kong action director Dante Lam’s latest resides firmly within his preferred wheelhouse of hyper-stylized cops-and-robbers thriller, though this one’s more ghoulish than previous efforts like 2008’s Beast Stalker. Merciless bandits — identities concealed behind traditional masks — have been causing all kinds of trouble, heisting diamonds, mowing down bystanders, blowing up cars, exchanging mad gunfire with police, etc. After he’s injured in one such battle, sinister Hon (Nick Cheung), aka “the Demon King,” stumbles to the hospital, where cop Dave (Daniel Wu) donates blood to save the man’s life, not realizing he’s just revived HK’s public enemy number one. The gangster is soon back to his violent schemes, and Dave — a withdrawn loner given to sudden rage spirals — starts having spooky hallucinations (or are they memories?) that suggest either the duo has some kind of psychic connection, or that Dave is straight-up losing his mind. Meanwhile, a police inspector everyone calls “Pops” (Lam Kar-wah) becomes obsessed with taking Hon down, with additional tension supplied by crooked cops and infighting among the criminal organization. Does an overwrought, mind-warpingly brutal finale await? Hell yes it does. (1:52) Metreon. (Eddy)

Transcendence Darn those high-tech romantics, hiding out and planning global takeover in their shadowy Berkeley Craftsmen and hippie-dippie leafy grottos. That’s one not-so-great notion emanating from this timely thriller, helmed by a first-time director (and veteran cinematographer) Wally Pfister and writer Jack Paglen. In line with the dreamy, brainy idealism of its protagonists — and the fully loaded promises of artificial intelligence — Transcendence starts with a grand idea teeming with torn-from-the-tech-headlines relevancy, only to spiral off course, seemingly far out of the control of its makers. Ray Kurzweil-like scientist Will Caster (Johnny Depp) is in the midst of refining his work on artificial intelligence when Luddite terrorists shoot him, using a bullet coated with radioactive material, after a lecture on the UC Berkeley campus. That tragedy allows Will and devoted wife Evelyn (Rebecca Hall) a chance to put his ideas into action and to attempt to preserve that beautiful mind, with the help of friend and kindred researcher Max (Paul Bettany). Yet once his intelligence gets online, out to a Burning Man-like tabula rasa desert, and in the cloud, quite literally, there apparently are no limits in sight. Transcendence‘s stoppers, however, are all too human, including technical flubs that betray its newbie filmmaker’s limitations; script slip-ups that, for instance, highlight a rather dated fear of “Y2K”; and a narrative that ends up reading a bit too much like a technophobic Invasion of the Body Snatchers. (1:59) California, Four Star, Marina, Metreon, 1000 Van Ness, Sundance Kabuki. (Chun)

Under the Skin At the moment, Scarlett Johansson is playing a superhero in the world’s top blockbuster. Her concurrent role in Jonathan Glazer’s Under the Skin — the tale of an alien who comes to earth to capture men, but goes rogue once her curiosity about the human world gets the better of her — could not be more different in story or scope. Her character’s camouflage (dark wig, thickly-applied lipstick) was carefully calibrated to make her unrecognizable, since Glazer (2000’s Sexy Beast) filmed the alien’s “pick-up” scenes — in which Johansson’s unnamed character cruises around Glasgow in a nondescript van, prowling for prey — using hidden cameras and real people who had no idea they were interacting with a movie star. The film takes liberties with its source material (Michel Farber’s novel), with “feeding” scenes that are far more abstract than as written in the book, allowing for one of the film’s most striking visual motifs. After the alien seduces a victim, he’s lured into what looks like a run-down house. The setting changes into a dark room that seems to represent an otherworldly void, with composer Mica Levi’s spine-tingling score exponentially enhancing the dread. What happens next? It’s never fully explained, but it doesn’t need to be. When the alien begins to mistakenly believe that her fleshy, temporary form is her own, she abandons her predatory quest — but her ill-advised exploration of humanity leads her into another dark place. A chilling, visceral climax caps one of the most innovative sci-fi movies in recent memory. (1:47) California, SF Center, Sundance Kabuki. (Eddy)

Watermark Daring to touch the hem of — and then surpass — Godfrey Reggio’s trippy-movie-slash-visual-essays (1982’s Koyaanisqatsi, 2013’s Visitors) and their sumptuous visual delights and global expansivenesses, with none of the cheese or sensational aftertaste, Watermark reunites documentarian Jennifer Baichwal and photographer Edward Burtynsky, the latter the subject of her 2006 film, Manufactured Landscapes. Baichwal works directly with Burtynsky, as well as DP Nick de Pencier, as the artist assembles a book on the ways water has been shaped by humans. Using mostly natural sound and an unobtrusive score, she’s able to beautifully translate the sensibility of Burtynsky’s still images by following the photographer as he works, taking to the air and going to ground with succinct interviews that span the globe. We meet scientists studying ice cores drilled in Greenland, Chinese abalone farmers, leather workers in Bangladesh, and denizens on both sides of the US/Mexico border who reminisce about ways of life that have been lost to dams. Even as it continually, indirectly poses questions about humans’ dependence on, desire to control, and uses for water, the movie always reminds us of the presence and majesty of oceans, rivers, and tributaries with indelible images — whether it’s a time-lapse study of the largest arch dam in the world; the glorious mandalas of water drilling sites related to the Ogallala Aquifer; or a shockingly stylized scene of Chinese rice terraces that resembles some lost Oskar Kokoschka woodcut. While striking a relevant note in a drought-stricken California, Watermark reaches a kind of elegant earthbound poetry and leaves one wondering what Baichwal and Burtynsky will grapple with next. (1:31) Opera Plaza, Shattuck. (Chun)

Le Week-End Director Roger Michell and writer Hanif Kureishi first collaborated two decades ago on The Buddha of Suburbia, when the latter was still in the business of being Britain’s brashest multiculti hipster voice. But in the last 10 years they’ve made a habit of slowing down to sketching portraits of older lives — and providing great roles for the nation’s bottomless well of remarkable veteran actors. Here Lindsay Duncan and Jim Broadbent play a pair of English academics trying to re-create their long-ago honeymoon’s magic on an anniversary weekend in Paris. They love each other, but their relationship is thorny and complicated in ways that time has done nothing to smooth over. This beautifully observed duet goes way beyond the usual adorable-old-coot terrain of such stories on screen; it has charm and humor, but these are unpredictable, fully rounded characters, not comforting caricatures. Briefly turning this into a seriocomedy three-way is Most Valuable Berserker Jeff Goldblum as an old friend encountered by chance. It’s not his story, but damned if he doesn’t just about steal the movie anyway. (1:33) Embarcadero, Shattuck. (Harvey) *

 

California, from scratch

Steven T. Jones
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0
California, from scratch

esilvers@sfbg.com

I was 12 years old in 1996, which is the year Jawbreaker, the punk band that’s been (somewhat controversially) called “the sound of the Mission,” disbanded for good. I started listening to them about four years later, and really only started listening-listening to them, in the way that Jawbreaker fans listen to Jawbreaker — obsessively, open-veined, with every part of your body engaged — a few years after that, when I was in college in San Diego, 500 miles from the ’90s Bay Area punk scene that I had only just begun to realize was special once it (and I) was all but gone.

I suspect, however, and a few friends’ Jawbreaker-love stories have confirmed this, that it doesn’t matter how old you are when you start listening to Jawbreaker, because Jawbreaker songs — in the universality of their lyrical angst, wedged as they are in that the puzzle-piece-shaped sweet spot between well-crafted pop and sore throat-inducing (in singer Blake Schwarzenbach’s case, throat polyp-causing) punk rock — will make you feel like a teenager. And not in the hopeful, peppy way people usually mean when they say something “made them feel like a teenager.” I mean, really, confused, hormonal, nostalgic, angry, in love, frustrated, drunk, fist-in-air triumphant, wistful about something you can’t quite place, and generally just fucking waterlogged with feeling.

The band’s enduring popularity and the reverence with which it’s still treated among the ’90s punk/emo-loving population — Google image-search “Jawbreaker tattoo” if you don’t believe me — is certainly, in large part, thanks to that: As an adult, that mood gets harder to access; you don’t often stumble onto art which opens a portal into that level of emotion. Jawbreaker picks you up and hurls you down it before you know what’s happening.

Drummer Adam Pfahler, the driving force behind the past few years of remastered re-issues of Jawbreaker’s iconic albums (on his own label, Blackball Records) has been plenty busy since that band met its demise. He opened Lost Weekend Video on Valencia, and still works there a few days a week. He lives in Bernal Heights; he has two teenage daughters. He’s played in at least a dozen other bands, including J Church and Whysall Lane. So does it bug him that people still mainly associate him with Jawbreaker, some 18 years after they broke up?

“Not at all — I’m totally grateful for that band, and the fact that people still feel that strongly about it is insane,” says the drummer, during a phone interview in which he multi-tasks impressively: He has about 20 minutes before it’s time to run to an evening practice with his new band, California, and he’s making pasta for his kids while answering questions.

“I’m definitely not running from that legacy. I love it, and so do Blake [Schwarzenbach] and Chris [Bauermeister, Jawbreaker’s bassist],” he says. “It is a little funny because I’ve been playing all along…it’s just that certain things take hold or get seen better than others.”

Of course, certain things, like this new project, have the benefit of being able to attach the words “Ex-Jawbreaker/Green Day” to a flier or listing, as the Rickshaw Stop has advertised California’s April 24 show — the band’s third official outing — though Pfahler’s a bit uncomfortable with using his star power that way. Hopefully, he says, the band will be earning that buzz on its own soon enough.

After all, California, a three-piece, is something of a Bay Area punk supergroup: On guitar and vocals you have Green Day‘s Jason White, who, despite having played lead guitar on the band’s tours for the past decade or so, only “officially” became a member in 2012; he also shares guitar and vocal duties with Billie Joe Armstrong in the long-running side project (and supergroup of its own, in a way) Pinhead Gunpowder. Bass and backup vocals are courtesy of Dustin Clark of The Insides; Pfahler is on drums.

“I’d kind of been starting to do stuff under my own name in 2011, just to try writing my own songs again,” says White, noting that Green Day is on an “indefinite break” — though he did just get off the phone with Armstrong, who called to tell him about how crazy it was to play with the Replacements at Coachella the previous night. (White, with a laugh: “I hadn’t wanted to go at all but now I’m super jealous, and bummed that I wasn’t there.”)

White started playing out acoustically about three years ago, at places like the Hotel Utah. When he was asked to play a friend’s 40th birthday party, he invited Clark to play bass; Clark asked Pfahler, whom he’d been playing with (they’re old friends — also SF experimental rockers Erase Errata, featuring Clark’s wife, Bianca Sparta, on drums, used to play in the basement of Lost Weekend). All three are veterans of the scene; all three were excited about trying something new.

“I’m at a place where I just want to try any and everything, stretch out on my own, experiment with some different ideas,” says White, who says he’s also a huge Jawbreaker fan. “And all three of us have pretty distinct individual tastes, which has made for a really nice mix of the three, I think.”

california
California at the Hemlock Tavern earlier this month. Photo by Greg Schneider.

There’s no music online for fans to listen to or buy just yet — and thanks to a name cribbed from a novella by Pfahler’s friend, the writer Amra Brooks, the band’s virtually un-Googlable — but a handful of demos they’ve recorded suggest a leaning toward the poppier end of the spectrum than you might expect from these three. White’s vocals are clean, earnest, not trying too hard to be too much, reminiscent of the Promise Ring, or of the days (day?) before “emo” became code for whiny and tossed around like a dirty word; tight, punchy, early Green Day-esque bridges and hooks are grounded, kept from being overly sugary by the heft of the rhythm section.

“This is very much a new band, in the garage band sense of the word — I’m happy to pester people with texts and emails to get them to come see our shows, because I’m really proud of this one,” says Pfahler. It’s an especially collaborative band, he says, which tend to be the kind he enjoys — as opposed to “just being the guy back there, being told to count to four.” They have plans to record in the next few months, but right now is the best part, says Pfahler: seeing what works and what doesn’t after hours of practicing, seeing how people react at live shows, when the songs are still malleable. “It’s a little like the early, fun part of a relationship,” is how White puts it. Pfahler: “If you’re fortunate enough to have the opportunity to play them out this early on in the process, once you record it’s almost like the death of those songs.”

Pfahler does feel fortunate, in a number of ways. As a longtime Mission District resident and business owner, he’s had a front-row seat for the neighborhood’s drastic changes over the past two decades. Is he tired of the conversation about gentrification?

“I am a little tired of it, but I’m no less passionate about how I feel,” he says. “It’s harsh. It limits things. We’re feeling that in the shop in a very real way, and certainly people are buying fewer records — but they’re paying for high cuisine, organic wine, you know. There’s no shortage of new bands screaming about this stuff, and they definitely have something to be mad about. It’s good fodder for angry music. When Jawbreaker settled here it was a pretty fertile time; you could get things going back then. I mean, the practice space I use now is shared between 13 people, and it costs more than my first apartment did. And there’s no bathroom! It would definitely be tough to be a kid trying to make music here.”

“At the same time, I think my kids are lucky to be here,” he says, as he beckons one of them to the stove to test the pasta. “Even with this craziness going on. They get around on public transportation, they go to shows. They’re going to be the backlash. They’re smart kids and they have really good bullshit detectors.

“That generation, I have a lot of hope for.”

CALIFORNIA
With El Terrible and Vela Eyes
Thu/24, 8pm, $10
Rickshaw Stop
155 Fell, SF
www.rickshawstop.com

Also: We’d be remiss to not mention the musical offerings the SFIFF has planned this year: Thao and the Get Down Stay Down and Stephen Merritt of the Magnetic Fields will each be performing live original scores during film festival offerings, on Tue/29 and Tue/6, respectively, at the Castro Theatre. Cross-media creative pollination never sounded so sweet. For tickets: http://tinyurl.com/l8srz9j

Events: April 23 – 29, 2014

Michael Redmond
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0

Listings are compiled by Guardian staff. Submit items for the listings at listings@sfbg.com. For further information on how to submit items for the listings, see Selector.

WEDNESDAY 23

Susie Hara Green Arcade, 1680 Market, SF; www.thegreenarcade.com. 7pm, free. The author launches her new noir, Finder of Lost Objects.

“101 Vagina” Goforaloop Gallery, 1458 San Bruno, SF; www.101vagina.com. Noon-8pm. Free. Through Sun/27. Exhibit of 101 photographs (by artist Philip Werner) and 101 accompanying stories (by each photo’s subject) celebrating the female body.

Gertrude Stein centennial SF Public Library, Main Branch, 100 Larkin, SF; www.sfpl.org. 6-7pm, free. Celebrate the author’s Tender Buttons with editor Seth Perlow and guests Michelle Tea, Juliana Spahr, and Renate Stendahl.

“Word Performances” Lost Church, 65 Capp, SF; www.wordperformances.com. 8pm, $14. Poetry, prose, comedy, fiction, and memoir reading with Tina D’Elia, John Panzer, Ginger Murray, Tomas Moniz, and others, plus music by the Mark Growden Trio.

THURSDAY 24

Nitza Agam BookShop West Portal, 80 West Portal, SF; (415) 564-8080. 7pm, free. The author discusses her memoir Scent of Jasmine.

Andrew Demcak Books Inc., 2275 Market, SF; (415) 864-6777. 7:30pm, free. The poet and writer shares his latest, Ghost Songs.

Andrew Sean Greer Booksmith, 1644 Haight, SF; www.booksmith.com. 7:30pm, free. The novelist reads from his latest work, The Impossible Lives of Greta Wells.

“Poems Under the Dome” City Hall, North Light Court, 1 Carlton B. Goodlett Place, SF; www.poemdome.net. 5:30-8pm, free. Ninth annual celebration of National Poetry Month, with readings by SF poet laureate Alejandro Murguía and others.

Tony Serra City Lights Bookstore, 261 Columbus, SF; www.citylights.com. 7pm, free. The veteran attorney celebrates the release of Tony Serra: The Green, Yellow and Purple Years in the Life of a Radical Lawyer.

FRIDAY 25

Anne Carson San Francisco State University, Humanities Building, Rm 133, 1600 Holloway, SF; moderngreekstudies.sfsu.edu. 7pm, free. The MacArthur-winning scholar, poet, and translator reads from her latest work.

Omnidawn Book Party Pegasus Downtown, 2349 Shattuck, Berk; www.omnidawn.com. 7pm, free. Celebrate National Poetry Month with readings by Robin Caton, Maxine Chernoff, Gillian Conoley, and others.

SATURDAY 26

“Bug Day!” Randall Museum, 199 Museum Wy, SF; www.randallmuseum.org. 10am-2pm, $3. Family fun day all about bugs, with an “Insect Olympics,” honeybee hives, bug-related crafts, edible bugs, and more.

“Make It Reign 2014” Runway Style House Boutique, 1635 Broadway, Oakl; oaklandfashion.wordpress.com. 8pm, $5. Fashion show highlighting 18 Oakland and Bay Area indie designers.

Treasure Island Flea Great Lawn, Treasure Island; www.treasureislandflea.com. 10am-4pm, $3. Through Sun/27. It’s wine month at Treasure Island Flea — because nothing makes shopping more fun than a wine-tasting break. Also new: a produce part, a new section for DIY workshops, and more.

“Wrong’s What I Do Best” Walter and McBean Galleries, San Francisco Art Institute, 800 Chestnut, SF; sfai.edu/walter-and-mcbean-galleries. 7-10pm, free. Exhibit through July 26. Group show examining “the self-searing impulses of artists playing the role of one’s self as someone else.”

SUNDAY 27

Northern California Book Awards SF Public Library, Main Branch, 100 Larkin, SF; www.sfpl.org. 1-4pm, free. This year’s award-winning authors read, discuss, and sign their works.

Pacific Coast Dream Machines Show Half Moon Bay Airport, 9850 N. Cabrillo Hwy, Half Moon Bay; www.miramarevents.com. 10am-4pm, $5-20. Showcase of more than 2,000 antique, classic, custom, and exotic motorized marvels, plus boats, aircraft, live music, a “kidzone,” and more.

SF Native Plant Garden Tour Various locations, SF; www.sfnativegardentour.org. 11am-3pm, free. Check the website for the self-guided tour route, which offers a chance to see San Francisco-specific and Bay Area-native plants in gardens both wild and carefully tended.

MONDAY 28

Tess Taylor and D.A. Powell City Lights Bookstore, 261 Columbus, SF; www.citylights.com. 7pm, free. The poets read from their works, including Taylor’s new collection The Forage House.

TUESDAY 29

“Customs and Traditions of Ohlone Natives in the Bay Area” St. Philip’s Catholic Church, 725 Diamond, SF; www.sanfranciscohistory.org. 7:30pm, $5. SF History Association presents this talk by Ruth Orta and her daughter, Ramona Garibay, descendents of the Ohlone/Bay Miwok native people of the Bay Area.

Pamela Turner Saylor’s Restaurant (upstairs room), 2009 Bridgeway, Sausalito; www.acs-sfbay.org. 7-9pm, $5. The science writer, author of The Dolphins of Shark Bay, discusses bottlenose dolphins. *

 

Where there’s smoke

Michael Redmond
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0
Where there’s smoke

news@sfbg.com

It was April 20 in Golden Gate Park, the fabled 4/20 in the parlance of pot smokers, and we found Nick and Chris standing under the shade of a tree with a cluster of friends, including Geoff, the proud owner of a five-foot bong.

Nick had done several hits through the supersized smoking device that day. Beside him, Chris took hits from his own handheld bong. “I’m feeling good,” Nick reported. “But I’m also kinda hungry. I could go for some Chinese food. Ohh, and some Sapporo!”

Administering a hit of marijuana through such unwieldy paraphernalia is quite the operation, requiring one person to stand and hold one end, another to light the marijuana once it’s packed into the bowl, and a third to inhale the five-foot column of milky smoke that rises through the chamber. The smokers on the receiving end contorted their faces as they inhaled, inevitably coughing and laughing as they breathed out, seemingly amazed by the experience. The college-age friends were in 420-induced bliss.

The annual 420 celebration in Golden Gate Park is unpermitted, with no official organizers, yet thousands of festivalgoers nevertheless flock to it year after year. It’s a quintessentially San Francisco experience: Young and old congregate for a collective daylong smoke-out, bringing drums, dogs, grills, shade structures, hand-blown glass, tie-dyed tapestries, Hacky Sacks, sound systems, and other picnic paraphernalia along with them.

The area around Hippie Hill — at the eastern end of the park, near Kezar Stadium — was a jumble of humanity crammed elbow to elbow, reeking of pot smoke. The crowd reflected a wide range of ethnicities and brought out many displaying an outlandish sense of fashion, sporting shiny plastic marijuana-leaf necklaces, sleeve tattoos, piercings, face paint, and piles upon piles of dreadlocked hair.

San Francisco maintains an iconic status as a weed-friendly city. While 420 in Golden Gate Park is a lighthearted scene that’s also proved irksome for city agencies plagued by leftover trash and traffic jams, serious year-round marijuana advocacy efforts continue to mark the Bay Area as a hotbed for drug policy reform and thriving, legitimate pot-based entrepreneurship.

 

GREEN BEACON

The movement to legalize marijuana for medical purposes started in San Francisco, the lovechild of the city’s hippie movement and its caregiving response to the AIDS epidemic. It was Dennis Peron and other activists here who wrote Proposition 215, the statewide legalization measure that California voters approved in 1996.

A decade ago, the San Francisco Board of Supervisors approved a comprehensive set of regulations for its two dozen or so medical marijuana dispensaries, guidelines that have proven to work well and be a model for other jurisdictions to follow, elevating pot purveyors into accepted members of the business community (see “Marijuana goes mainstream,” 1/27/10).

Some have even begun to regard the Bay Area as a model for how to implement a sensible approach to regulating marijuana. On April 16, US Rep. Dina Titus (D-Las Vegas) traveled to San Francisco on a fact-finding mission after Clark County, Nevada legalized medical marijuana, with Las Vegas and other Nevada cities expected to follow shortly.

“I want the state to learn from someone who’s done it right,” Titus told the Guardian as she toured The Apothecarium on Market Street, an elegant dispensary reputed to be one of San Francisco’s finest.

In addition to helping guide Nevada’s implementation of medical marijuana legalization, Titus said she’s working on federal legislation that would better protect small businesses involved with a marijuana industry that is growing rapidly in the US, thanks to Colorado and Washington taking the next step and legalizing even recreational uses of marijuana.

For example, Titus wants to make sure marijuana businesses have full access to banking services, something that the US Department of Justice has occasionally interfered with. As Titus told us, “The federal government shouldn’t be wasting time and going after people who are abiding their state laws.”

 

BLISS AND BOUNDARIES

Back at 420 on Hippie Hill, Amber and Charlie lounged on a blanket with Gizmo, an affectionate pooch they’d adopted from “this guy who lives in a tree house” in Santa Cruz. The young couple, ages 18 and 20 respectively, had hitchhiked to California from Washington. Yes, “we may have done some weed,” Charlie said before letting out a peal of laughter.

“It’s been pretty awesome,” Amber said. “Literally, there was smoke coming from everywhere,” the moment 4:20pm arrived. As far as the eye could see, she said, the scene was nothing but “people smoking weed. It was crazy.”

Lilian was at the park with a friend, wearing a crown of daisies she’d woven with flowers plucked from nearby the park entrance. “All day we’ve been doing joints and blunts and pipes,” she explained. “We haven’t had any bong hits yet, but we had a couple vape hits, because they were like giving free test trials here at the park. So we were like, alright, why not?”

Lilian exulted the “positive vibes” of the event, but it wasn’t all weed and roses. A short while later, reports of gunfire sent police cars racing into the park with sirens wailing. While police later reported that they never found evidence of anyone actually discharging a weapon, two different individuals were arrested on charges of possessing a firearm.

Emergency personnel responded to four medical calls, police reported the following day, including one person who had a seizure, someone who suffered an abrasion at Haight and Ashbury streets, and two underaged individuals who experienced problems after becoming overly intoxicated. For a crowd of thousands pushed the boundaries of indulgence, quite a small number suffered harm.

Eight other arrests stemmed from charges of selling marijuana or possessing it for sale, possession or sale of opiates, one warrant arrest, and another on charges of “malicious mischief,” according to police.

A few days before the unpermitted gathering, city officials held a press conference announcing a “comprehensive plan” to crack down on the anticipated debauchery, which included not only the Golden Gate Park marijuana celebration but the “Hunky Jesus” competition, a countercultural hallmark held annually on Easter Sunday in Dolores Park.

“Last year we had a lot of challenges,” said Sup. London Breed, whose District 5 encompasses Golden Gate Park. “We need to make the city and streets safe this year. We want people to come and enjoy San Francisco, but we also want them to respect San Francisco.”

Thus, city agencies ramped up deployment of both plainclothes and uniformed police officers, and sent out more parking and traffic control officers.

The previous year, when massive amounts of debris had been left strewn throughout the park, it took 25 city employees over 12 hours to clean up five tons of trash left by intoxicated visitors, said Phil Ginsburg, general manager of the city’s Recreation and Parks Department. The Department of Public Works’ tab for cleanup exceeded $10,000.

But the main draw of the event, in true San Francisco fashion, was behavior Police Chief Greg Suhr hinted in advance would essentially be tolerated. “The sale of marijuana is still a felony,” Suhr emphasized, “but I don’t think [the SFPD is] naive enough to believe that we can stop people from smoking on 4/20.”

 

CANNABIS AS MEDICINE

Advocates for legalizing even recreational use of marijuana had hoped to make the November ballot this year, but the campaign’s signature-gathering effort has sputtered out.

Sponsored by the California Cannabis Hemp Initiative, the legalization measure was named for Jack Herer, a renowned cannabis advocate who passed away in 2010. The campaign is now ramping up for another try in 2016, when some advocates hope the presidential election will drive younger voters to the polls.

But while efforts to legalize weed in California for recreational use falter for now, the legitimate use of cannabis for medicinal purposes has giving rise to healthy businesses and research on health benefits. At the April 16 event at the Apothecarium, Titus had lots of questions for Allie Butler, an expert in marijuana who has a master’s degree in public health and told Titus, “I want to do cannabis research for the rest of my life.”

Butler introduced Titus to the various strains of marijuana, explaining what ailments each is good for. The CaliWidow can be a cure for headaches, she explained, and Blue Dream is “good for nausea. We prescribe that for cancer patients all day.” She indicated another strain, saying, “this is the Jack Herer, it’s my mom’s favorite.” Fancy, knowledgeable, and above ground, this isn’t your mom’s marijuana business anymore.

SFBG Wrap, April 16-23

Michael Redmond
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0
SFBG Wrap, April 16-23

BART FINED FOR WORKERS’ DEATHS

The California Occupational Safety and Health Administration has fined Bay Area Rapid Transit for three “willful/serious” safety violations in connection with the death of two transit workers last October, saying BART is at fault due to a lack of safety measures.

“Safety standards are designed to save lives,” acting Cal/OSHA chief Juliann Sum said in a statement, “and they were not followed.”

The transit workers were killed in the final days of the BART strike. The accident claimed the lives of Christopher Sheppard, a BART manager and member of the AFSCME union, and Larry Daniels, a contractor, who had been inspecting a “dip in the rail” before they were hit by an oncoming train.

The workers were required to go through what’s called a Simple Approval process to get permission to work on the track, but the OSHA citation seized on that process as a dangerous underlying factor in the fatal accident.

“Employer’s control method, namely the ‘Simple Approval’ procedure, does not safeguard personnel working on tracks during railcar movement,” the citation reads. “The employer allowed workers to conduct work on the railway tracks where trains were traveling. The employees had no warning that a train moving at more than 65 miles-per-hour was … approaching the location where they were working.”

BART General Manager Grace Crunican quickly issued a statement. “Passenger and employee safety is our top priority at BART,” Crunican said. “BART has fundamentally upgraded its safety procedures with the implementation of an enhanced wayside safety program and a proposed budget investment of over $5 million.” She added that Cal/OSHA considered the safety violations to be “abated” in light of these changes, “meaning that none … pose continuing safety hazards.”

Simple Approval has since been terminated, BART spokesperson Alicia Trost told the Guardian. “BART permanently eliminated Simple Approval immediately following the tragic deaths,” she said. “We are also implementing the extra layers of protection for track workers.”

Notably, the two workers were killed during BART management’s attempt to train managers to operate trains during the strike, according to the National Transportation Safety Board, which continues to investigate the incident. (Joe Fitzgerald Rodriguez)

SORRY STATE OF PUBLIC HOUSING

Sup. London Breed has proposed setting aside city funding to renovate vacant and dilapidated public housing units, in an effort to quickly make housing available for homeless families in the face of a dire shortage.

At the April 15 Board of Supervisor’s meeting, Breed cited an anticipated budget surplus and called for the Controller and City Attorney to begin drafting a supplemental budgetary appropriation of $2.6 million, for renovating 172 San Francisco Housing Authority units sitting vacant.

“There are over 40 public housing developments in San Francisco, and given the decades of mismanagement and financial neglect that public housing has endured, many units are currently not available for San Franciscans to live in,” Breed said. “As we grapple with an unprecedented affordability crisis and an acute shortage of housing, particularly affordable housing, these fallow public housing units represent one of our best and cheapest opportunities to make housing available now.” Breed, who represents District 5, previously lived in San Francisco public housing.

The Housing Authority receives its funding through the federal government, but spokesperson Rose Marie Dennis said those federal dollars don’t stretch far enough for the agency to perform routine restoration of vacant units. “We have to work with the resources that we have,” she said.

According to an analysis by Budget & Legislative Analyst Harvey Rose, the city has lost $6.3 million in rent that could have been collected had its empty public housing units been occupied.

The day after Breed floated her proposal for a budgetary supplemental, tragedy struck at Sunnydale, the Housing Authority’s largest housing development, when a deadly fire claimed the lives of a 32-year-old resident and her 3-year-old son. The cause of the fire is under investigation, but a San Francisco Chronicle report noted that the Housing Authority had planned to rebuild Sunnydale for years due to its poor condition.

The following day, April 17, Mayor Ed Lee announced that emergency funding of $5.4 million had been identified through the Mayor’s Office of Housing and Community Development, to address serious deferred maintenance needs — such as busted elevators in apartment complexes where disabled seniors rely on wheelchairs and canes to get around. (Rebecca Bowe)

SUPES OUTFOX LANDLORDS

When the San Francisco Board of Supervisors gave final approval April 15 for legislation to substantially increase landlord payments to tenants in the case of Ellis Act evictions, it reflected a key change designed to counter a recent eviction push by landlords.

Winning approval on a 9-2 vote, with Sups. Mark Farrell and Katy Tang opposed, the legislation increases the current required relocation payments of $5,265 per person or $15,795 per unit (plus an additional $3,510 for those with disabilities or over age 62) up to the equivalent of two years’ rent for a comparable unit. That translates to tens of thousands of dollars.

For example, the Controller’s Office calculates that a family evicted from a two-bedroom apartment in the Mission District rented at $909 per month would be entitled to $44,833 in relocation payment.

The legislation was originally scheduled to go into effect 120 days after passage, in order to give city officials enough time to implement it. But when sponsoring Sup. David Campos heard landlords were rushing to evict tenants prior to the fee increase, he checked in with the City Attorney’s Office and other departments to see whether they could be ready sooner. After getting the green light, Campos amended the measure to go into effect 30 days after it’s enacted into law.

The question now is whether Mayor Ed Lee, who has not taken a position on the legislation, will act quickly to sign it. He was initially given 10 days to decide. Since a veto-proof majority approved the legislation, the mayor’s decision is to either grant approval or stall the inevitable, triggering more evictions at lower levels of relocation assistance. (Steven T. Jones)

POLICE TAPES BROUGHT TO LIGHT

Police radio dispatch records from March 21, the night 28-year-old Alejandro Nieto was gunned down in Bernal Heights Park by San Francisco Police Department officers, had been impossible to obtain despite requests from journalists, attorneys, and community members who had ties to Nieto.

Then, incredibly — thanks to a combination of tenacious reporting and the website Broadcastify.com — the radio dispatch audio popped up in a news report on KQED’s website.

Originally captured in real-time by a website works like an automatic police scanner and preserves all files, the recordings offer a rare, behind-the-scenes glimpse of what occurred in the moments leading up to the highly controversial officer-involved shooting.

The SFPD’s account of the incident is that officers opened fire in defense of their own lives because Nieto pointed a Taser at them, causing them to believe he was tracking them with a firearm.

But the audio files that have now surfaced reflect no mention of a suspect brandishing a weapon.

The first mention of a “221” — police code for person with a gun — is to relate a 911 caller’s description of a Latino male suspect, who has “got a gun on his hip, and is pacing back and forth on the north side of the park near a chain-linked fence.” Just before the shooting, a voice can be heard saying over the radio, “There’s a guy in a red shirt, way up the hill, walking toward you guys.” Several seconds later, another voice calmly states, “I got a guy right here.”

Twenty-six seconds after that, a person can be heard shouting, “Shots fired! Shots fired!”

“What’s very telling is that none of the people are saying, the guy had a gun, he pointed it at us,” said attorney Adante Pointer of the law office of John Burris, which is preparing to file a complaint on behalf of Nieto’s family against the SFPD. “It begs the question, did [Nieto] do what they said he did?”

“If this was a righteous shooting,” Pointer added, “then [SFPD] … shouldn’t have any fear of public scrutiny.”

Friends and supporters of Nieto have led marches to protest the shooting and set up a website for ongoing events, justice4alexnieto.org. (Rebecca Bowe)

 

Alerts: April 23 – 29, 2014

Michael Redmond
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0

WEDNESDAY 23

 

SF Public Defender’s Justice Summit

Koret Auditorium, San Francisco Public Library. www.tinyurl.com/justsummit. 30 Grove, SF. 9am-3pm, free. The Jury Is Out: The San Francisco Public Defender’s Justice Summit is a free public event exploring today’s most compelling criminal justice issues. Speakers will include San Francisco Public Defender Jeff Adachi, Nell Bernstein, author of Alone in the World: Children of the Incarcerated, Quentin Kopp, retired judge and former San Francisco supervisor, and more. The keynote speaker will be Gloria Killian, who was unjustly convicted of masterminding the 1981 robbery and murder of an elderly man and exonerated in 2002. Today, Killian is an attorney and the author of Full Circle: A True Story of Murder, Lies and Vindication.

 

THURSDAY 24

 

Forum on economic inequality

Unitarian Universalist Center, 1187 Franklin, SF. 7-9pm, free. San Francisco now ranks as the second most economically unequal city in the country. Tech companies get tax incentives. Rents rocket. So what’s next? Join Tim Redmond, editor of 48 Hills and past editor of the San Francisco Bay Guardian, to discuss this critical question.

 

 

Postal workers against privatization

Staples, 1700 Van Ness Avenue, SF. 10am-4pm.free. www.stopstaples.com. U.S. Postal Service workers unite again in an effort to combat the growing tide of privatization. The U.S. Postal Service and office-supply retail chain Staples have cut a deal that will replace some full-service post offices with smaller centers inside Staples stores — not staffed by USPS employees. Thus, postal service union members are organizing a national day of action targeting Staples stores nationwide.

 

FRIDAY 25

 

Poetry against displacement

Manilatown Heritage Foundation, 868 Kearny, SF. manilatown-heritage-foundation.org. 6-8pm, $5. In the spirit of activists Al Robles and Bill Sorro, the Manilatown Heritage Foundation invites you the community to join poets and musicians as they speak out against eviction and displacement in San Francisco. This event will honor tenants who are fighting eviction in San Francisco with poetry and music. Poets/Performers include: Alejandro Murguia, Avotcja, Caroline Calderon, Luta Candelaria, Luis J. Rodriguez, Jorge Argueta, Oscar Penaranda, Lou Syquia, James Tracy, Rupert Estanislao, Michael Warr, Po’ Poets of POOR Magazine, Marvin K. White, Neeli Cherkovski, Alan Kaufman, Genny Lim, Pete Yamamoto, Jack Hirschman, Agneta Falk, Pearl Ubungen, E Bone 415, Tommi Avicolli Mecca, and more.

 

SATURDAY 26

 

California on fire: climate chaos, inequality, urban transformation

McCone Hall, UC Berkeley campus, Berk. Californiastudiesassociation.berkeley.edu. 9am-5:30pm, free. Registration required. This daylong annual conference of the California Studies Association will examine fire from a wide variety of perspectives. How is it linked to climate change? Insurance policies? Real-estate prices? Join a wide array of academic experts for what promises to be a day of fascinating discussion.

 

SUNDAY 27

 

People’s Park 45th Anniversary

Celebration People’s Park, 2556 Haste, Berk. noon-6pm, free. Join the celebration of People’s Park’s 45th anniversary with live music, speakers, dancing, drumming, free food courtesy of Food Not Bombs and more — all in honor of one of the world’s most unique social experiments.

Left out

Michael Redmond
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37
Left out

steve@sfbg.com

It’s never been easy for progressives to mount a serious campaign for the California governor’s office. The high water mark was in 1934 when famous author/activist Upton Sinclair ran on his End Poverty In California platform and got nearly 38 percent of the vote despite being shut out by the major newspapers at the time.

That campaign was cited by both of this year’s leading leftist challengers to Gov. Jerry Brown — Green Party candidate Luis Rodriguez and Peace and Freedom Party candidate Cindy Sheehan — who say the goal of ending poverty is more important than ever, but who are also having a hard time getting media coverage for that message.

The latest Field Poll from April 9 shows Brown with a 40-point lead on his closest challenger, conservative Republican Tim Donnelly (57 to 17 percent, with 20 percent undecided). Republicans Andrew Blount and Neel Kashkari were at 3 and 2 percent, respectively, while Rodriguez and Sheehan are among the 11 also-rans who shared the support of 1 percent of the California electorate.

Perhaps that’s to be expected given that Brown is a Democrat who pulled the state back from the edge of the fiscal abyss largely by backing the Prop. 30 tax package in 2012, with most of the new revenue coming from increased income taxes on the rich. But to hear Rodriguez and Sheehan tell it, Brown is just another agent of the status quo at a time when the growing gap between rich and poor is the state’s most pressing problem.

“We have to put all our resources into ending poverty,” Rodriguez told us.

The campaigns that Rodriguez and Sheehan are running seem indicative of the state of progressive politics in California these days, with good work being done on individual issues by an array of groups, but little coordination among them or serious work on the kind of organizing and coalition-building needed to win statewide office.

There is still hope, particularly given California’s open primary system, where all Rodriguez or Sheehan need to do is beat the top Republican challenger in June in order to face Brown in a two-person race in November — an outcome that would definitely elevate their progressive message.

“One of our sayings is ‘second place wins the race,'” Sheehan told the Guardian.

But at this point, that seems unlikely, a longshot that points to the need for progressive-minded Californians to rebuild the movement and win over new generations of voters, particularly the young people disconnected from electoral politics and largely behind by the economic system.

 

REACHING VOTERS

When we asked Sheehan how her campaign was going, she replied, “It’s going.” When we pushed for a bit more, she told us, “It’s very, very grassroots and we’ve been trying to get the word out.”

And by “very, very grassroots,” Sheehan seems to mean that it’s not going very well, in terms of fundraising, volunteer support, media exposure, or any of the things a campaign needs to be successful. It’s been a disappointment for a woman who started her public political life as a media darling.

The year after Sheehan’s son Casey died fighting the Iraq War in 2004, she set up an encampment outside then-President George W. Bush’s ranch in Crawford, Texas, instantly becoming a high-profile anti-war activist just as public opinion was turning strongly against the war.

Sheehan parlayed that fame into international activism for peace and other progressive causes, writing a pair of autobiographical/political books, and mounting a primary challenge against then-Speaker of the House Nancy Pelosi in 2008, finishing in second place with about 16 percent of the vote. Sheehan was also the running mate of presidential candidate Roseanne Barr in 2012, although their Peace and Freedom Party ticket didn’t appear on the ballot in most states.

But these days, Sheehan has found it tougher to recapture the media spotlight she once enjoyed, causing her to sometimes bristle with frustration and a sense of entitlement, as she did with us at the Guardian for failing to help her amplify her message before now.

“Who came in 2nd against Pelosi? Who received well into ‘double digits?’ The campaign can’t get steam if ‘lefties’ put the same criteria as the [San Francisco] Chronicle for example for coverage. If I were truly in this for my ‘ego’ I would have quit a long time ago. You write, I campaign all over the world for the things I care about,” Sheehan wrote in a testy April 3 email exchange with me after a supporter seeking our coverage sent her a message in which I questioned the prospects of her campaign.

But getting progressive support in a race against Pelosi in San Francisco clearly isn’t the same thing as having a progressive campaign gain traction with a statewide audience, particularly because Sheehan doesn’t have many prominent endorsers or organizational allies.

By contrast, Rodriguez seems to be outhustling Sheehan, racing up and the down the state to promote his candidacy and work on rebuilding the progressive movement, with an emphasis on reaching communities of color who feel estranged from politics.

“People like me and others on the left need to step up if we’re not going to just accept the control of the two-party system. We have to fight for that democratic reality, we have to make it real,” Rodriguez told us. “You can’t just say vote, vote, vote. You have to give them something to vote for.”

 

ON THE ISSUES

Rodriguez is the author of 15 books, including poetry, journalism, novels, and a controversial memoir on gang life, Always Running, winning major writing awards for his work. He lives in the Los Angeles area, where he’s been active in community-building in both the arts and political realms.

Rodriguez is running on a platform that brings together environmental, social justice, and anti-poverty issues, areas addressed separately by progressive groups who have made only halting progress on each, “which is why we need to make them inseparable.”

While he said Brown has improved the “terrible situation he inherited from Schwarzenegger,” Rodriguez said that the fortunes of the average Californian haven’t turned around.

“People are hurting in the state of California. I think Brown has to answer for that,” Rodriguez said, noting that people are frustrated with the economic system and looking for solutions. “I don’t think Gov. Brown has a plan for it. In fact, I think he’s making it worse.”

Sheehan is critical of Brown for his opposition to full marijuana legalization, his resistance to prison reform, for allowing fracking, and for doing little to challenge the consolidation of wealth.

“My main issue is always, of course, peace and justice. But a corollary of that is for the resources of this state to be more fairly distributed to help people’s lives,” Sheehan said, calling that economic justice stand an outgrowth of her anti-war activism. “Since my son was killed, I’ve been starting to connect the dots about the empire we live under.”

When she studied California history at UCLA, Sheehan said, “I was inspired by Upton Sinclair and his End Poverty In California campaign in the ’30s.” She reminisces about the California of her childhood, when college education was free and the social safety net was intact, keeping people from economic desperation.

“It’s been done before and we can do it again,” Sheehan said. “I love this state, I love its potential, and I miss the way it was when I was growing up.”

 

OBSTACLES TO OVERCOME

Money is a challenge for statewide candidates given the size of California, which has at least a half-dozen major media markets that all need to be tapped repeatedly to reach voters throughout the state.

“I won’t take any corporate dollars and only people with money get heard,” Rodriguez told us.

But he says California has a large and growing number of voters who don’t identify with either major party, as well as a huge number of Latino voters who have yet to really make their voices heard at election time.

“I’m really banking on the people that nobody is counting,” Rodriguez said. “This is the time when people need to come together. We have to unite on these central things.”

That’s always a tough task for third-party candidates. Sheehan has a paltry list of endorsers, owing partly to the left-leaning organizations like labor unions staying with Brown, even though Sheehan claims many of their members support her.

“The rank and file is supportive of our message, but the leadership is still tied in with the Democratic Party,” Sheehan told us. “This state is deeply controlled by the Democratic Party, even more than it was a few years ago.”

But Sheehan considers herself a strong and seasoned candidate. “I’ve run for Congress, I’ve run for vice president, and I think that politics should be local,” Sheehan told us, saying her main strength would be, “I would work with people to create a better state, not against people.”

It was a theme she returned to a few times in our conversation, her main selling point. “It’s about inspiring a movement,” Sheehan said. “My biggest gift is getting out there and talking to people.” But if her strengths are indeed inspiring a movement, working with allies, and building coalitions, then why isn’t her campaign doing those things? Sheehan admits that it’s been difficult, telling us, “I found it easier in San Francisco to get the word out.”

Hold BART accountable for deaths

Michael Redmond
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EDITORIAL

Bay Area Rapid Transit made a deadly miscalculation last year — one that built on years of reckless decisions to value efficiency over safety — and nobody was ever held accountable. That’s not acceptable for a public agency, and it’s time for the people who made these decisions and the elected officials who enabled them to come clean and make amends.

Last year’s contentious contract negotiations between BART management and employees was marked by an ugly union-bashing media strategy and dangerous brinksmanship that forced two strikes. During the second strike in October, two BART workers were killed by a train operated by someone management was training to run replacement service to break the unions.

Whether that driver’s inexperience directly caused the deaths is still being investigated by the National Transportation Safety Board, but we do know that this tragedy was a direct result of the “simple approval process” that made these workers responsible for their own safety even though they couldn’t see or hear a train coming with enough time to safely get out of the way.

California’s Division of Occupational Safety and Health has been battling with BART for years to change this dangerous procedure that had killed workers before, but BART chose to aggressively litigate the mandate at every turn instead doing the right thing, finally acceding after these latest avoidable deaths.

DOSH last week concluded its investigation of the October deaths, finding BART guilty of “willful/serious” safety violations and leveling the maximum fine allowed by law, a mere $210,000. Civil wrongful death settlements are likely to reach into the millions of dollars, and the NTSB could soon bring more punishment down on BART.

But real accountability begins at home. This reckless management strategy should be an issue in every one of this year’s reelection races for BART’s Board of Directors, each of whom are culpable and none of whom have challenged the decisions by General Manager Grace Crunican and Assistant Manager of Operations Paul Oversier in any serious public way.

This arrogant agency has abused the public trust and been hostile to reasonable public oversight, whether that involves its trigger-happy Police Department or its callous disregard for the safety of workers and riders, something its unions have been calling out for many years.

The California Assembly Committee on Labor and Employment unveiled damning evidence of BART’s lax safety culture during a hearing in November, and it’s time for the Legislature to follow up and give DOSH the authority and funding it needs to hold BART and other serial safety violators accountable.

Voters should also consider replacing current elected directors this fall (we’ll offer our endorsements then), giving special consideration to those who want to clean house and change a management culture that is hostile to safety and its workers.

City College special trustee restores public comments, meetings

Erica Hanna
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City College special trustee restores public comments, meetings

Protests against City College of San Francisco’s leadership trumpeted grave concerns in the college community over the lack of public voice at the school. Now, some of those concerns have been resolved, and the beleagured CCSF is taking baby steps towards restoring democracy.

Special Trustee Robert Agrella announced via mass email today the return of public comment to City College board meetings, and, well, actual meetings. Local college officials praised the move as a step in the right direction.

“Perhaps the restoration of some level of openness will make people feel their voices are being heard,” said Fred Teti, the college’s Academic Senate president. The school’s senate only yesterday passed a resolution urging Agrella to restore public comment, Teti said, and with good reason.

Though the mention of board meetings may be elicit a shrug or a snooze for some, for City College students the right to speak out publicly to school leaders was important enough to be jailed over. Only last month, hundreds of student and faculty protesters stormed the school’s administrative building, and in the violent clash with SFPD and City College Police, one student was pepper-sprayed and another punched in the face.

Both were jailed afterward, and one of the students said all he wanted was a dialogue.

“We just want to have a conversation with Bob Agrella,” Dimitrious Phillou said in a video interview with the college’s newspaper, The Guardsman. “It’d be nice if he would talk to us, like a real human.”

And changes to City College are coming spitfire-fast. After they got word from their accreditors that they may close in July of this year, the school has scrambled to reshape classes offered at the school to meet the requirements, and vision, of their accreditors. Agrella was appointed by the state to take the place of the college’s duly-elected Board of Trustees — and therein lies the issue.

Not everyone agreed with the board, and many members through the years have been accused of laziness, incompetence, and worse. But at the very least, the college community had a monthly opportunity at public meetings to tell the board what was right and what was wrong, leading to many decisive turnarounds: budgets amended, classes saved, services restored or cut.

It was an imperfect process, but at least a forum existed to give the public the right to address their officials in full view of the public. Under Agrella, no such forum existed.

Student and faculty shout “let them speak!” at a City College board meeting.

When Agrella took over the powers of the board, the idea was to expedite decision-making in order to save the college. But this meant an end to the meetings. Though he posts the agendas for his decisions online, he held no public meetings, and only solicited “public comment” via email, which many rightly noted were not public at all.

“Apparently these meetings are happening in the special trustee’s head,” Alisa Messer, the City College faculty union president told the Guardian in our story, “Democracy for None [3/18].” “No one agrees that [email] comment is public.”

That will change April 24. Agrella will hear public comments at 4pm at City College’s main campus in the Multi Use Building, Room 140. Unlike meetings of City College’s full board, Agrella’s public comment session will not be televised or audio recorded. When we asked why, college spokesperson Peter Anning said he would look into it. 

Anning added that Agrella did issue one warning. “He was very clear that this was going to follow board policy which will require civil discourse,” Anning said in a phone interview. “That’s been an experience in the past, where people have gotten belligerent. He said he won’t tolerate that.” 

California Community College Chancellor’s Office spokesperson Larry Kamer said Agrella’s decision to restore public comment was a practical one.

“I think Bob is a problem solver, he’s a practical guy,” Kamer said. “If there was concern and discontent about public comment, I think he just wanted to deal with it before it became a problem.”

Messer applauded the decision as a step in the right direction, but cautioned that it was a small step in terms of restoring City College’s democracy. 

“Of course, at any moment Dr. Agrella could — and should — restore actual board meetings,” she told us. “He could even include the voice of the voters by convening our publicly elected Board of Trustees.”

The Board of Supervisors unanimously passed a resolution last month urging Agrella to do exactly that. 

“The resolution sends a very clear message about the importance of restoring democratic decision making at City College,” Sup. David Campos told the SF Examiner.

But, as Teti told the Guardian, sometimes you need to recognize that victories come incrementally. 

Thinking Agrella would restore the Board of Trustees, video airing of public comment and full meetings all at once is perhaps a stretch, he said, “That’s the pie in the sky idea.”


BART fined $210,000 for accident killing two workers

Erica Hanna
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BART fined $210,000 for accident killing two workers

The California Occupational Safety and Health Administration is fining Bay Area Rapid Transit $210,000 for three “willful/serious” safety violations connected to the death of two transit workers, citing a lack of safety measures at BART as the fault of their deaths. BART was fined maximum amounts allowed for the offenses, officials said. 

“Employers have a responsibility to ensure worker safety,” acting Cal/OSHA Chief Juliann Sum said in a statement. “Safety standards are designed to save lives and they were not followed.”

Two transit workers were killed October last year during the final days of the BART strike. As we reported then, Christopher Sheppard, a BART manager and member of the AFSCME union, and Larry Daniels, a contractor, were inspecting a “dip in the rail” before they were hit by an oncoming train. The two workers were required to go through what’s called a Simple Approval process to get permission to work on the track.

It’s that Simple Approval process that came under fire in the citation.

“Employer’s control method, namely the ‘Simple Approval’ procedure, does not safeguard personnel working on tracks during railcar movement,” the citation reads. “The employer allowed workers to conduct work on the railway tracks where trains were travelling in excess of sixty-five (65) miles-per-hour.”

“The employees had no warning that a train moving at more than 65 miles-per-hour was on the C1 railway track approaching the location where they were working.”

BART General Manager Grace Crunican quickly issued a statement.

“Passenger and employee safety is our top priority at BART.  BART has fundamentally upgraded its safety procedures with the implementation of an enhanced wayside safety program and a proposed budget investment of over $5 million in additional resources to bolster BART’s safety performance,” she said. “Cal/OSHA has informed BART these changes correct the concerns which are at the heart of their citations, designating the issues as ‘abated,’ meaning that none are continuing violations or pose continuing safety hazards.”

The statement goes on to say that BART meets CPUC safety standards, though as we’ve seen with PG&E (San Bruno) and Uber (the New Year’s Eve death of Sofia Liu), those standards have been demonstrated to be at times, lax. 

The three violations were deemed “abated” within the citaiton. The citation tasked BART with reassigning job assignments of untrained personell, not allowing unqualified workers near energized equipment and facilities, and “controls to safeguard personell during railcar movement shall be instituted.”

Simple Approval has since been terminated, BART Spokesperson Alicia Trost told the Guardian.

“BART permanantly eliminated Simple Approval immediately following the tragic deaths,” she said. “We now require work orders for anyone who goes wayside.  We are also implementing the extra layers of protection for track workers.”

Notably, the two workers were killed as BART management attempted to train managers to operate trains during the strike, according to the National Transportation Safety Board, who is investigating the incident.

lighting

Left, a dimly lit BART tunnel. Right, an oncoming train. BART has been cited for safety issues by CAL/OSHA before, including lighting issues which some say led to the death of another BART worker years ago.

The citation specifically lambasts flimsy safety process of Simple Approval, the process workers formerly used to keep the Operations Control Center “aware of the presence of personnel in a specified location in the trackway,” according to BART training manuals. When workers are preparing to work on a track, they recited the simple approval to the Operations Control Center, also known as central control. It works like signing a waiver, saying that you understand the rules of safety, and more importantly, that you can work on the track without diverting trains. 

This isn’t the first time BART has run afoul of CAL/OSHA citations, they’ve racked up over 20 in the past years. A hearing held shortly after the two workers’ death also brought many of these problems to light.

Shortly after the accident, Saul Almanza, a longtime BART safety trainer, told us the section of track the two workers died on “crested the hill a little bit.” Having a sight line is important, he said, because you can’t use your ears to hear a train coming.

“It’s like a jet flying over you, you don’t hear it until it’s past you,” he explained. “I always teach in my class: ‘You don’t listen for trains, you look for trains.’”

Below we’ve embedded the citations issued to BART.

Bay Area Rapid Transit (BART) citations for death of two workers from CAL/OSHA by FitztheReporter

This Week’s Picks: April 16 – 22, 2014

Michael Redmond
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WEDNESDAY 16

Fourth Annual Spring Book Sale

Got a spare couple of bucks? Stock up on a year’s worth of reading! Fort Mason Center and Friends of the San Francisco Public Library are hosting one of the city’s largest book sales this week. Some 250,000 books ranging from classic prose to contemporary reads can be purchased for just a few bucks: $3 hard-covers, $2 paperbacks, and $1 DVDs, CDs, and books on tape. Dig through thousands of new and used books and you’ll find some truly awesome treasures. Imagine the wise words of Tolstoy, poignant social commentary of Austen, and lively stories by Twain, all under one roof. Surely you can scavenge for a copy of the Twilight series too, if that’s your thing. (Laura B. Childs)

Through April 20, 10am-6pm, free

Fort Mason Center, Festival Pavilion

2 Marina Blvd., SF

(415) 345 7500

www.friendssfpl.org

 

THURSDAY 17

The 1975

It’s not often that high school bands make it much further than senior prom, but the four members of The 1975 met when they were just hitting puberty. Ten years later, the British foursome released its self-titled album that debuted at the top of the UK Albums Chart — ahead of Nine Inch Nails’ comeback album nonetheless. The band struggled for years to find a label that understood its unique sound and identity. Self-proclaimed fans of ’80s pop and experimental music, The 1975 combines musical influences spanning several generations, resulting in an alternative rock sound with honeyed vocals, synth-pop beats, and gritty lyrics about modern youth. (Childs)

8pm, $25

The Fillmore

1805 Geary Blvd., SF

(415) 346 6000

www.thefillmore.com

 

‘Sorcerer’

William Friedkin’s thriller Sorcerer (1977) is a classic example of a movie that was sneered at upon its release — it had a troubled production with a runaway budget, and the bad fortune to open opposite eternal crowd-pleaser Star Wars — but is now considered a bona fide cult classic. This Georges Arnaud adaptation (previously tapped by Henri-Georges Clouzot for 1953’s The Wages of Fear) follows a group of reckless ne’er-do-wells (including 1970s icon Roy Scheider) as they truck nitroglycerine across perilous South American backroads. Here’s your chance to catch it on the Castro’s huge screen in digitally-remastered form — and yep, that includes Tangerine Dream’s memorable score. (Cheryl Eddy)

7pm, $11

Castro Theatre

429 Castro, SF

www.castrotheatre.com

 

 

Queens of the Stone Age

This isn’t exactly a great moment for straight-up hard rock, so it’s a particularly good time for a fresh flurry of activity from Palm Desert’s finest. Like Clockwork, QOTSA’s first new disc since 2007 — a period marked by one former member’s death and leader Josh Homme’s near-miss after a botched operation, among other things — has been considered one of their best, coming complete with contributions from frequent collaborators Dave Grohl and Mark Lanegan, as well as guests including Trent Reznor and the unlikely Elton John. Who knows who might show up for this latest tour, which features yet another new incarnation of the core band lineup. For stylistic and gender contrast, trance-ier LA psych-rock quartet Warpaint open. (Dennis Harvey)

7:30pm, $45

Bill Graham Civic Auditorium

99 Grove, SF

(415) 974-4060

www.billgrahamcivicauditorium.com

 

FRIDAY 18


An Evening With Bob Saget

Alamo Square’s famous Painted Ladies may be the most well-known Full House relic San Francisco has to offer, but for one magical evening, they might just be upstaged — by the unpredictable, sleazy, somehow both repellent and strangely alluring comedic stylings of Danny Tanner himself, aka Bob Saget. It’s been years since the comedian shed his family-friendly veneer, so if you haven’t seen him since he was narrating stupid pet tricks on America’s Funniest Home Videos, don’t expect too many heartwarming, PG-rated anecdotes — a point he apparently delights in driving home: The book he’s promoting on this tour is called Dirty Daddy: The Chronicles of a Family Man Turned Filthy Comedian. Nothing like adults-only night at the JCC. (Emma Silvers)

7pm, $25-$35

JCC of San Francisco

3200 California St, SF

www.jccsf.org

 

 

Tankcrimes Brainsqueeze

How’s your head, hesher? Finally recovered from October 2010 and the first Tankcrimes Brainsqueeze? Get ready to sacrifice your skull yet again, for Oakland’s Tankcrimes Records is back with another round of mind-melting (the press release actually says “face-raping”) music. And since this weekend includes the High Holy Day of 4/20, anything can and will happen — and you won’t remember any of it. Tonight and tomorrow at the Oakland Metro, bands include Ghoul, Cannabis Corpse, and Final Conflict (Fri/18), and Municipal Waste, Negative Approach, and Fucked Up (Sat/19). Sun/20, head to Eli’s Mile High Club for a show headlined by the almighty Brainoil. Nice knowing ya! (Cheryl Eddy)

7pm, $24

Oakland Metro

630 Third St, Oakl.

www.tankcrimes.com

 

SATURDAY 19

 

UnderCover Presents: Graceland

Nearly three decades after its release, there’s no denying the influence of Paul Simon’s most widely-loved album, a work that brought the sounds of South Africa to audiences around the world — and influence is what UnderCover is all about. For the past five years, the collective has been curating ambitious shows in which local musicians celebrate a classic album by re-interpreting, arranging, and performing it live — one song per artist — in a showcase of some of the Bay Area’s best talent. This rendition, featuring a diverse lineup of John Vanderslice, Diana Gameros, Afrofunk Experience, DRMS, Bill Baird, the Pacific Boychoir, and many others, got Paul Simon fans almost too excited: Its debut weekend, at the JCC, sold out, so organizers added tonight’s East Bay encore. Lucky for you. (Emma Silvers)

7pm, $26

Freight & Salvage

2020 Addison St, Berk.

(510) 644-2020

www.thefreight.org

 

 

RAWdance

You lose some, you gain some. With RAWdance relocating the 15th incarnation of their Concept series, the dancers don’t have to worry about hitting their head on the ceiling, or knocking over a viewer in a misjudged stride. Audience members, for their part, may no longer have to move the chairs for different seating arrangements but then with RAWdance you never know. The change to Joe Goode’s Annex allows for aerial dancing, a popular discipline in these parts, and you may even find a parking space. Performing this time will be Flyaway Productions, Christian Burns, Risa Jaroslow & Dancers, Erik Wagner / Crawl Space, Lindsey Renee Derry / L I n s d a n s, and RAWdance. Most importantly, the free popcorn will still be on the menu. (Rita Felciano)

April 18, 8pm; April 19, 3pm and 8pm, pay what you can

Joe Goode Annex

401 Alabama St, SF

(415) 686-0728

www.rawdance.org

 

SUNDAY 20

 

Liberating Legacies

Pillars of the queer community Celeste Chan and KB Boyce bring their latest Queer Rebels production, Liberating Legacies, to a free, all ages platform. It’s easy to praise popular media for its increase in queer representation, but queer and trans people of color are still often absent from the arts and entertainment that is most accessible. As ever, Queer Rebels are striving to shine the spotlight on those underrepresented artists and stories. Liberating Legacies will feature performers young and old, locally and internationally known, with a variety of talents including music, poetry, film and more. From globally known blues singer Earl Thomas, to Bay Area favorites and Queer Rebels alumni Jezebel Delilah X, Joshua Merchant, and Star Amerasu, Liberating Legacies stands to be a powerful gathering of talent. (Kirstie Haruta)

2pm, free

San Francisco Public Library, Koret Auditorium

100 Larkin, SF

(415) 581-3500

www.queerrebels.com

 

Jack Kerouac School of Disembodied Poetics 40th Anniversary Party

Forty years ago, two poets founded The Jack Kerouac School of Disembodied Poetics as part of Chögyam Tungpa Ribpoche’s 100-year experiment. Allen Ginsberg and Anne Waldman envisioned a school dedicated to cultivating an innovative and contemplative approach to literary writing. The Jack Kerouac School is part of the Buddhist-inspired Naropa University, nestled deep in the Rocky Mountains, and the school’s name and curriculum pay tribute to the iconic novelist and poet best known as the face of the Beat Generation. So of course City Lights is throwing a party for the experimental college’s 40th birthday! The independent bookstore will host an evening of readings by JKS faculty and other special guests.

5pm, free

City Lights Bookstore

261 Columbus, SF

(415) 362 8193

www.citylights.com

 

MONDAY 21

David Crosby

If you missed rock icon David Crosby’s February shows at Great American Music Hall, don’t worry — he did too. Touring in support of Croz, his first solo album in more than 20 years, Crosby suffered tour-interruptus: emergency cardiac catheterization on Feb. 14. Crosby’s bona fides include founding membership in the Byrds and, of course, Crosby, Stills, Nash & Young, both gigs earned him entry to the Rock & Roll Hall of Fame. His medical resume is also packed: liver transplant (1994, paid for by Phil Collins), alcohol and drug addictions, and type 2 diabetes, in addition to his recent “life-saving” heart procedures. But the legendary 72-year-old singer seems to have more lives than an alley full of cats. Back on the road, Crosby has said, “It seems I am once again a very lucky man.” (Kyle Patrick O’Brien)

8pm, $60

Great American Music Hall

859 O’Farrell St, SF

(415) 885-0750

www.slimspresents.com

 

The Men

Calling all people who read Michael Azerrad’s Our Band Could Be Your Life: Scenes from the American Indie Underground, 1981-1991 and loved it: The Men are coming to San Francisco. Playing alongside ’80s SST worshippers Gun Outfit and sludgy rockers CCR Headcleaner, the band is unquestionably influenced by the likes of Meat Puppets and Husker Du at times. But as The Men have progressed more in recent years, they have become a quintessential rock band, taking nods to Neil Young and Big Star (the cover of their latest album, Tomorrow’s Hits, even appears to be an homage to Alex Chilton’s most widely known band). That said, if you would like to see if the spirit of aggressive indie rock is alive and well — this is the event for you. (Erin Dage)

With Gun Outfit, CCR Headcleaner

8pm, $12 Rickshaw Stop

155 Fell, SF

(415) 861-2011

www.rickshawstop.com


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Film Listings: April 16 – 22, 2014

Michael Redmond
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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

Bears John C. Reilly narrates this Disneynature documentary about grizzlies in Alaska. (1:26) Shattuck.

Faust See “Devil’s Advocate.” (2:14) Roxie.

A Haunted House 2 Marlon Wayans returns to star in this sequel, which spoofs last year’s The Conjuring, among other targets. (1:26)

Heaven is for Real No. (1:40)

Only Lovers Left Alive See “Blood Lush.” (2:03) Embarcadero.

The Railway Man The lackluster title — OK, it’s better than that of director Jonathan Teplitzky’s last movie, 2011’s Burning Man, which confused sad Burners everywhere — masks a sensitive and artful adaptation of Eric Lomax’s book, based on a true story, about an English survivor of WWII atrocities. As Railway Man unfolds, we find Eric (Colin Firth), a stammering, attractive eccentric, oddly obsessed with railway schedules, as he meets his sweet soul mate Patti (Nicole Kidman) in vaguely mid-century England. Their romance, however, takes a steep, downward spiral when Patti discovers her new husband’s quirks overlay a deeply damaged spirit, one with scars that never really healed. As Eric grows more isolated, his best friend Finlay (Stellan Skarsgard) reveals some of their experiences as POWs forced to toil on the seemingly impossible-to-build Thai-Burma Railway by Japanese forces. The brutality of the situation comes home when the young Eric (played by Jeremy Irvine of 2011’s War Horse) takes the rap for building a radio and undergoes a period of torture. The horror seems rectifiable when Finlay discovers that the most memorable torturer Nagase (played at various ages by Tanroh Ishida and Hiroyuki Sanada) is still alive and, outrageously, leading tours of the area. Revenge is sweet, as so many other movies looking at this era have told us, but Railway Man strives for a deeper, more difficult message while telling its story with the care and attention to detail that points away from the weedy jungle of a traumatic past — and toward some kind of true north where reconciliation lies. (1:53) Albany, Embarcadero. (Chun)

That Demon Within Hong Kong action director Dante Lam’s latest resides firmly within his preferred wheelhouse of hyper-stylized cops-and-robbers thriller, though this one’s more ghoulish than previous efforts like 2008’s Beast Stalker. Merciless bandits — identities concealed behind traditional masks — have been causing all kinds of trouble, heisting diamonds, mowing down bystanders, blowing up cars, exchanging mad gunfire with police, etc. After he’s injured in one such battle, sinister Hon (Nick Cheung), aka “the Demon King,” stumbles to the hospital, where cop Dave (Daniel Wu) donates blood to save the man’s life, not realizing he’s just revived HK’s public enemy number one. The gangster is soon back to his violent schemes, and Dave — a withdrawn loner given to sudden rage spirals — starts having spooky hallucinations (or are they memories?) that suggest either the duo has some kind of psychic connection, or that Dave is straight-up losing his mind. Meanwhile, a police inspector everyone calls “Pops” (Lam Kar-wah) becomes obsessed with taking Hon down, with additional tension supplied by crooked cops and infighting among the criminal organization. Does an overwrought, mind-warpingly brutal finale await? Hell yes it does. (1:52) Metreon. (Eddy)

Transcendence Academy Award-winning cinematographer Wally Pfister (2010’s Inception) makes his directorial debut with this sci-fi thriller about an AI expert (Johnny Depp) who downloads his own mind into a computer, with dangerously chaotic results. (1:59) California, Four Star, Marina.

Watermark Daring to touch the hem of — and then surpass — Godfrey Reggio’s trippy-movie-slash-visual-essays (1982’s Koyaanisqatsi, 2013’s Visitors) and their sumptuous visual delights and global expansivenesses, with none of the cheese or sensational aftertaste, Watermark reunites documentarian Jennifer Baichwal and photographer Edward Burtynsky, the latter the subject of her 2006 film, Manufactured Landscapes. Baichwal works directly with Burtynsky, as well as DP Nick de Pencier, as the artist assembles a book on the ways water has been shaped by humans. Using mostly natural sound and an unobtrusive score, she’s able to beautifully translate the sensibility of Burtynsky’s still images by following the photographer as he works, taking to the air and going to ground with succinct interviews that span the globe. We meet scientists studying ice cores drilled in Greenland, Chinese abalone farmers, leather workers in Bangladesh, and denizens on both sides of the US/Mexico border who reminisce about ways of life that have been lost to dams. Even as it continually, indirectly poses questions about humans’ dependence on, desire to control, and uses for water, the movie always reminds us of the presence and majesty of oceans, rivers, and tributaries with indelible images — whether it’s a time-lapse study of the largest arch dam in the world; the glorious mandalas of water drilling sites related to the Ogallala Aquifer; or a shockingly stylized scene of Chinese rice terraces that resembles some lost Oskar Kokoschka woodcut. While striking a relevant note in a drought-stricken California, Watermark reaches a kind of elegant earthbound poetry and leaves one wondering what Baichwal and Burtynsky will grapple with next. (1:31) Opera Plaza, Shattuck. (Chun)

ONGOING

Afternoon of a Faun: Tanaquil Le Clercq Writer-director Nancy Buirski’s documentary follows the short, brilliant career of a young dancer named Tanaquil Le Clercq, who came up in the New York City ballet world of the 1940s and ’50s. Le Clercq was discovered by George Balanchine, married him (as three other dancers had done before her), sparked a paradigm shift in the ballet world regarding what was considered the quintessential dancer’s body, had numerous ballets set on her by Balanchine and Jerome Robbins, and then, at the peak of her career, at age 27, was stricken by polio and left paralyzed in both legs. The film takes its time moving toward this catastrophe, recounting Le Clercq’s early adult life through interviews with her contemporaries and tracking her professional progress through gorgeous archival footage of her performances. Equally moving archival material are the letters from a longtime correspondence between Le Clercq and Robbins that documented two very different periods of her life: the first, when Robbins was choreographing ballets for her, including Afternoon of a Faun, and professing his love; the second, after her paralysis, when she wrote him a series of poignant communications describing her impressions of her illness and her new, circumscribed world. The film has some trouble holding on to its center — as in life, Balanchine proves a magnetic force, and Afternoon of a Faun feels inexorably drawn to his professional and personal details. We don’t get enough of Le Clercq, which you could say is the tragedy of her story — nobody did. But the letters do provide a sense of someone resourceful and responsive to life’s richness and joys, someone who would get past this crisis and find a way to reshape her life. (1:31) Opera Plaza. (Rapoport)

Bad Words Settling a grudge score whose precise origin remains unclear until late in the game, world-class misanthrope Guy Trilby (Jason Bateman) is celebrating his 40th birthday by competing in a national spelling bee. Yes, spelling bees are generally for children, and so is this one. But Guy has found a legal loophole permitting his participation, and the general hate wending his way from contest staff (Allison Janney, Philip Baker Hall) — let alone the tiger-mom-and-dad parents ready to form a lynch mob — is just icing on the cake where he’s concerned. What’s more, as some sort of majorly underachieving near-genius, he’s in fact well equipped to whup the bejesus out of overachieving eight-year-olds when it comes to saying the right letters out loud. The only people on his side, sorta, are the online journalist (Kathryn Hahn) reporting on his perverse quest, and the insidiously cute Indian American competitor (Rohan Chand) who wants to be besties, or perhaps just to psych him out. (Note: The tyke’s admitted favorite word is “subjugate.”) Written by Andrew Dodge, this comedy in the tradition (a little too obviously) of 2003’s Bad Santa and such provides the always enjoyable Bateman with not only a tailor-made lead role, but a directorial debut as well. He does just fine by both. Yet as nicely crafted and frequently-pretty-funny Bad Words is, at core it’s a rather petty movie — small, derivative, and cynically mean-spirited without the courage of genuine biliousness. It’s at once not-half-bad, and not half as badass as it pretends to be. (1:29) 1000 Van Ness. (Harvey)

Captain America: The Winter Soldier Marvel’s most wholesome hero returns in this latest film in the Avengers series, and while it doesn’t deviate from the expected formula (it’s not a spoiler to say that yes, the world is saved yet again), it manages to incorporate a surprisingly timely plot about the dangers of government surveillance. Steve Rogers (Chris Evans), hunkiest 95-year-old ever, is still figuring out his place in the 21st century after his post-World War II deep freeze. Nick Fury (Samuel L. Jackson) has him running random rescue missions with the help of Black Widow (Scarlett Johansson), but SHIELD is working on a top-secret project that will allow it to predict crimes before they occur. It isn’t long before Cap’s distrust of the weapon — he may be old-fashioned, but he ain’t stupid — uncovers a sinister plot led by a familiar enemy, with Steve’s former BFF Bucky doing its bidding as the science-experiment-turned-assassin Winter Soldier (Sebastian Stan). Anthony Mackie, Robert Redford, and series regular Cobie Smulders are fine in supporting roles, and Johansson finally gets more to do than punch and pose, but the likable Evans ably carries the movie — he may not have the charisma of Robert Downey Jr., but he brings wit and depth to a role that would otherwise be defined mainly by biceps and CG-heavy fights. Oh, and you know the drill by now: superfans will want to stick around for two additional scenes tucked into the end credits. (2:16) Balboa, Marina, Metreon, 1000 Van Ness, Sundance Kabuki. (Eddy)

Cesar Chavez “You always have a choice,” Cesar Chavez (Michael Peña) tells his bullied son when advising him to turn the other cheek. Likewise, actor-turned-director Diego Luna had a choice when it came to tackling his first English-language film; he could have selected a less complicated, sprawling story. So he gets props for that simple act — especially at a time when workers’ rights and union power have been so dramatically eroded — and for his attempts to impact some complicated nuance to Chavez’s fully evident heroism. Painting his moving pictures in dusty earth tones and burnt sunlight with the help of cinematographer Enrique Chediak, Luna vaults straight into Chavez’s work with the grape pickers that would come to join the United Farm Workers — with just a brief voiceover about Chavez’s roots as the native-born son of a farm owner turned worker, post-Depression. Uprooting wife Helen (America Ferrera) and his family and moving to Delano as a sign of activist commitment, Chavez is seemingly quickly drawn into the 1965 strike by the Mexican workers’ sometime rivals: Filipino pickers (see the recent CAAMFest short documentary Delano Manongs for some of their side of the story). From there, the focus hones in on Chavez, speaking out against violence and “chicken shit macho ideals,” hunger striking, and activating unions overseas, though Luna does give voice to cohorts like Dolores Huerta (Rosario Dawson), growers like Bogdanovitch (John Malkovich), and the many nameless strikers — some of whom lost their lives during the astonishingly lengthy, taxing five-year strike. Luna’s win would be a blue-collar epic on par with 1979’s Norma Rae, and on some levels, he succeeds; scanning the faces of the weathered, hopeful extras in crowd scenes, you can’t help but feel the solidarity. The people have the power, as a poet once put it, and tellingly, his choice of Peña, stolidly opaque when charismatic warmth is called for, might be the key weakness here. One suspects the director or his frequent costar Gael García Bernal would make a more riveting Chavez. (1:38) Metreon. (Chun)

Cuban Fury (1:37) Metreon, 1000 Van Ness.

Divergent Based on the blockbuster dystopian-future YA novel by Veronica Roth (the first in a trilogy), Divergent is set in a future city-state version of Chicago in which society is divided into five character-based, color-coded factions: Erudite, Amity, Candor, Abnegation, and Dauntless. Like her peers, Beatrice Prior (Shailene Woodley), the film’s Abnegation-born teenage heroine, must choose a permanent faction — with the help of a standardized aptitude test that forgoes penciling in bubbles in favor of virtual reality psychic manipulation. When the test fails to triangulate her sole innate personality trait, she learns that she belongs to a secret, endangered sixth category: Divergent, an astonishing set of people who are not only capable of, say, acts of selflessness but can also produce intelligent thought, or manifest bravery in the face of danger. Forced to hide her aberrant nature in a society whose leaders (Kate Winslet) are prone to statements like “The future belongs to those who know where they belong,” and seemingly bored among Abnegation’s hive of gray cardigan-wearing worker bees, Beatrice chooses Dauntless, a dashing gang of black-clad, alterna-rock music video extras who jump on and off moving trains and live in a warehouse-chic compound whose dining hall recalls the patio at Zeitgeist. Fittingly, a surly, tattooed young man named Four (Theo James) leads Beatrice, now Tris, and her fellow initiates through a harsh proving regimen that, if they fail, will cast them into an impoverished underclass. Director Neil Burger (2006’s The Illusionist, 2011’s Limitless) and the behemoth marketing force behind Divergent are clearly hoping to stir up the kind of madness stoked by the Twilight and Hunger Games series, but while there are bones a-plenty to pick with those franchises, Divergent may have them beat for pure daffiness of premise and diameter of plot holes — and that’s after screenwriters Evan Daugherty and Vanessa Taylor’s major suturing of the source material’s lacunae. The daffiness doesn’t translate into imaginative world-building, and while a couple of scenes convey the visceral thrills of life in Dauntless, the tension between Tris and Four is awkwardly ratcheted up, and the film’s shift into a mode of crisis is equally jolting without generating much heat. (2:20) Metreon, 1000 Van Ness. (Rapoport)

Dom Hemingway We first meet English safecracker Dom (Jude Law) as he delivers an extremely verbose and flowery ode to his penis, addressing no one in particular, while he’s getting blown in prison. Whether you find this opening a knockout or painfully faux will determine how you react to the rest of Richard Shepard’s new film, because it’s all in that same overwritten, pseudo-shocking, showoff vein, Sprung after 12 years, Dom is reunited with his former henchman Dickie (Richard E. Grant), and the two go to the South of France to collect the reward owed for not ratting out crime kingpin Mr. Fontaine (Demian Bichir). This detour into the high life goes awry, however, sending the duo back to London, where Dom — who admits having “anger issues,” which is putting it mildly — tries to woo a new employer (Jumayn Hunter) and, offsetting his general loutishness with mawkish interludes, to re-ingratiate himself with his long-estranged daughter (Emilia Clarke). Moving into Guy Ritchie terrain with none of the deftness the same writer-director had brought to debunking James Bond territory in 2006’s similarly black-comedic crime tale The Matador, Dom Hemingway might bludgeon some viewers into sharing its air of waggish, self conscious merriment. But like Law’s performance, it labors so effortfully hard after that affect that you’re just as likely to find the whole enterprise overbearing. (1:33) Metreon, Sundance Kabuki. (Harvey)

Draft Day (2:00) 1000 Van Ness, Presidio, SF Center, Sundance Kabuki.

Finding Vivian Maier Much like In the Realms of the Unreal, the 2004 doc about Henry Darger, Finding Vivian Maier explores the lonely life of a gifted artist whose talents were discovered posthumously. In this case, however, the filmmaker — John Maloof, who co-directs with Charlie Siskel — is responsible for Maier’s rise to fame. A practiced flea-market hunter, he picked up a carton of negatives at a 2007 auction; they turned out to be striking examples of early street photography. He was so taken with the work (snapped by a woman so obscure she was un-Google-able) that he began posting images online. Unexpectedly, they became a viral sensation, and Maloof became determined to learn more about the camerawoman. Turns out Vivian Maier was a career nanny in the Chicago area, with plenty of former employers to share their memories. She was an intensely private person who some remembered as delightfully adventurous and others remembered as eccentric, mentally unstable, or even cruel; she was a hoarder who was distrustful of men, and she spoke with a maybe-fake French accent. And she was obsessed with taking photographs that she never showed to anyone; the hundreds of thousands now in Maloof’s collection (along with 8mm and 16mm films) offer the only insight into her creative mind. “She had a great eye, a sense of humor, and a sense of tragedy,” remarks acclaimed photographer Mary Ellen Mark. “But there’s a piece of the puzzle missing.” The film’s central question — why was Maier so secretive about her hobby? — may never be answered. But as the film also suggests, that mystery adds another layer of fascination to her keenly observed photos. (1:23) Clay. (Eddy)

The Galapagos Affair: Satan Came to Eden Extensive archival footage and home movies (plus one short, narrative film) enhance this absorbing doc from San Francisco-based Dayna Goldfine and Dan Geller (2005’s Ballets Russes). It tells the tale of a double murder that occurred in the early 1930s on Floreana — the most remote of the already scarcely-populated Galapagos Islands. A top-notch cast (Cate Blanchett, Diane Kruger, Connie Nielsen, Josh Radnour) gives voice to the letters and diary entries of the players in this stranger-than-fiction story, which involved an array of Europeans who’d moved away from civilization in search of utopian simplicity — most intriguingly, a maybe-fake Baroness and her two young lovers — and realized too late that paradise isn’t all it’s cracked up to be. Goldfine and Geller add further detail to the historic drama by visiting the present-day Galapagos, speaking with residents about the lingering mystery and offering a glimpse of what life on the isolated islands is like today. (2:00) Embarcadero. (Eddy)

The Grand Budapest Hotel Is this the first Wes Anderson movie to feature a shootout? It’s definitely the first Anderson flick to include a severed head. That’s not to say The Grand Budapest Hotel, “inspired by” the works of Austrian novelist Stefan Zweig, represents too much of a shift for the director — his intricate approach to art direction is still very much in place, as are the deadpan line deliveries and a cast stuffed with Anderson regulars. But there’s a slightly more serious vibe here, a welcome change from 2012’s tooth-achingly twee Moonrise Kingdom. Thank Ralph Fiennes’ performance as liberally perfumed concierge extraordinaire M. Gustave, which mixes a shot of melancholy into the whimsy, and newcomer Tony Revolori as Zero, his loyal lobby boy, who provides gravitas despite only being a teenager. (Being played by F. Murray Abraham as an older adult probably helps in that department.) Hotel‘s early 20th century Europe setting proves an ideal canvas for Anderson’s love of detail — the titular creation rivals Stanley Kubrick’s rendering of the Overlook Hotel — and his supporting cast, as always, looks to be enjoying the hell out of being a part of Anderson’s universe, with Willem Dafoe, Jeff Goldblum, and Adrien Brody having particularly oversized fun. Is this the best Wes Anderson movie since 2001’s The Royal Tenenbaums? Yes. (1:40) Balboa, 1000 Van Ness, Presidio, SF Center, Sundance Kabuki, Vogue. (Eddy)

Jodorowsky’s Dune A Chilean émigré to Paris, Alejandro Jodorowsky had avant-garde interests that led him from theater and comic book art to film, making his feature debut with 1968’s Fando y Lis. Undaunted by its poor reception, he created El Topo (1970), a blood-soaked mix of spaghetti western, mysticism, and Buñuellian parabolic grotesquerie that became the very first “midnight movie.” After that success, he was given nearly a million dollars to “do what he wanted” with 1973’s similarly out-there The Holy Mountain, which became a big hit in Europe. French producer Michel Seydoux asked Jodorowsky what he’d like to do next. Dune, he said. In many ways it seemed a perfect match of director and material. Yet Dune would be an enormous undertaking in terms of scale, expense, and technical challenges. What moneymen in their right mind would entrust this flamboyant genius/nut job with it? They wouldn’t, as it turned out. So doc Jodorowsky’s Dune is the story of “the greatest film never made,” one that’s brain-exploding enough in description alone. But there’s more than description to go on here, since in 1975 the director and his collaborators created a beautifully detailed volume of storyboards and other preproduction minutiae they hoped would lure Hollywood studios aboard this space phantasmagoria. From this goldmine of material, as well as input from the surviving participants, Pavich is able to reconstruct not just the film’s making and unmaking, but to an extent the film itself — there are animated storyboard sequences here that offer just a partial yet still breathtaking glimpse of what might have been. (1:30) Embarcadero. (Harvey)

Joe “I know what keeps me alive is restraint,” says Nicolas Cage’s titular character, a hard-drinking, taciturn but honorable semi-loner who supervises a crew of laborers clearing undesirable trees in the Mississippi countryside. That aside, his business is mostly drinking, occasionally getting laid, and staying out of trouble — we glean he’s had more than enough of the latter in his past. Thus it’s against his better judgment that he helps out newly arrived transient teen Gary (the excellent Tye Sheridan, of 2012’s Mud and 2011’s The Tree of Life), who’s struggling to support his bedraggled mother and mute sister. Actually he takes a shine to the kid, and vice versa; the reason for caution is Gary’s father, whom he himself calls a “selfish old drunk.” And that’s a kind description of this vicious, violent, lazy, conscienceless boozehound, who has gotten his pitiful family thrown out of town many times before and no doubt will manage it once again in this new burg, where they’ve found an empty condemned house to squat in. David Gordon Green’s latest is based on a novel by the late Larry Brown, and like that writer’s prose, its considerable skill of execution manages to render serious and grimly palatable a steaming plate load of high white trash melodrama that might otherwise be undigestible. (Strip away the fine performances, staging and atmosphere, and there’s not much difference between Joe and the retro Southern grind house likes of 1969’s Shanty Tramp, 1974’s ‘Gator Bait or 1963’s Scum of the Earth.) Like Mud and 2011’s Killer Joe, this is a rural Gothic neither truly realistic or caricatured to the point of parody, but hanging between those two poles — to an effect that’s impressive and potent, though some may not enjoy wallowing in this particular depressing mire of grotesque nastiness en route to redemption. (1:57) Metreon, Presidio. (Harvey)

The Lego Movie (1:41) Metreon.

The Lunchbox Ila (Nimrat Kaur) is a self-possessed housewife and a great cook, whose husband confuses her for another piece of furniture. She tries to arouse his affections with elaborate lunches she makes and sends through the city’s lunchbox delivery service. Like marriage in India, lunchbox delivery has a failure rate of zero, which is what makes aberrations seem like magical occurrences. So when widow Saajan (Irrfan Khan) receives her adoring food, he humbly receives the magical lunches like a revival of the senses. Once Ila realizes her lunchbox is feeding the wrong man she writes a note and Saajan replies — tersely, like a man who hasn’t held a conversation in a decade — and the impossible circumstances lend their exchanges a romance that challenges her emotional fidelity and his retreat from society. She confides her husband is cheating. He confides his sympathy for men of lower castes. It’s a May/December affair if it’s an affair at all — but the chemistry we expect the actors to have in the same room is what fuels our urge to see it; that’s a rare and haunting dynamic. Newcomer Kaur is perfect as Ila, a beauty unmarked by her rigorous distaff; her soft features and exhausted expression lend a richness to the troubles she can’t share with her similarly stoic mother (Lillete Dubey). Everyone is sacrificing something and poverty seeps into every crack, every life, without exception — their inner lives are their richness. (1:44) Opera Plaza. (Vizcarrondo)

Mr. Peabody and Sherman Mr. P. (voiced by Ty Burrell) is a Nobel Prize-winning genius dog, Sherman (Max Charles) his adopted human son. When the latter attends his first day of school, his extremely precocious knowledge of history attracts jealous interest from bratty classmate Penny (Ariel Winter), with the eventual result that all three end up being transported in Peabody’s WABAC time machine to various fabled moments — involving Marie Antoinette, King Tut, the Trojan Horse, etc. — where Penny invariably gets them in deep trouble. Rob Minkoff’s first all-animation feature since The Lion King 20 years ago is spun off from the same-named segments in Jay Ward’s TV Rocky and Bullwinkle Show some decades earlier. It’s a very busy (sometimes to the brink of clutter), often witty, imaginatively constructed, visually impressive, and for the most part highly enjoyable comic adventure. The only minuses are some perfunctory “It’s about family”-type sentimentality — and scenarist Craig Wright’s determination to draw from history the “lesson” that nearly all women are pains in the ass who create problems they must then be rescued from. (1:30) 1000 Van Ness. (Harvey)

Muppets Most Wanted Building on the success of The Muppets, Jim Henson’s beloved creations return to capitalize on their revitalized (and Disney-owned) fame. This follow-up from Muppets director James Tobin — technically, it’s the seventh sequel to the original 1979 Muppet Movie, as Dr. Bunsen Honeydew points out in one of the film’s many meta moments — improves upon the 2011 film, which had its charms but suffered by concentrating too much on the Jason Segal-Amy Adams romance, not to mention annoying new kid Walter. Here, human co-stars Ricky Gervais, Tina Fey, and others (there are more cameos than you can count) are relegated to supporting roles, with the central conflict revolving around the Muppets’ inability to notice that Constantine, “the world’s most dangerous frog,” has infiltrated their group, sending Kermit to Siberian prison in his place. Constantine and his accomplice (Gervais, whose character’s last name is “Badguy”) use the Muppets’ world tour as a front for their jewel-heist operation; meanwhile, his infatuated warden (Fey) forces Kermit to direct the annual gulag musical. Not helping matters are a bumbling Interpol agent (Ty Burrell) and his CIA counterpart (Sam the American Eagle, natch). Really, all that’s needed is a simple plot, catchy songs, and plenty of room to let the Muppets do their thing — Miss Piggy and Animal are particularly enjoyable here; Walter’s still around, but he’s way more tolerable now that he’s gotten past his “man or muppet” angst — and the film delivers. All the knowing winks to the grown-up fans in the audience are just an appreciated bonus. (1:46) 1000 Van Ness, SF Center. (Eddy)

Noah Darren Aronofsky’s Biblical epic begins with a brief recap of prior Genesis events — creation is detailed a bit more in clever fashion later on — leading up to mankind’s messing up such that God wants to wipe the slate clean and start over. That means getting Noah (Russell Crowe), wife Naameh (Jennifer Connelly), and their three sons and one adopted daughter (Emma Watson) to build an ark that can save them and two of every animal species from the imminent slate-wiping Great Flood. (The rest of humanity, having sinned too much, can just feed the fishes.) They get some help from fallen angels turned into Ray Harryhausen-type giant rock creatures voiced by Nick Nolte and others. There’s an admirable brute force and some startling imagery to this uneven, somber, Iceland-shot tale “inspired” by the Good Book (which, needless to say, has endured more than its share of revisions over the centuries). Purists may quibble over some choices, including the device of turning minor Biblical figure Tubal-Cain (Ray Winstone) into a royal-stowaway villain, and political conservatives have already squawked a bit over Aronofsky’s not-so-subtle message of eco-consciousness, with Noah being bade to “replenish the Earth” that man has hitherto rendered barren. But for the most part this is a respectable, forceful interpretation that should stir useful discussion amongst believers and non believers alike. Its biggest problem is that after the impressively harrowing flood itself, we’re trapped on the ark dealing with the lesser crises of a pregnancy, a discontented middle son (Logan Lerman), and that stowaway’s plotting — ponderous intrigues that might have been leavened if the director had allowed us to hang out with the animals a little, rather than sedating the whole menagerie for the entire voyage. (2:07) 1000 Van Ness, SF Center, Sundance Kabuki. (Harvey)

Nymphomaniac: Volume I Found battered and unconscious in a back alley, Joe (Charlotte Gainsbourg) is taken in by good Samaritan Seligman (Stellan Skarsgaard), to whom she explains “It’s all my fault — I’m just a bad human being.” But he doesn’t believe there are such things. She seeks to enlighten him by narrating the story of her life so far, from carnally curious childhood to sexually voracious adulthood. Stacy Martin plays her younger self through a guided tour of excesses variously involving Christian Slater and Connie Nielsen as her parents; a buncha guys fucked on a train, on a teenage dare; Uma Thurman as one histrionically scorned woman; and Shai LaBeouf as a first love who’s a cipher either because he’s written that way, or because this particular actor can’t make sense out of him. For all its intended provocation, including some graphic but unsurprisingly (coming from this director) unerotic XXX action, von Trier’s latest is actually less offensive than much of his prior output: He’s regained his sense of humor here, and annoying as its “Look at me, I’m an unpredictable artist” crap can be (notably all the stuff about fly-fishing, cake forks, numerology, etc. that seems randomly drawn from some Great Big Book of Useless Trivia), the film’s episodic progress is divertingly colorful enough. But is Joe going to turn out to be more than a two-dimensional authorial device from a director who’s never exactly sussed women (or liked people in general)? Will Nymphomaniac arrive at some pointed whole greater than the sum of its naughty bits? The answer to both is probably “Nah.” But we won’t know for sure until the two-hour second half arrives (see review below) of a movie that, in fairness, was never really intended to be split up like this. (1:50) Smith Rafael. (Harvey)

Nymphomaniac, Volume II The second half of Lars von Trier’s anecdotal epic begins with Joe (Charlotte Gainsbourg) recalling the quasi-religious experience of her spontaneous first orgasm at age 12. Then she continues to tell bookish good Samaritan Seligman (Stellan Skarsgard) — who reveals he’s an asexual 60-something virgin — the story of her sexually compulsive life to date. Despite finding domestic stability at last with Jerome (Shia LeBeouf), she proves to have no talent for motherhood, and hits a tormenting period of frigidity eventually relieved only by the brutal ministrations of sadist K (Jamie Bell, burying Billy Elliott for good). She finds a suitable professional outlet for her peculiarly antisocial personality, working as a sometimes ruthless debt collector under the tutelage of L (Willem Dafoe), and he in turn encourages her to develop her own protégé in the form of needy teenager P (Mia Goth). If Vol. I raised the question “Will all this have a point?,” Vol. II provides the answer, and it’s (as expected) “Not really.” Still, there’s no room for boredom in the filmmaker’s most playfully arbitrary, entertaining, and least misanthropic (very relatively speaking) effort since his last four-hour-plus project 20 years ago, TV miniseries The Kingdom. Never mind that von Trier (in one of many moments when he uses Joe or Seligman as his mouthpiece) protests against the tyranny of political correctitude that renders a word like “Negro” unsayable — you’re still free to feel offended when his camera spends more time ogling two African men’s variably erect dicks in one brief scene that it does all the white actors’ cocks combined. But then there’s considerably more graphic content all around in this windup, which ends on a predictable note of cheap, melodramatic irony. But that’s part of the charm of the whole enterprise: Reeling heedlessly from the pedantic to the shocking to the trivial, like a spoiled child it manages to be kinda cute even when it’s deliberately pissing you off. (2:10) Opera Plaza, Smith Rafael. (Harvey)

Oculus Tim (Brenton Thwaites) and Kaylie (Karen Gillan) are grown siblings with a horrible shared past: When they were children, their parents (Rory Cochrane, Katee Sankhoff) moved them all into a nice suburban house, decorating it with, among other things, a 300-year-old mirror. But that antique seemed to have an increasingly disturbing effect on dad, then mom too, to ultimately homicidal, offspring-orphaning effect. Over a decade later, Tim is released from a juvenile mental lockup, ready to live a normal life after years of therapy have cleaned him of the supernatural delusions he think landed him there in the first place. Imagine his dismay when Kaylie announces she has spent the meantime researching aforementioned “evil mirror” — which turns out to have had a very gruesome history of mysteriously connected deaths — and painstakingly re-acquiring it. She means to destroy it so it can never wreak havoc, and has set up an elaborate room of camcorders and other equipment in which to “prove” its malevolence first, with Tim her very reluctant helper. Needless to say, this experiment (which he initially goes along with only in order to debunk the whole thing for good) turns out to be a very, very bad idea. The mirror is clever — demonically clever. It can warp time and perspective so our protagonists don’t know whether what they’re experiencing is real or not. Expanding on his 2006 short film (which was made before his excellent, little-seen 2011 horror feature Absentia), Mike Flanagan’s tense, atmospheric movie isn’t quite as scary as you might wish, partly because the villain (the spirit behind the mirror) isn’t particularly well-imagined in generic look or murky motivation. But it is the rare new horror flick that is genuinely intricate and surprising plot-wise — no small thing in the current landscape of endless remakes and rehashes. (1:44) Metreon, 1000 Van Ness. (Harvey)

On My Way Not for nothing too does the title On My Way evoke Going Places (1974): director Emmanuelle Bercot is less interested in exploring Catherine Deneuve’s at-times-chilled hauteur than roughing up, grounding, and blowing fresh country air through that still intimidatingly gorgeous image. Deneuve’s Bettie lost her way long ago — the former beauty queen, who never rose beyond her Miss Brittany status, is in a state of stagnation, working at her seafood restaurant, having affairs with married men, living with her mother, and still sleeping in her girlhood room. One workday mid-lunch hour, she gets in her car and drives, ignoring all her ordinary responsibilities and disappearing down the wormhole of dive bars and back roads. She seems destined to drift until her enraged, equally lost daughter Muriel (Camille) calls in a favor: give her son Charly (Nemo Schiffman) a ride to his paternal grandfather’s. It’s chance to reconnect and correct course, even after Bettie’s money is spent, her restaurant appears doomed, and the adorable, infuriating Charly acts out. The way is clear, however: what could have been a musty, predictable affair, in the style of so many boomer tales in the movie houses these days, is given a crucial infusion of humanity and life, as Bercot keeps an affectionate eye trained on the unglamorous everyday attractions of a French backwater and Deneuve works that ineffable charm that draws all eyes to her onscreen. Her Bettie may have kicked her cigarette habit long ago, but she’s still smokin’ — in every way. (1:53) Embarcadero. (Chun)

Particle Fever “We are hearing nature talk to us,” a physicist remarks in awe near the end of Particle Fever, Mark Levinson’s intriguing doc about the 2012 discovery of the Higgs boson particle. Earlier, another scientist says, “I’ve never heard of a moment like this in [science] history, where an entire field is hinging on a single event.” The event, of course, is the launch of the Large Hardon Collider, the enormous machine that enabled the discovery. Though some interest in physics is probably necessary to enjoy Particle Fever, extensive knowledge of quarks and such is not, since the film uses elegant animation to refresh the basics for anyone whose eyes glazed over during high-school science. But though he offers plenty of context, Levinson wisely focuses his film on a handful of genial eggheads who are involved in the project, either hands-on at the European Organization for Nuclear Research (CERN), or watching from afar as the mighty LHC comes to life. Their excitement brings a welcome warmth to the proceedings — and their “fever” becomes contagious. (1:39) Opera Plaza. (Eddy)

The Raid 2 One need not have seen 2011’s The Raid: Redemption to appreciate this latest collaboration between Welsh director Gareth Evans and Indonesian actor, martial artist, and fight choreographer Iko Uwais — it’s recommended, of course, but the sequel stands alone on its own merits. Overstuffed with gloriously brutal, cleverly choreographed fight scenes, The Raid 2 — sometimes written with the subtitle “Berendal,” which means “thugs” — picks up immediately after the events of the first film. Quick recap of part one: a special-forces team invades an apartment tower controlled by gangsters. Among the cops is idealistic Rama (Uwais). Seemingly bulletproof and fleet of fists and feet, Rama battles his way floor-by-floor, encountering machete-toting heavies and wild-eyed maniacs; he also soon realizes he’s working for a police department that’s as corrupt as the gangster crew. The Raid‘s gritty, unadorned approach resonated with thrillseeking audiences weary of CG overload. A second Raid film was inevitable, especially since Evans — who became interested in Indonesian martial arts, or pencak silat, while working on 2007 doc The Mystic Art of Indonesia — already had its story in mind: Rama goes undercover within a criminal organization, a ploy that necessitates he do a prison stint to gain the trust of a local kingpin. Naturally, not much goes according to plan, and much blood is shed along the way, as multiple power-crazed villains set their sinister plans into motion. With expanded locations and ever-more daring (yet bone-breakingly realistic) fight scenes aplenty — including a brawl inside a moving vehicle, and a muddy, bloody prison-yard riot — The Raid 2 more than delivers. Easily the action film of the year so far, with no contenders likely to topple it in the coming months. (2:19) Metreon, 1000 Van Ness, Sundance Kabuki. (Eddy)

Rio 2 (1:41) Four Star, Metreon, 1000 Van Ness, Presidio.

300: Rise of An Empire We pick up the 300 franchise right where director Zack Snyder left off in 2006, with this prequel-sequel, which spins off an as-yet-unreleased Frank Miller graphic novel. In the hands of director Noam Murro, with Snyder still in the house as writer, 300: Rise of an Empire contorts itself, flipping back and forth in time, in an attempt to explain the making of Persian evil prince stereotype Xerxes (Rodrigo Santoro) —all purring androgyny, fashionable piercings, and Iran-baiting, Bush-era malevolence — before following through on avenging 300‘s romantically outnumbered, chesty Spartans. As told by the angry, mourning Spartan Queen Gorgo (Lena Headey of Game of Thrones), the whole mess apparently began during the Battle of Marathon, when Athenian General Themistokles (Sullivan Stapleton) killed Xerxes’s royal father with a well-aimed miracle arrow. That act ushers in Xerxes’s transformation into a “God King” bent on vengeance, aided and encouraged by his equally vengeful, elegantly mega-goth naval commander Artemisia (Eva Green), a Greek-hating Greek who likes to up the perversity quotient by making out with decapitated heads. In case you didn’t get it: know that vengeance is a prime mover for almost all the parties (except perhaps high-minded hottie Themistokles). Very loosely tethered to history and supplied with plenty of shirtless Greeks, taut thighs, wildly splintering ships, and even proto-suicide bombers, Rise skews toward a more naturalistic, less digitally waxy look than 300, as dust motes and fire sparks perpetually telegraph depth of field, shrieking, “See your 3D dollars hard at work!” Also working hard and making all that wrath look diabolically effortless is Green, who as the pitch-black counterpart to Gorga, turns out to be the real hero of the franchise, saving it from being yet another by-the-book sword-and-sandal war-game exercise populated by wholesome-looking, buff, blond jock-soldiers. Green’s feline line readings and languid camp attitude have a way of cutting through the sausage fest of the Greek pec-ing order, even during the Battle of, seriously, Salamis. (1:43) Metreon. (Chun)

Under the Skin At the moment, Scarlett Johansson is playing a superhero in the world’s top blockbuster. Her concurrent role in Jonathan Glazer’s Under the Skin — the tale of an alien who comes to earth to capture men, but goes rogue once her curiosity about the human world gets the better of her — could not be more different in story or scope. Her character’s camouflage (dark wig, thickly-applied lipstick) was carefully calibrated to make her unrecognizable, since Glazer (2000’s Sexy Beast) filmed the alien’s “pick-up” scenes — in which Johansson’s unnamed character cruises around Glasgow in a nondescript van, prowling for prey — using hidden cameras and real people who had no idea they were interacting with a movie star. The film takes liberties with its source material (Michel Farber’s novel), with “feeding” scenes that are far more abstract than as written in the book, allowing for one of the film’s most striking visual motifs. After the alien seduces a victim, he’s lured into what looks like a run-down house. The setting changes into a dark room that seems to represent an otherworldly void, with composer Mica Levi’s spine-tingling score exponentially enhancing the dread. What happens next? It’s never fully explained, but it doesn’t need to be. When the alien begins to mistakenly believe that her fleshy, temporary form is her own, she abandons her predatory quest — but her ill-advised exploration of humanity leads her into another dark place. A chilling, visceral climax caps one of the most innovative sci-fi movies in recent memory. (1:47) SF Center, Sundance Kabuki. (Eddy)

Le Week-End Director Roger Michell and writer Hanif Kureishi first collaborated two decades ago on The Buddha of Suburbia, when the latter was still in the business of being Britain’s brashest multiculti hipster voice. But in the last 10 years they’ve made a habit of slowing down to sketching portraits of older lives — and providing great roles for the nation’s bottomless well of remarkable veteran actors. Here Lindsay Duncan and Jim Broadbent play a pair of English academics trying to re-create their long-ago honeymoon’s magic on an anniversary weekend in Paris. They love each other, but their relationship is thorny and complicated in ways that time has done nothing to smooth over. This beautifully observed duet goes way beyond the usual adorable-old-coot terrain of such stories on screen; it has charm and humor, but these are unpredictable, fully rounded characters, not comforting caricatures. Briefly turning this into a seriocomedy three-way is Most Valuable Berserker Jeff Goldblum as an old friend encountered by chance. It’s not his story, but damned if he doesn’t just about steal the movie anyway. (1:33) Embarcadero. (Harvey) *

 

Events: April 16 – 22, 2014

Michael Redmond
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Listings are compiled by Guardian staff. Submit items for the listings at listings@sfbg.com. For further information on how to submit items for the listings, see Selector.

WEDNESDAY 16

“Globular Clusters of the Milky Way” Randall Museum, 199 Museum Way, SF; www.randallmuseum.org. 7:30pm, free. Calling all Cosmos fans: UC Santa Cruz Professor of Astronomy Graeme Smith delivers this talk as part of the San Francisco Amateur Astronomers’ 2014 lecture series.

Myra McPherson Green Arcade, 1680 Market, SF; www.thegreenarcade.com. 7pm, free. The author discusses The Scarlet Sisters: Sex, Suffrage, and Scandal in the Gilded Age.

Elizabeth Scarboro and Louise Aronson Booksmith, 1644 Haight, SF; www.booksmith.com. 7:30pm, free. The authors read from My Foreign Cities and A History of the Present Illness, respectively.

“Smack Dab” Magnet, 4122 18th St, SF; www.magnetsf.org. 8pm, free. Open mic for writers and musicians, with featured performer Blair Hansen.

Kevin Young City Lights Bookstore, 261 Columbus, SF; www.citylights.com. 7pm, free. The poet reads from his new collection, Book of Hours.

THURSDAY 17

Kaya Press 20th Anniversary City Lights Bookstore, 261 Columbus, SF; www.citylights.com. 7pm, free. With Sesshu Foster, Gene Oishi, Amamath Rawa, and Shailja Patel.

“The Natural and Cultural History of Yerba Buena Island” Randall Museum, 199 Museum Wy, SF; www.randallmuseum.org. 7:30pm, free. The 2014 SF Natural History Lecture Series continues with this talk about Yerba Buena Island’s ecological secrets by Ruth Gravanis.

FRIDAY 18

“Birding the Hill” Corona Heights Park, behind Randall Museum, 199 Museum Way, SF; www.randallmuseum.org. 8am, free. Beginning birders are welcome to this 2.5 hour walk scouting the park’s avian inhabitants.

SATURDAY 19

Emil DeAndreis Green Apple Books, 506 Clement, SF; www.greenapplebooks.com. 6pm, free. The author reads from Beyond Folly.

Earth Day Bay Area Discovery Museum, Fort Baker, 447 McReynolds, Sausalito; www.baykidsmuseum.org. 9am-5pm, $11. Live music, hands-on craft projects using recycled materials, storytelling, and more for kids and their families.

Earth Day SF UN Plaza, Civic Center, SF; www.earthdaysf.org. 10am-6pm, free. This year’s theme is “A Call to Action,” so look for speakers and booths addressing climate change, green activism, and other social-justice topics. Of course, there will also be plenty of music (by headliners New Monsoon and the Earth Day All Star Band, among others), dance performances, an eco fashion show, a sustainable chef showcase, and more.

“Earth Day on the Bay” Marine Science Institute, 500 Discovery Pkwy, Redwood City; www.sfbaymsi.org. 10am-5pm, free. The Institute opens to the public just once a year, and today’s the day. Families are invited for hands-on science fun (touch a shark!).

“Eggstravaganza 2014” Sharon Meadow, Golden Gate Park, SF; www.sfrecpark.org. 11am-3pm, $8. Egg hunts, carnival rides, games, live entertainment, and a barbecue competition between city agencies highlight this family-friendly Easter event.

“Great Egg Hunt” Dunsmuir Hellman Historic Estate, 2960 Peralta Oaks Court, Oakl; www.dunsmuir-hellman.com. Noon-3pm, $3-5. Oakland’s largest egg hunt (also on tap: a petting zoo, face painting, crafts, and more) covers the grounds of the 1899 mansion.

Northern California Cherry Blossom Festival Japantown, SF; www.sfcherryblossom.org. Times and prices vary. Through Sun/20. Celebrate Japanese culture and the Japanese American community at this 47th annual street fair, boasting food booths, live music, martial arts demonstrations, and more.

“Party for the Planet” Oakland Zoo, 9777 Golf Links Rd, Oakl; www.oaklandzoo.org. 10am-3pm, $11.75-15.75. 50 local environmental organizations participate in this zoo bash, which will feature over 50 “interactive Earth Stations” throughout the facility. Plus: live animal presentations, live music, and more.

“SuperAwesome: Art and Giant Robot” and “Vinyl: The Sound and Culture of Records” Oakland Museum of California, 1000 Oak, Oakl; www.museumca.org. 11am-5pm, $6-20. Through July 27. Two new exhibits open today at OMCA: the first highlighting 15 artists associated with Asian and Asian American pop culture-focused magazine Giant Robot, and the second exploring “the social and cultural phenomenon of listening to, collecting, and sharing records.”

SUNDAY 20

“Easter in Golden Gate Park” Hellman Hollow, Golden Gate Park, SF; www.thesisters.org. Children’s Easter, 10am; main event, noon. Free. Hunky Jesus has risen! And this year, he’s got Foxy Mary with him! It’s the 35th year for the Sisters of Perpetual Indulgence’s flamboyant Easter festivities. Crucial info: the theme is “The Emerald Jubilee, A ‘Trip” to Oz;” and since Dolores Park is temporarily closed, it all goes down in Golden Gate Park.

Jack Kerouac School of Disembodied Poetics 40th Anniversary Party City Lights Bookstore, 261 Columbus, SF; www.citylights.com. 5pm, free. Andrea Rexillus hosts readings by Robert Gluck, Juliana Spahr, Cedar Sigo, Eric Baus, Michelle Naka Pierce, and Chris Pusateri.

“The Szyk Haggadah” Contemporary Jewish Museum, 736 Mission, SF; www.thecjm.org. 1-2pm, free with museum admission ($10-12). Also April 27, 3-4pm. The Arthur Szyk scholar discusses the artist’s masterwork in this gallery talk.

Union Street Easter Parade and Spring Celebration Union between Gough and Fillmore, SF; www.sresproductions.com. 10am-5pm, free. A parade, an Easter bonnet contest, live entertainment, and lots of kid-friendly fun highlight this 23rd annual event.

TUESDAY 22

Doug Fine Booksmith, 1644 Haight, SF; www.booksmith.com. 7:30pm, free. Celebrate Earth Day with this reading by the author of Hemp Bound: Dispatches from the Front Lines of the Next Agricultural Revolution.

Sixteen Rivers Press reading City Lights Bookstore, 261 Columbus, SF; www.citylights.com. 7pm. With poetry readings by Beverly Burch and Murray Silverstein. *

 

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