Conservative

A lame attack on Avalos and Adachi

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The Examiner headline today is about as misleading as you can get: “Labor leaders unite against mayor candidates Jeff Adachi, John Avalos.”


That’s pretty ridiculous, since Avalos has the endorsement of the largest city employee union (SEIU Local 1021) and the local teachers union and is about the most pro-labor person in the race. And when you look at what’s actually going on, only three “labor leaders” (out of 150 unions represented in the San Francisco Labor Council) are going after Adachi and Avalos — and they’re among the most conservative labor unions in the city. Who are these “labor leaders?” The cops, the firefighters and the plumbers.


The plumbers, I guess, are mad about Avalos’ local-hire law. The cops and firefighters are mad that Avalos doesn’t give them everything they want. And the fact that they’re going to raise money to go after Adachi and Avalos suggests that they think one or both of them is a serious threat to Mayor Ed Lee.


Or else they’re just blustering and throwing money around because they can.


The reality is that Avalos will have strong labor support, as he always has. Adachi will have a lot more than the cops and firefighters and plumbers to worry about — nobody in organized labor is happy with his pension-reform legislation. So this little rump group making a fuss and getting Examiner headlines means very little.

Film Listings

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Film listings are edited by Cheryl Eddy. Reviewers are Kimberly Chun, Michelle Devereaux, Max Goldberg, Dennis Harvey, Louis Peitzman, Lynn Rapoport, Ben Richardson, and Matt Sussman. For rep house showtimes, see Rep Clock.

OPENING

Apollo 18 Faux-found-footage horror flick about a top-secret moon landing gone terribly awry. (1:26)

The Debt On paper, The Debt has a lot going for it: captivating history-based plot, “it” actor Jessica Chastain, Helen Mirren vs. Nazis. And while the latest from John Madden (1998’s Shakespeare in Love) is fairly entertaining, the film is ultimately forgettable. Chastain plays Rachel, a member of an Israeli team tasked with capturing a Nazi war criminal and bringing him to justice. Mirren is the older Rachel, who is haunted by the long-withheld true story of the mission. Although The Debt traffics in spy secrets, it’s actually rather predictable: the big reveal is shrug-worthy, and the shocking conclusion is expected. So while the entire cast — which also includes Tom Wilkinson, Sam Worthington, and Ciaran Hinds — turn in admirable performances, the script is lacking what it needs to make The Debt an effective drama or thriller. Like 2008’s overrated The Reader, the film tries to hide its inadequacies under heavy themes and the dread with which we remember the Holocaust. (1:54) (Peitzman)

Film Socialisme For the record, Jean-Luc Godard is alive and well and still making thought-provoking films. (1:41) SFFS New People Cinema.

A Good Old Fashioned Orgy Thirtysomethings in the Hamptons do the darndest things. (1:35)

*Higher Ground Higher Ground does not bite off more than it can chew. I guess that should go without saying, but it’s striking how comfortably Vera Farmiga (in her directorial debut) tackles this story of devotion and doubt. Based on the memoirs of Carolyn S. Briggs, who co-wrote the screenplay, this deeply personal film follows Corrine Walker (Vera Farmiga) from her adolescence through the trials of youth and middle age, her marriage to high school sweetheart Ethan (Joshua Leonard), and their lives as members of a small hippie Christian community. Although religion serves as a backdrop for Higher Ground, it doesn’t suffocate the human element of the story; it’s less a film about Christianity than it is about the challenges one woman faces as she tries to find room for herself amidst faith. Farmiga treats her subjects with empathy and humor and crafts a thoughtful, tender slice of sixties Midwest Americana. (1:49) (Cooper Berkmoyer)

*The Interrupters See “Chicago Hope.” (2:05)

*Love Exposure See Trash. (3:57) Roxie.

Seven Days in Utopia If the sports sub-sub-genre “existential golf drama” is your idea of a good time, you’re in luck this week. (1:38)

Shark Night 3D Just realized this movie is rated PG-13. DISLIKE. (1:31)

ONGOING

*Beginners There is nothing conventional about Beginners, a film that starts off with the funeral arrangements for one of its central characters. That man is Hal (Christopher Plummer), who came out to his son Oliver (Ewan McGregor) at the ripe age of 75. Through flashbacks, we see the relationship play out — Oliver’s inability to commit tempered by his father’s tremendous late-stage passion for life. Hal himself is a rare character: an elderly gay man, secure in his sexuality and, by his own admission, horny. He even has a much younger boyfriend, played by the handsome Goran Visnjic. While the father-son bond is the heart of Beginners, we also see the charming development of a relationship between Oliver and French actor Anna (Mélanie Laurent). It all comes together beautifully in a film that is bittersweet but ultimately satisfying. Beginners deserves praise not only for telling a story too often left untold, but for doing so with grace and a refreshing sense of whimsy. (1:44) (Peitzman)

*Bellflower Picture Two Lane Blacktop (1971) drifters armed with “dude”-centric vocabulary and an obsession with The Road Warrior (1981) and its apocalypse-wow survivalist chic. There are so many pleasures in this janky, so-very-DIY, heavy-on-the-sunblasted-atmosphere indie that you’re almost willing to overlook the clichés, the dead zones, and the annoying characters. Seeming every-dudes Woodrow (director-writer-producer Evan Glodell) and Aiden (Tyler Dawson) are far too obsessed with tricking out their cars and building a flamethrower for their own good — the misfits must force themselves out of the metal shop of the mind to meet women. So when Woodrow goes up against Milly (Jessie Wiseman) in a cricket-eating contest at a bar, it’s love at first bite. Their meet-gross morphs into a road trip and eventually a relationship, while the flamethrower nags, unexplained, in the background, like an unfired gun — or an unconsummated, not-funny bromance. These manifestations of male fantasy — muscle cars, weapons, and tough chicks — are cast in a dreamy, saturated, and burnt-at-the-edges light, as Glodell and company weave together barely articulated reveries and bad-new-west imagery with a kind of fuck-all intelligence, culminating in a finale that will either haunt you with its scattershot machismo-romanticism or leave you scratching your noggin wondering what just happened. (1:46) (Chun)

Brighton Rock Writer Rowan Joffe (2010’s The American) moves into the director’s chair for this Graham Greene adaptation, previously filmed in 1947 with an early-career star turn by Richard Attenborough. Joffe’s version updates Greene’s 1938 story to 1964, allowing the brutal actions of small-time hood Pinkie Brown to unfold as Britain’s mods vs. rockers youth riots boil in the background. Don’t get too excited, though — despite a cool premise and even cooler setting, and the presence of veterans Helen Mirren and John Hurt in supporting roles, Brighton Rock rages without a rudder. Pinkie is played by Sam Riley (so good as Ian Curtis in 2007’s Control), who snarls like a sociopathic James Dean and is so transparently hateful it’s hard to root for anything other than his hastened demise. Brighton Rock‘s most memorable element is probably Andrea Riseborough, an on-the-verge young Brit who’s being touted as the next Carey Mulligan. She has the thankless (yet showy) role of Rose, a naïve waitress who becomes entangled in Pinkie’s web after being in the wrong place at the wrong time. A far-from-storybook ending awaits, and you’ll experience little enjoyment watching the characters claw their way there. (1:51) (Eddy)

Buck This documentary paints a portrait of horse trainer Buck Brannaman as a sort of modern-day sage, a sentimental cowboy who helps “horses with people problems.” Brannaman has transcended a background of hardship and abuse to become a happy family man who makes a difference for horses and their owners all over the country with his unconventional, humane colt-starting clinics. Though he doesn’t actually whisper to horses, he served as an advisor and inspiration for Robert Redford’s The Horse Whisperer (1998). Director Cindy Meehl focuses generously on her saintly subject’s bits of wisdom in and out of a horse-training setting — e.g. “Everything you do with a horse is a dance” — as well as heartfelt commentary from friends and colleagues. In the harrowing final act of the film, Brannaman deals with a particularly unruly horse and his troubled owner, highlighting the dire and disturbing consequences of improper horse rearing. (1:28) (Sam Stander)

Captain America: The First Avenger OK, Marvel. I could get behind 2008’s Iron Man (last year’s Iron Man 2, not so much), but after Thor and now Captain America, I’m starting to get cynical about this multi-year build-up to the full-on Avengers movie, due in May 2012. Can even a superhero-stuffed movie directed by Joss Whedon live up to all this hype? There’s plenty of time to ponder, and maybe worry a little, with Captain America’s backstory-explaining picture now in theaters. Chris Evans stars as the 90-pound weakling who morphs into a supersoldier, thanks to the World War II-era tinkerings of a scientist (Stanley Tucci) and an inventor (Dominic Cooper as Howard Stark, a.k.a. Iron Man’s dad). The original plan for the musclebound shield-bearer (fighting Nazis, natch) gets waylaid a bit when the newly famous Captain America becomes a PR prop for the U.S. government; it’s abandoned entirely when a worse-than-Hitler foe, in the guise of power-obsessed Red Skull (Hugo Weaving), threatens the world. Directed by Spielberg cohort Joe Johnston, Captain America is gee-whiz enjoyable enough, but it’s very nearly the same movie as Thor, which no amount of Tommy Lee Jones (as a sarcastic army colonel) wisecracks can conceal. And here’s an anti-spoiler: there’s no post-credits surprise in this one, so you can bolt as soon as they start to roll. (2:09) (Eddy)

Colombiana (1:47)

Conan the Barbarian Neither 3D (unnecessary) nor Game of Thrones‘ Jason Momoa (beefcake-y) are enough to make this Conan the Barbarian competition for the 1982 Schwarzenegger classic. This new take is a barely adequate adventure movie helped along by Rose McGowan’s leering turn as an evil witch with Freddy Krueger claws. Would that everyone involved (including frequent remake director Marcus Nispel) had McGowan’s razor-sharp grasp of tone; as a whole, the film is never quite sure if it’s a camp-tastic voyage (the prologue, containing Conan’s birth and much Ron Perlman nostril-flaring, suggests what might have been) or a semi-straightforward fantasy actioner. A totally forgettable female lead (Rachel Nichols), a he-was-scarier-in-Avatar villain (Stephen Lang), a blah mixture of two tired plots (revenge + “chosen one”) — there’s just not a lot here, aside from a few hilarious lines of dialogue and Momoa’s muscles. He was so great in Game of Thrones, though, I suspect this dud won’t keep his career from skyrocketing. (1:42) (Eddy)

Cowboys and Aliens Here ’tis in a nutshell: the movie’s called Cowboys and Aliens — and that’s exactly, entirely what you’ll get. Director Jon Favreau may never best 2008’s Iron Man (actor Jon Favreau will prob never top 1996’s Swingers, but that’s a debate for another time), but that doesn’t mean he won’t have a good time trying. Cowboys is a genre mash-up in the most literal sense; as the title suggests, it pits Wild West gunslingers (Harrison Ford as a crabby cattleman, Daniel Craig as an amnesiac outlaw) against gold-seeking space invaders who also delight in kidnapping and torturing humans. As stupidly entertaining as it is, this is a textbook example of a pretty OK movie that could have been so much better … if only. If only the alien characters had a little bit more District 9-style personality. If only the story had a shred of suspense — look ye not here for “spooky” and “mysterious;” this shit is 100 percent full-on explosions. If only Craig’s comically fine-tooled physique didn’t outshine his wooden acting. And so forth. (1:58) (Eddy)

Crazy, Stupid, Love Keep the poster’s allusion to 1967’s The Graduate to one side: there aren’t many revelations about midlife crises in this cleverly penned yet strangely flat ensemble rom-com, awkwardly pitched at almost every demographic at the cineplex. There’s the middle-aged romance that’s withered at the vine: nice but boring family man Cal (Steve Carell) finds himself at a hopeless loss when wife and onetime teenage sweetheart Emily (Julianne Moore) tells him she wants a divorce and she’s slept with a coworker (Kevin Bacon). He ends up waxing pathetic at a slick nightclub where he catches the eye of the well-dressed, spray-tanned smoothie Jacob (Ryan Gosling), who appears to have taken his ladies man stance from the Clooney playbook. It’s manly makeover time: GQ meets Pretty Woman (1990)! Cut to Cal and Emily’s babysitter Jessica (Analeigh Tipton), who is crushing out on Cal, while the separated couple’s tween Robbie (Jonah Bobo) hankers for Jessica. Somehow Josh Groban worms his way into the mix as the dullard suitor of Hannah (Emma Stone) in a hanging chad of a storyline that must somehow be resolved in this mad, mad, mad, mad — actually, the problem with Crazy, Stupid, Love is that it isn’t really that crazy. It tries far too hard to please everybody in the theater to its detriment, reminding the viewer of a tidy, episodic TV series (albeit a quality effort) like Modern Family more than an actual film. Likewise I yearned for a way to fast-forward through the too-cute Jessica-Robbie scenes in order to get back to the sleazy-smart, punchy complexity of Gosling, playing adeptly off both Carrell and Stone. (1:58) (Chun)

The Devil’s Double Say hello to my little friend, again— and rest assured, it’s not a dream and you’re seeing double. New Zealand filmmaker Lee Tamahori gets back to his potboiler roots with this campy, claustrophobic look back at the House of Saddam Hussein, based on a true story and designed to win over fans of Scarface (1983) with its portrait of mad excess and deca-dancey ’80s-ish soundtrack. The craziest poseur of all is Hussein’s son Uday (Dominic Cooper), a petty dictator-in-the-making — and, according to this film, a full-fledged murderous pedophile — who chomps cigars and wraps his jaws around schoolgirls while Cooper happily chews scenery. Uday needs a double to sidestep all those troublesome assassination attempts, so he enlists look-alike childhood friend Latif (also Cooper) to get the surgery, pop in the overbite, bray like a madman, make appearances in his stead, and function as a kind of pet human. Never mind Ludivine Sagnier, glassy-eyed and absurd in the role of Uday’s favorite sex kitten Sarrab — Double is completely Cooper’s, who seizes the moment, investing the morally upstanding Latif with a serious sincerity with just his eyes and body language and infusing evil odd job Uday with a dangerous, comic-book unpredictability. To his credit, Cooper imbues such cult-ready, blow-the-doors-off lines as “I love cunt! I love cunt more than god!” with, erm, believability, even as the denouement rings somewhat false. (1:48) (Chun)

Don’t Be Afraid of the Dark If you’re expecting a traditional haunted house story, Don’t Be Afraid of the Dark might be a disappointment. The film, which was co-written by Guillermo del Toro, has a lot in common with his Pan’s Labyrinth (2006) — both movies are more dark fairy tale than horror. They follow a young girl who discovers a mystical world around her, much to the disbelief of the adults around her. It’s worth noting that Don’t Be Afraid of the Dark is lighter fare: despite all the peril involved, it’s actually pretty fun. Young Bailee Madison, who made such an impression in 2009’s Brothers, is a charming lead, precocious but believable. And Katie Holmes is surprisingly sympathetic in her role as the caring stepmother, a nice switch from the standard fairy tale trope. As with Fright Night, the ad campaign for Don’t Be Afraid of the Dark is misleading, so here’s hoping audience members looking for a gory slasher will appreciate a whimsical fable instead. (1:40) (Peitzman)

Fright Night Don’t let the spooky trailer fool you: the Fright Night remake is almost as silly as the original. In fact, it follows the 1985 film closely, as young Charley Brewster (Anton Yelchin) comes to realize that his neighbor Jerry (Colin Farrell) is a vampire. The biggest change is a smart one — this Fright Night transforms late-night TV host Peter Vincent into Criss Angel-type illusionist Peter Vincent (David Tennant). The casting is spot on all-around, and frankly, Farrell is a lot more believable than Chris Sarandon as the seductive bad boy. The only real problem with the new Fright Night — other than the unnecessary 3D — is that it never fully commits to camp the way the original did. There’s a bit too much back-and-forth between serious scares and goofy blood splatters. Luckily, it’s still an entertaining remake that doesn’t crap all over a classic. It’s also a great reminder that vampires don’t have to be moody — remember, they used to be fun. (2:00) (Peitzman)

*The Future Dreams and drawings, cats and fantasies, ambition and aimlessness, and the mild-mannered yet mortifying games people play, all wind their way into Miranda July’s The Future. The future’s a scary place, as many of us fully realize, even if you hide from it well into your 30s, losing yourself in the everyday. But you can’t duck July’s collection of moments, objects, and small gestures transformed into something strangely slanted and enchanted, both weird and terrifying, when viewed through July’s looking glass. Care and commitment — to oneself and others — are two vivid threads running through The Future. Cute couple Sophie (July) and Jason (Hamish Linklater) — unsettling look-alikes with their curly crops — appear at first to be sailing contently, aimlessly toward an undemanding unknown: Jason works from home as a customer-service operator, and Sophie attempts to herd kiddies as a children’s dance instructor. But enormous, frightening demands beckon — namely the oncoming adoption of a special-needs feline named Paw-Paw (voiced by July as if it’s a traumatized, innocent child). Lickety-splitsville, they must be all they can be before Paw-Paw’s arrival. The weirdness of the familiar, and the kindness of strangers, become ways into fantasy and escape when the couple bumps up against the limits of their imagination. This ultra-low-key horror movie of the banal is obviously remote territory for July (2005’s Me and You and Everyone We Know). The Future is her best film to date and finds her tumbling into a kind of magical realism or plastic fantastic, embodied by a talking cat that becomes the conscience of the movie. (1:31) (Chun)

The Guard Irish police sergeant Gerry Boyle (Brendan Gleeson) is used to running his small town on his own terms — not in a completely Bad Lieutenant (1992) kind of way, though he’s not afraid to sample drugs and hang with hookers. More like, he’s been running the show for years, and would prefer that big-city cops stay the hell out of his village. Alas, a gang of drug smugglers is doing business in the area, so an officious group of investigators from Dublin (horrors!) and America (in the form of an FBI agent played by Don Cheadle) soon descend. His mother’s dying, his brand-new partner’s missing, and between all the interlopers on both sides of the law, Boyle’s having a hard time having a pint in peace. Good thing he’s not as simple-minded as all who surround him think he is. Writer-director John Michael McDonagh (brother of playwright Martin, who directed 2008’s In Bruges — also starring Gleeson) puts an affable Irish spin on what’s essentially a pretty typical indie comedy, with some pretty typical crime-drama elements layered atop. Boyle’s character is memorably clever, but the film that contains him never quite elevates to his level. (1:36) (Eddy)

Gun Hill Road Though the visibility of gays and lesbians in cinema remains (largely) confined to independent film, Rashaad Ernesto Green, in his debut feature Gun Hill Road, uses the creative freedom afforded by that closeting to explore issues of race and confused sexuality amid the Latino population of the Bronx. Esai Morales is Enrique, a former drug dealer returning from prison to his wife Angela (Judy Reyes) and teenage son Michael (Harmony Santana). But everyone seems to have moved on with their lives. Angela is having an affair, and Michael has created a new persona, Vanessa. Green’s film focuses on the relationship between the damaged Enrique and Michael, whose cross-dressing and budding transsexuality puts the family members at odds. Nominated for the Grand Jury Prize at Sundance and an entry in this year’s Frameline Film Festival, Gun Hill Road is one in a recent spate of films that deals with coming out in an urban setting. Like Green’s film, Peter Bratt’s La Mission (2009) offered a picture of homophobia in the Latino community. But Gun Hill Road, despite its bulging dramatic heft, shirks the after-school-special formula of La Mission by imagining complex characters rather than hewing them from instantly recognizable, sympathetic archetypes. (1:28) (Ryan Lattanzio)

*Harry Potter and the Deathly Hallows Part 2 Chances are you aren’t going to jump into the Harry Potter series with Harry Potter and the Deathly Hallows Part 2. So while the movie is probably the best Harry Potter film yet, it’s more a fitting conclusion than a standalone film. For fans of the books, there are no real surprises — this is a close adaptation. And for those Harry Potter movie fans who haven’t read the books, shame on you, and kudos if you managed to not get spoiled. It’s hard for me to offer a serious critical analysis of Part 2, because it represents the end of a long and very emotional journey. (Everyone in that audience was crying. Everyone.) I will say that, as was the case in the book, there are a few overdone, schmaltzy moments that aren’t really necessary. But in the context of the series, they’re forgivable — this may not be the great cinematic event of our generation, but Harry Potter as a whole is sure to be one of our most enduring cultural icons. (2:10) (Peitzman)

*The Hedgehog You needn’t possess the rough, everyday refinement of the characters of The Hedgehog to appreciate this debut feature by director-screenwriter Mona Achache — just an appreciation for a delicate touch and a tender heart. Eleven-year-old Paloma (the wonderful Garance Le Guillermic) is too smart for her own good, bored, neglected by her parents, and left to fend for herself with only her considerable imagination and a camcorder. She drifts around her fishbowl of privilege, a deluxe art nouveau-style apartment building in Paris, leveling her all-too-wise gaze on its denizens and plotting certain suicide on her 12th birthday — that is until a new resident appears in her viewfinder: a kindly Japanese gentleman Kakuro Ozu (Togo Igawa). He has as much of a connoisseur’s eye as Paloma — the proof is in his unlikely focus of attention, the building’s concierge Renée Michel (Josiane Balasko, resembling a burly Gertrude Stein), who hides her cultured and bookish inclinations behind a gruff, drab exterior. They recognize in each other a reverence for an almost monkish life of the mind, the austere elegance of wabi-sabi, and the transient beauty of rough-hewn imperfection, even in the sleek, well-heeled heart of the City of Light. To the credit of Achache, working with Muriel Barbery’s novel, these unlikely fragile friendships between outsiders take hold in a way that sidesteps preciousness and stays with you long after its pages have turned. (1:40) Smith Rafael. (Chun)

The Help It’s tough to stitch ‘n’ bitch ‘n’ moan in the face of such heart-felt female bonding, even after you brush away the tears away and wonder why the so-called help’s stories needed to be cobbled with those of the creamy-skinned daughters of privilege that employed them. The Help purports to be the tale of the 1960s African American maids hired by a bourgie segment of Southern womanhood — resourceful hard-workers like Aibileen (Viola Davis) and Minny (Octavia Spencer) raise their employers’ daughters, filling them with pride and strength if they do their job well, while missing out on their own kids’ childhood. Then those daughters turn around and hurt their caretakers, often treating them little better than the slaves their families once owned. Hinging on a self-hatred that devalues the nurturing, housekeeping skills that were considered women’s birthright, this unending ugly, heartbreaking story of the everyday injustices spells separate-and-unequal bathrooms for the family and their help when it comes to certain sniping queen bees like Hilly (Bryce Dallas Howard). But the times they are a-changing, and the help get an assist from ugly duckling of a writer Skeeter (Emma Stone, playing against type, sort of, with fizzy hair), who risks social ostracism to get the housekeepers’ experiences down on paper, amid the Junior League gossip girls and the seismic shifts coming in the civil rights-era South. Based on the best-seller by Kathryn Stockett, The Help hitches the fortunes of two forces together — the African American women who are trying to survive and find respect, and the white women who have to define themselves as more than dependent breeders — under the banner of a feel-good weepie, though not without its guilty shadings, from the way the pale-faced ladies already have a jump, in so many ways, on their African American sisters to the Keane-eyed meekness of Davis’ Aibileen to The Help‘s most memorable performances, which are also tellingly throwback (Howard’s stinging hornet of a Southern belle and Jessica Chastain’s white-trash bimbo-with-a-heart-of-gold). (2:17) (Chun)

Midnight in Paris Owen Wilson plays Gil, a self-confessed “Hollywood hack” visiting the City of Light with his conservative future in-laws and crassly materialistic fiancée Inez (Rachel McAdams). A romantic obviously at odds with their selfish pragmatism (somehow he hasn’t realized that yet), he’s in love with Paris and particularly its fabled artistic past. Walking back to his hotel alone one night, he’s beckoned into an antique vehicle and finds himself transported to the 1920s, at every turn meeting the Fitzgeralds, Gertrude Stein (Kathy Bates), Dali (Adrien Brody), etc. He also meets Adriana (Marion Cotillard), a woman alluring enough to be fought over by Hemingway (Corey Stoll) and Picasso (Marcial di Fonzo Bo) — though she fancies aspiring literary novelist Gil. Woody Allen’s latest is a pleasant trifle, no more, no less. Its toying with a form of magical escapism from the dreary present recalls The Purple Rose of Cairo (1985), albeit without that film’s greater structural ingeniousness and considerable heart. None of the actors are at their best, though Cotillard is indeed beguiling and Wilson dithers charmingly as usual. Still — it’s pleasant. (1:34) (Harvey)

Motherland When Raffi Tang (Francoise Yip) learns of her estranged mother’s death, the prodigal-daughter returns to her hometown, San Francisco, only to discover that nothing is as first supposed. Forced to contend with the protracted legal battle between her late mother and re-married father (Kenneth Tsang) as well as an incompetent (and poorly acted) police detective (Jason Payne), Tang drifts, looking distracted, lost, and maybe vaguely concerned throughout the first two thirds of the film. Yip does little to enliven a flat script rife with stock phrases and worn cinematic conventions, and while her emotional distance seems genuine, it’s boring nonetheless. Motherland is, to its credit, an angry movie — director Doris Yeung drew on her own experience with the murder of her mother — but the rage fizzles when it finally does erupt, smothered by uninspired acting and a directionless screenplay. (1:33) (Berkmoyer)

*My Perestroika Robin Hessman’s very engaging documentary takes one very relatable look at how changes since glasnost have affected some average Russians. The subjects here are five thirtysomethings who, growing up in Moscow in the 70s and 80s, were the last generation to experience full-on Communist Party indoctrination. But just as they reached adulthood, the whole system dissolved, confusing long-held beliefs and variably impacting their futures. Andrei has ridden the capitalist choo-choo to considerable enrichment as the proprietor of luxury Western menswear shops. But single mother Olga, unlucky in love, just scrapes by, while married schoolteachers Lyuba and Boris are lucky to have inherited an apartment (cramped as it is) they could otherwise ill afford. Meanwhile Ruslan, once member of a famous punk band (which he abandoned on principal because it was getting “too commercial”), both disdains and resents the new order just as he did the old one. Home movies and old footage of pageantry celebrating Soviet socialist glory make a whole ‘nother era come to life in this intimate, unexpectedly charming portrait of its long-term aftermath. (1:27) Balboa. (Harvey)

*The Names of Love Arthur (Jacques Gamblin) is a 40-ish scientist being interviewed about the threat of a bird flu epidemic when his radio broadcast is interrupted by 20-something Baya (Sara Forestier), who denounces him on-air as a “fascist” for frightening the public. But then, Baya tends to use that label rather indiscriminately, applying it to anyone who might conceivably have views to the right of the dial — and Arthur is in fact a solid liberal, which means she can bed him for love. As opposed to the many, many other men she beds as a self-described “political whore,” seeking out conservative types in order to seduce them and hopefully induce an idealogical shift by whispering sweet nothings (“Not all Arabs are thieves,” etc.) as they orgasm. Raised by parents whose emotions are so tightly wound his mother won’t acknowledge her parents were Jews killed at Auschwitz, Arthur has a hard time adjusting to a relationship with a lover who is faithful emotionally but sees promiscuity as her propagandic gift to the world. Meanwhile Baya’s largely Algerian family treats garrulous political argument as the very air they breathe. This odd-couple story written by Baya Kasmi and director Michel Leclerc deals with serious issues in both humorous and respectful fashion, making for one of the more novel, delightful and depthed French romantic comedies in a long time. Added plus: lots of antic gratuitous nudity. (1:42) Smith Rafael. (Harvey)

*One Day Why do romantic comedies get such a bad rap? Blame it on the lame set-up, the contrived hurdles artificially buttressed by the obligatory chorus of BFFs, the superficial something-for-every-demographic-with-ADD multinarrative, and the implausible resolutions topped by something as simple as a kiss or as conventional as marriage, but often no deeper, more crafted, or heartfelt than an application of lip gloss. Yet the lite-as-froyo pleasures of the genre don’t daunt Danish director Lone Scherfig, best known for her deft touch with a woman’s story that cuts closer to the bone, with 2009’s An Education. Her new film, One Day, based on the best-selling novel by David Nicholls, flirts with the rom-com form — from the kitsch associations with Same Time, Next Year (1978) to the trailer that hangs its love story on a crush — but musters emotional heft through its accumulation of period details, a latticework of flashbacks, and collection of encounters between its charming protagonists: upper-crusty TV presenter Dexter (Jim Sturgess) and working-class aspiring writer Emma (Anne Hathaway). Their quickie university friendship slowly unfolds, as they meet every St. Swithin’s Day, July 15, over a span of years, into the most important relationship of their lives. Despite the blue-collar female lead and UK backdrop that it shares with An Education, One Day feels like a departure for Scherfig, who first found international attention for her award-winning Dogme 95-affiliated Italian for Beginners (2000). (1:48) (Chun)

*Our Idiot Brother If you thought 1998’s The Big Lebowski had eked all the humor that it could from the Dude, well, screenwriter (and Vanity Fair contributor) Evgenia Peretz, her not-so-idiotic brother (director Jesse Peretz), and star Paul Rudd would differ. They correctly guessed that there are still laughs to be wrung from a shaggy stoner in floral jams, only this time with less fuuuck-s and more benevolent, idiot-savant good vibrations. Dazed and confused broheim 2.0 (Rudd) is glimpsed through the jaded, harried prism of his three dysfunctional, supposedly normal sisters: frumpadelic mom Liz (Emily Mortimer), queen-bitch Vanity Fair writer Miranda (Elizabeth Banks), and slatternly would-be comedian Natalie (Zooey Deschanel). A good-hearted naïf who’s easily entrapped by a uniformed police officer claiming to need some pity doobage, Ned has just emerged from the joint and is now couch-surfing among his sibs, exposing the hypocrisies of bourgie-hipster Brooklyn, as well as the infidelities and vanities of family, friends, and partners (Steve Coogan, Rashida Jones, Adam Scott, and Hugh Dancy) as he goes, in his own good-natured, aw-shucks way. As innocuous (and desexualized) as Andy Griffith beneath the hippie trappings, this dude-with-a-little-d knows where his real family is — with his dog, Willie Nelson, who loves him just as unconditionally. Beastie besties have never seemed so innocent as they are in this proudly feel-good comedy, and despite a cringe-y, saccharine soundtrack and lackadaisical pacing, Rudd’s charismatic sunny slacker and some pointed jabs at the follies of the cooler-than-thou save this indie-that-could. (1:36) (Chun)

*Point Blank Not for nothing did Hollywood remake French filmmaker Fred Cavaye’s last film, Anything for Her (2008) as The Next Three Days (2010) — Cavaye’s latest, tauter-than-taut thriller almost screams out for a similar rework, with its Bourne-like handheld camera work, high-impact immediacy, and noirish narrative economy. Point Blank — not to be confused with the 1967 Lee Marvin vehicle —kicks off with a literal slam: a mystery man (Roschdy Zem) crashing into a metal barrier, on the run from two menacing figures until he is cornered and then taken out of the action by fate. His mind mainly on the welfare of his very pregnant wife Nadia (Elena Anaya), nursing assistant Samuel (Gilles Lellouche) has the bad luck to stumble on a faux doctor attempting to make sure that the injured man never rises from his hospital bed. As police wrangle over whose case this exactly is — the murder of an industrialist seems to have expanded the powers of the stony-faced, monolithic Commandant Werner (Gerard Lanvin) — Samuel gets sucked into the mystery man’s lot, a conspiracy that allows them to trust no one, and seemingly impossibly odds against getting out of the mess alive. Cavaye never quite stops applying the pressure in this clever, unrelenting cat-and-mouse and mouse-and-his-spouse game, topping it with a nerve-jangling search through a messily chaotic police station. (1:24) (Chun)

*Rise of the Planet of the Apes “You gotta love a movie where the animals beat up on the humans,” declared my Rise of the Planet of the Apes companion. Indeed, ape must not kill ape, and this Planet of the Apes prequel-cum-remake of Conquest of the Planet of the Apes (1972) takes the long view, back to the days when ape-human relations were still high-minded enough to forbid smart apes from killing those well-armed, not-so-bright humanoids. I was a fan of the original series, but honestly, I approached Rise with trepidation: I dreaded the inevitable scenes of human cruelty meted out to exploited primates — the current wave of chimp-driven films seems focused on holding a scary, shaming mirror up to the two-legged mammalian violence toward their closest living genetic relatives. It’s a contrast to the original series, which provided prisms with which to peer at race relations and generational conflict. But I needn’t have feared this PG-13 “reboot.” There’s little CGI-driven gore, apart from the visceral opening and the showdown, though the heartbreak remains. Scientist Will (James Franco, brow perpetually furrowed with worry) is working to find a medicine designed to supercharge the brain in the wake of Alzheimer’s — a disease that has struck down his father (John Lithgow). When the experimental chimp that responds to his serum becomes violently aggressive, the project is shut down, although the primate leaves behind a surprise: a baby chimp that Will and his father name Caesar and raise like a beloved child in their idyllic Bay Area Victorian. Growing in intelligence as he matures, Caesar finds himself torn by an existential dilemma: is he a pet or a mammal with rights that must be respected? Rise becomes Caesar’s story, rendered in heart-wrenching, exhilarating ways — to director Rupert Wyatt and his team’s credit you don’t miss the performance finesse of Roddy McDowell and Kim Hunter in groundbreaking prosthetic ape face in the original movies — while resolving at least one question about why humans gave up the globe to the primates. One can only imagine the next edition will take care of the lingering question about how even the cleverest of apes will feed themselves in Muir Woods. (1:50) (Chun)

Sarah’s Key (1:42)

*Senna When Ayrton Senna died in 1994 at the age of 34, he had already secured his legacy as one of the greatest and most beloved Formula One racers of all time. The three-time world champion was a hero in his native Brazil and a respected and feared opponent on the track. This eponymous documentary by director Asif Kapadia is nearly as dynamic as the man himself, with more than enough revving engines and last minute passes to satisfy your lust for speed and a decent helping Ayrton’s famous personality as well. Senna was a champion, driven to win even as the sometimes-backhanded politics of the racing world stood in his way. A tragic figure, maybe, but a legend nonetheless. You don’t have to be an F1 fan to appreciate this film, but you may wind up one by the time the credits roll. (1:44) Smith Rafael. (Berkmoyer)

Sholem Aleichem: Laughing in the Darkness This documentary cuts to the chase right at the beginning: yeah, Sholem Aleichem was the guy who wrote the Tevye stories that inspired Fiddler on the Roof. But filmmaker Joseph Dorman isn’t trying to make Fiddler: Behind the Musical. Instead, he takes an in-depth look at the life, writing career, and cultural significance of “one of the great modern Jewish writers — and our greatest Yiddish writer,” per the film’s press notes. Fans of Jewish lit will be particularly engaged by Sholem Aleichem’s tale; raised in a shtetl in what’s now the Ukraine, he moved around Europe and to the United States pursuing various careers, but always writing the popular stories that addressed not just Jewish life, but broader issues facing turn-of-the-last-century Jews, including the cross-generational conflicts that make up much of Fiddler‘s plot and humor. That said, this film does rely an awful lot on PBS-style slow pans over black-and-white photos and intellectual talking heads; one suspects the subject himself (so devoted was he to entertaining the regular folk who gobbled up his tales) would’ve preferred his life story to unfold in a livelier fashion. (1:33) (Eddy)

*Shut Up Little Man! An Audio Misadventure Once upon a time (1987 to be exact), two young men moved to San Francisco from the Midwest. Eddie Lee “Sausage” and Mitchell “Mitch D” Deprey wound up living in a somewhat derelict apartment in the Lower Haight. The paint was peeling and the walls were thin, but the rent was cheap. What Eddie and Mitch didn’t count on was having Peter J. Haskett and Raymond Huffman as their neighbors. “You blind cocksucker. You wanna fuck with me? You try to touch me and I will kill you in a fucking minute.” “Shut up! Shut up! Shut up! Shut up little man!” The insults, tantrum throwing, and threats of violence coming from next door were constant. Eddie and Mitch started to lose sleep; after one failed attempt at complaining to Raymond’s face (he threatened death), they started tape-recording the endless geyser of vitriol — first, as possible future evidence, but also out of a growing voyeuristic fascination with these two seniors who had to be the world’s oddest and angriest odd couple. The rest is history. Mitch and Eddie started including snippets of Peter and Ray’s bickering on mix tapes for friends. Somehow, the editor of the now-defunct SF noise music zine Bananafish heard a snippet and approached Mitch and Eddie about distributing compilations of the recordings to a large network of found sound fans. Gradually “Peter and Raymond” became known and much-beloved characters. Their warped repartee inspired several theatrical adaptations, short animated films, pages of comic book panels by artists such as Dan Clowes, and even a one-off single from Devo side project the Wipeouters. Matthew Bate’s documentary Shut Up Little Man! An Audio Misadventure is much an attempt to comprehensively recount the above long, strange trip from start to finish; it is also the newest chapter in the now 20-year saga of Peter, Raymond, Mitch, and Eddie. (1:30) Roxie. (Sussman)

30 Minutes or Less In some ways, 30 Minutes or Less is reminiscent of 2008’s Pineapple Express: both are stoner action comedies about normal people shoved into high-stakes criminal activity. But while Pineapple Express was an exciting addition to the genre, 30 Minutes or Less is a flimsy 80-minute diversion that still feels like a waste of time. Jesse Eisenberg plays Nick, a pizza delivery boy who is forced to rob a bank after two would-be criminals strap a bomb to his chest. Strangely, Eisenberg was more charming as Mark Zuckerberg in The Social Network (2010) — and his buddy Chet (Aziz Ansari) doesn’t exactly up the likability factor. There’s actually the potential for an interesting story here: something darker seems appropriate, given that 30 Minutes or Less was inspired by a true story with a very unhappy ending. But the film completely fumbles, delivering an action comedy that’s neither tense nor funny. That means the pizza’s free, right? (1:29) (Peitzman)

The Tree of Life Mainstream American films are so rarely adventuresome that overreactive gratitude frequently greets those rare, self-conscious, usually Oscar-baiting stabs at profundity. Terrence Malick has made those gestures so sparingly over four decades that his scarcity is widely taken for genius. Now there’s The Tree of Life, at once astonishingly ambitious — insofar as general addressing the origin/meaning of life goes — and a small domestic narrative artificially inflated to a maximally pretentious pressure-point. The thesis here is a conflict between “nature” (the way of striving, dissatisfied, angry humanity) and “grace” (the way of love, femininity, and God). After a while Tree settles into a fairly conventional narrative groove, dissecting — albeit in meandering fashion — the travails of a middle-class Texas household whose patriarch (a solid Brad Pitt) is sternly demanding of his three young sons. As a modern-day survivor of that household, Malick’s career-reviving ally Sean Penn has little to do but look angst-ridden while wandering about various alien landscapes. Set in Waco but also shot in Rome, at Versailles, and in Saturn’s orbit (trust me), The Tree of Life is so astonishingly self-important while so undernourished on some basic levels that it would be easy to dismiss as lofty bullshit. Its Cannes premiere audience booed and cheered — both factions right, to an extent. (2:18) (Harvey)

*The Trip Eclectic British director Michael Winterbottom rebounds from sexually humiliating Jessica Alba in last year’s flop The Killer Inside Me to humiliating Steve Coogan in all number of ways (this time to positive effect) in this largely improvised comic romp through England’s Lake District. Well, romp might be the wrong descriptive — dubbed a “foodie Sideways” but more plaintive and less formulaic than that sun-dappled California affair, this TV-to-film adaptation displays a characteristic English glumness to surprisingly keen emotional effect. Playing himself, Coogan displays all the carefree joie de vivre of a colonoscopy patient with hemorrhoids as he sloshes through the gray northern landscape trying to get cell reception when not dining on haute cuisine or being wracked with self-doubt over his stalled movie career and love life. Throw in a happily married, happy-go-lucky frenemy (comic actor Rob Brydon) and Coogan (TV’s I’m Alan Partridge), can’t help but seem like a pathetic middle-aged prick in a puffy coat. Somehow, though, his confused narcissism is a perverse panacea. Come for the dueling Michael Caine impressions and snot martinis, stay for the scallops and Brydon’s “small man in a box” routine. (1:52) (Devereaux)

The Whistleblower (1:58) Smith Rafael.

*!Women Art Revolution Bay Area artist and filmmaker Lynn Hershman Leeson’s vibrant look back at the first waves of feminist art in the ’60s and ’70s is an extremely necessary and impassioned recounting of a history that perpetually seems to be on the edge of erasure. Mixing old and new interviews with artists, critics, and scholars — many of which are from Hershman Leeson’s own personal archive — !W.A.R. lets those who stood at the frontlines of one the most significant movements in contemporary art tell their own stories. Seeing and hearing the testimonies of the likes of Yoko Ono, Cindy Sherman, B. Ruby Rich, Judy Chicago, Carolee Scheeman, Rachel Rosenthal, and Ingrid Sischy, one after another, is dazzling — like being in the presence of an Olympian summit — even as their overlapping tales of pushback, casual misogyny and outright ridicule from critics, the art establishment, and in some cases, their colleagues, paint a damning picture of just how endemic sexism was, and as the need for a film such as !WAR attests to, in many ways still is. (1:23) (Sussman)

 

The real Leland Yee

53

tredmond@sfbg.com

It’s early January 2011, and the Four Seas restaurant at Grant and Clay is packed. Everyone who is anyone in Chinatown is there — and for good reason. In a few days, the Board of Supervisors is expected to appoint the city’s first Asian mayor.

The rally is billed as a statement of support for Ed Lee, the mild-mannered bureaucrat and reluctant mayoral hopeful. But that’s not the entire — or even, perhaps, the central — agenda.

Rose Pak, who describes herself as a consultant to the Chinese Chamber of Commerce but who is more widely known as a Chinatown powerbroker, is the host of the event. She stands in front of the room, takes the microphone, and, in Cantonese, delivers a remarkable political speech.

According to people in the audience, she says, in essence, that the community has come out to celebrate and support Ed Lee — but that’s just the start. She also urges them not just to promote their candidate — but to do everything possible to prevent Leland Yee from becoming mayor.

She continues on for several minutes, lambasting Yee, the state Senator who lived in Chinatown as a child, accusing him of about every possible political sin — and turning the Lee rally into an anti-Yee crusade. And nobody in the crowd seems terribly surprised.

Across Chinatown, from the liberal nonprofits to the conservative Chamber of Commerce, there’s a palpable fear and distrust of the man who for years has been among San Francisco’s most prominent Asian politicians — and who, had Lee not changed his mind and decided to run for a full term this fall, was the odds-on favorite to become the city’s first elected Chinese mayor.

The reasons for that fear are complex and say a lot about the changing politics of Asian San Francisco, the power structure of a city where an old political machine is making a bold bid to recover its lucrative clout — and about the career of Yee himself.

Senator Leland Yee is a political puzzle. He’s a Chinese immigrant who has built a political base almost entirely outside of the traditional Chinatown community. He’s a politician who once represented a deeply conservative district, opposed tenant protections, voted against transgender health benefits and sided with Pacific Gas and Electric Co. on key environmental issues — and now has the support of some of the most progressive organizations in the city. He’s taken large sums of campaign money from some of the worst polluters in California, but gets high marks from the Sierra Club.

His roots are as a fiscal conservative — yet he’s been the only Democrat in Sacramento to reject budget compromises on the grounds that they required too many spending cuts.

He’s grown, changed, and developed his positions over time. Or he’s become an expert at political pandering, telling every group exactly what it wants to hear. He’s the best chance progressives have of keeping the corrupt old political machine out of City Hall — or he’s a chameleon who will be a nightmare for progressive San Francisco.

Or maybe he’s a little bit of all of that.

 

Leland Yin Yee was born in Taishan, a city in China’s Guangdong province on the South China Sea. The year was 1948; Mao Zedong’s Communist Party of China had taken control of much of the countryside and was moving rapidly to take the major cities. The nationalist army of General Chiang Kai-Shek was falling apart, and Yee’s father, who owned a store, decided it was time for the family to leave.

The Yees made it to Hong Kong, and since Mee G. Yee had previously lived in the United States and served in the U.S. Army during World War II, he was ultimately able to move the family to San Francisco. In 1951, the three-year-old Leland Yee arrived in Chinatown.

For four years, Yee lived with his sister and mother in a one-room apartment with a shared bathroom while his father worked as a sailor in the merchant marine. It was, Yee recalled in a recent interview, a tight, closed, and largely self-sufficient community.

“The movie theater, the shoe store, the barber shop, food — everything you needed you could get in Chinatown,” Yee said. “You never had to leave.”

Of course, after a while, Yee and his mom started to venture out, down Stockton Street to Market, where they’d shop at the Emporium, the venerable department store. “It was like walking into a different country,” he said. “If you didn’t know English, they didn’t have time for you.”

Yee, like a lot of young Chinese immigrants of his era, put much of his time into his studies — in the San Francisco public schools and in a local Chinese school. “My mom spoke a village dialect, and we had to learn Cantonese,” he said. “Every little kid had to go to Chinese school. We hated it.”

When Yee was eight, his parents managed to buy a four-unit building on Dolores Street, and the family moved to the Mission, where he would spend not only the rest of his childhood but much of his early adult life. He graduated from Mission High School, enrolled in City College, studied psychology and after two years won admission to UC Berkeley.

Berkeley in 1968 was a very different world from Chinatown and even the relatively controlled environment he’d experienced at home in the Mission. “You didn’t protest in school. You’d have been sent home, and your mother would kill you,” he said.

At Berekely, all hell was breaking loose, with the antiwar protests, the People’s Park demonstrations, the campaign to create a Third World College (which led to the first Ethnic Studies Department), and a general attitude of mistrust for authority. “I developed a sense of activism,” Yee said. “I realized I could speak out.”

That spirit quickly vanished when Yee lost faith in some of his fellow activists. “People would work with us, then get into positions of power and use that against you,” he recalled. “A lot of my friends said ‘forget it.’ I left the scene.”

Yee once again devoted his energy to school, earning a masters at San Francisco State University and a Ph.D in child psychology from the University of Hawaii. Along the way, he met his wife, Maxine.

With his new degree, the Yees moved back to San Francisco — and back in with his parents at the Dolores property, where he, Maxine and a family that would grow to four kids would live for more than a decade.

 

Yee worked as a child psychologist for the San Francisco Department of Public Health, starting the city’s first high school mental-health clinic. He went on to become a child psychologist at the Oakland Unified School District, then joined a nonprofit mental health program in San Jose.

In 1986, Yee decided to get active in politics for the first time since college, and ran for the San Francisco School Board. He lost — and that would be the only election he would ever lose. In 1988, he won a seat, and established himself as an advocate for students of color, fighting school closures in minority neighborhoods. He also tried to get the district to modify its harsh disciplinary rules, arguing against mandatory expulsions.

On fiscal issues, though, Yee was a conservative. For his first term, despite the brutal cutbacks of the recession of the late 1980s and early 1990s, he insisted that the district make do with the money it had. His solution to the red ink: Cut waste. Only in 1992, when he was up for re-election, did he acknowledge that the district needed more cash; at that point, he supported a statewide initiative to tax the rich to bring money to the schools.

The sense of fiscal conservatism — of holding the line on taxes, but mandating open and fair contracting procedures and tight financial controls — was a hallmark of much of his political career. When the Guardian endorsed him for re-election to the board in 1992, we wrote that “there’s real value in his continuing vigilance against administrative fat and favoritism in contracts.”

Over the next four years, Yee worked with then-Superintendent Waldemar “Bill” Rojas, a deeply polarizing figure who pushed his own personal theory of “reconstitution” — firing all the staff at low-performing schools — and later was enmeshed in a scandal that led to prison time for a contractor he’d hired. Yee told me he was the only board member to vote against hiring Rojas, but people who were watching the board closely back then say he didn’t always stand up to the superintendent.

He also became what some say was a bit too close with Tim Tronson, a consultant hired by the district as a $1,000-a-day facilities consultant. Tronson wound up getting indicted on 22 counts of grand theft, embezzlement, and conspiracy in a scheme to steal $850,000 from the schools, and was sentenced to four years in state prison.

In 1998, when some school board members wanted to build housing for teachers on property that the district owned in the Sunset, Yee led the opposition — with Tronson’s help. At one meeting at Sunset Elementary School, Yee went so far as to say, according to people present, that “Tim Tronson is my man, and I rely on him for advice.”

Yee acknowledged that he worked closely with Tronson to defeat that housing project. “He was the facilities manager,” Yee explained, “and I said that I trusted his judgment.”

 

Yee has either a great sense of political timing or exceptional luck. He ran for the Board of Supervisors in 1996, facing one of the weakest fields in modern San Francisco history. He was the only Chinese candidate and one of just two Asians (the other, appointed incumbent Michael Yaki, barely squeaked to re-election). In an at at-large election with the top five winning seats, Yee came in third, with 103,000 votes.

He was never a progressive supervisor. In 2000, the Guardian ranked the good votes of what we referred to as Willie Brown’s Board, and Yee scored only 43 percent. He was against campaign finance reform. He supported the brutal gentrification and community displacement represented by the Bryant Square development. He voted to kill a public-power feasibility study and opposed the Municipal Utility District initiative. He opposed a moratorium on uncontrolled live-work development.

In 2002, Yee was one of only three supervisors to oppose Proposition D, a crucial public-power measure that would have broken up PG&E’s monopoly in the city. He stood with PG&E (and then-Sups. Tony Hall and Gavin Newsom) in opposition to the measure, then signed a pro-PG&E ballot argument packed with PG&E lies.

When I asked him about that stand, Yee at first didn’t recall opposing Prop. D, but then said he “stood with labor” on the issue. In fact, the progressive unions didn’t oppose Prop. D at all; the opposition was led by PG&E’s house union, IBEW Local 1245.

Yee was particularly bad on tenant issues. He not only voted to deny city funding for the Eviction Defense Collaborative, which helped low-income tenants fight evictions; he actually tried to get the city to put up money for a free legal fund to help landlords evict their tenants. He opposed a ballot measure limiting condo conversions. He opposed a measure to limit the ability of landlords to pass improvement costs on to their tenants.

In 2001, Yee voted to uphold a Willie Brown veto of legislation to limit tenancies in common, a backdoor way to get around the city’s condo conversion ordinance. Only Hall and Newsom, then the most conservative supervisors on the board, joined Yee. At one point, he started asking whether the city should consider repealing rent control.

He opposed an affordable housing bond in 2002, joining the big landlord groups in arguing that it would raise property taxes. Every tenant group in town supported the measure, Proposition B; every landlord group opposed it.

I asked Yee about his tenant record, and he told me that he now supports rent control. But he said that he was always on the side of homeowners and small landlords, and that property ownership was central to Chinese culture. “I was responding to the Chinese community and the West Side,” he said.

He wasn’t much of an environmentalist, either — at least not in today’s terms. He was one of the only city officials to support a “Critical Car” rally in 1999, aimed at promoting the rights of vehicle drivers (and by implication, criticizing Critical Mass and the bicycle movement).

His record on LGBT issues was mixed. While he supported a counseling program for queer youth when he was on the school board, he also supported JROTC, angering queer leaders who didn’t want a program in the public schools run by, and used as a recruiting tool for, the military, which at that point open discriminated against gay and lesbian people.

 

 

Yee was also one of only two supervisors who voted in 2001 against extending city health benefits to transgender employees.

That was a dramatic moment in local politics. Nine votes were needed to pass the measure, and while eight of the supervisors were in favor, Yee and Hall balked. At one point, Board President Tom Ammiano had to direct the Sheriff’s Office to go roust Sup. Gerardo Sandoval, who was ducking the issue in his office, to provide the crucial ninth vote.

Yee didn’t just vote against the bill. According to one reliable source who was there at the time, Yee spoke to a community meeting out on Ulloa Street in the Sunset and berated his colleagues, quipping that the city should have better things to do than “spend taxpayer money on sex-change operations.”

It was a bit shocking to trans people — Yee had, over the years, befriended some of the most marginalized members of what was already a marginalized community. “There was one person at the rail crying, saying ‘Leland, how could you do this to us,'” Ammiano recalled.

The LGBT community was furious with Yee. “I didn’t speak to him for at least a year,” Gabriel Haaland, one of the city’s most prominent transgender activists, told me.

Yee now says the vote was a mistake — but at the time, he told me, he was under immense pressure. When he voted for the queer youth program, he said, “the elders of the Chinese community ripped me apart. They called my mother’s friends back in the village [where he was born] and said her son was embarrassing the Chinese community.”

That must have been difficult — and he said that “if I had known the pain I had caused, I wouldn’t have voted that way.” But it was hard to miss that pain his vote caused.

On the other hand, people learn from their experiences, attitudes evolve, we all grow up and get smarter, and the way Yee describes it, that’s what happened to him.

In 2006, when he was running for state Senate, Yee met with a group of trans leaders and formally — many now say sincerely — apologized. It was an important gesture that made a lot of his critics feel better about him.

“He didn’t have to do that,” Haaland said. “People change, and he paid for his crime, and that’s genuine enough for me.”

As a former school board member, Yee kept an interest in the schools — but not always a healthy one. At one point, he actually proposed splitting SFUSD into two districts, one on the (poorer) east side of town and one on the (richer) west. “We strongly opposed that,” recalled Margaret Brodkin, who at the time ran Coleman Advocates for Children and Youth. “Eventually he dropped the idea.”

For all the problems, in his time on the Board of Supervisors, Yee developed a reputation for independence from the Brown Machine, which utterly dominated much of city politics in the late 1990s. His weak 43 percent rating on the Guardian scorecard was actually third-best among the supervisors, after Ammiano and the late Sue Bierman.

In 1998, he was one of the leaders in a battle to prevent the owners of Sutro Tower from defying the city’s zoning administrator and placing hundreds of new antennas on Sutro Tower. He, Bierman, and Ammiano were the only supervisors opposing Brown’s crackdown on homeless people in Union Square.

When he ran in the first district elections, in 2000, against two opponents who had Brown’s support and big downtown money, the Guardian endorsed him, noting that while he “can’t be counted on to support worthy legislation … He’s one of only two board members who regularly buck the mayor on the big issues.”

(He never liked district elections, and used to take any opportunity to denounce the system, at times forcing Ammiano to use his position as president to tell Yee to quit dissing the electoral process and get to the point of his speech.)

 

In 2002, the westside state Assembly district seat opened up, and both Yee and his former school board colleague Dan Kelly ran in the Democratic primary. Yee won, and went on to win the general election with only token opposition.

His legislative record in the Assembly wasn’t terribly distinguished. Yee never chaired a policy committee — although he did win a leadership post as speaker pro tem. And he cast some surprisingly bad votes.

In 2003, for example, then-Assemblymember Mark Leno introduced a bill that would have exempted single-room occupancy hotels from the Ellis Act, which allows landlords to evict tenants for no reason. Yee refused to vote for the bill. Leno was furious — he was one vote short of a majority and Yee’s position would have doomed the bill. At the last minute, a conservative Republican who had grown up in an SRO hotel voted in favor.

When he ran for re-election in 2004, we noted: “What’s Leland Yee doing up in Sacramento? We can’t figure it out — and neither, as far as we can tell, can his colleagues or constituents. He’s introduced almost no significant bills — compared, for example, to Assemblymember Mark Leno’s record, Yee’s is an embarrassment. The only high-profile thing he’s done in the past several years is introduce a bill to urge state and local governments to allow feng shui principles in building codes.”

In 2006, Yee decided to move up to the state Senate, and he won handily, beating a weak opponent (San Mateo County Supervisor and former San Francisco cop Mike Nevin) by almost 2-1. His productivity increased significantly in the upper chamber — and in some ways, he moved to the left. He’s begun to support taxes — particularly, an oil severance tax — and when I’ve questioned him, he somewhat grudgingly admits that Prop. 13 deserves review.

He’s done some awful stuff, like trying to sell off the Cow Palace land to private developers. But he has consistently been one of the best voices in the Legislature on open government, and that’s brought him some national attention.

Yee has been a harsh critic of spending practices and secrecy at the University of California, and when UC Stanislaus refused in 2010 to release the documents that would show how much the school was paying Sarah Palin to speak at a fundraiser, Leland flew into action. He not only blasted the university and introduced legislation to force university foundations to abide by sunshine laws; he worked with two Stanislaus students who had found the contract in a dumpster and made headlines all over the country.

He’s fought for student free speech rights and this year pushed a bill mandating that corporations that get tax breaks for job creation prove that they’ve actually created jobs — or pay the tax money back. He’s also won immense plaudits from youth advocates and criminal justice reformers for his bill that would end life-without-parole sentences for offenders under 18.

Along the way, he compiled a 100 percent voting record from the major labor unions, including the California Nurses Association and SEIU, and with the Sierra Club. All three organizations have endorsed him for mayor.

Yee told me that he thinks he’s become more progressive over the years. “My philosophy has shifted,” he said.

Yet when you talk to his colleagues in Sacramento, including Democrats, they aren’t always happy with him. Yee has a tendency to be a bit of a loner — he’s never chaired a policy committee and in some of the most bitter budget fights, he’s refused to go along with the Democratic majority. Yee insists that he’s taken principled stands, declining to vote for budget bills that include deep service cuts. But the reality in Sacramento is that budget bills have until this year required a two-thirds vote, meaning two or three Republicans have had to accept the deal — and losing a Democratic vote has its cost.

“You have to give up all sorts of things, make terrible compromises, to get even two Republicans,” one legislative insider told me. “When a Democrat goes south, you have to find another Republican, and give up even more.”

In other words: It’s easy to take a principled stand, and make a lot of liberal constituencies happy, when you aren’t really trying to make the state budget work.

 

I met Rose Pak on a July afternoon at the Chinatown Hilton. She brought along her own loose tea, in a paper package; the waitress, who clearly knew the drill, took it back to the kitchen to brew. Pak and I have not been on the greatest of terms; she’s called the Guardian all kinds of names, and I’ve had my share of critical things to say about her. But on this day, she was polite and even at times charming.

After we got the niceties out of the way (she told me I was unfair to her, and I told her I didn’t like the way she and Willie Brown played politics), we started talking about Yee. And Pak (unlike some people I interviewed for this story) was happy to speak on the record.

She told me Yee had “no moral character.” She told me she couldn’t trust him. She told me a lot of stories and made a lot of allegations that we both knew neither she nor I could ever prove.

Then we got to talking about the politics of Chinatown and Asians in San Francisco, and a lot of the animosity toward Yee became more clear.

For decades, Chinatown and the institutions and people who live and work there have been the political center of the Chinese community. Nonprofits like the Chinatown Community Development Center have trained several generations of community organizers and leaders. The Chinese Chamber of Commerce, the Six Companies, and other business groups have represented the interests of Chinese merchants. And while the various players don’t always get along, there’s a sense of shared political culture.

“In Chinatown,” Gordon Chin, CCDC’s director, likes to say, “it’s all about personal connections.”

There’s a lively infrastructure of community-service programs, some of which get city money. There’s also a sense that any mayor or supervisor who wants to work with the Chinese community needs to at least touch base with the Chinatown establishment.

Yee doesn’t do that. “He doesn’t give a shit about them,” David Looman, a political consultant who has worked with many Chinese candidates over the years, told me.

Yee’s Asian political base is outside of Chinatown; he told me he sees himself representing more of the Chinese population of the Sunset and Richmond and the growing Asian community in Visitacion Valley and Bayview.

Pak is connected closely to Brown, who Yee often clashed with. For Pak, Brown, and their allies, strong connections to City Hall mean lucrative lobbying deals and public attention to the needs of Chinatown businesses. Then there’s the nonprofit sector.

CCDC and other nonprofits do important, sometimes crucial work, building and maintaining affordable housing, taking care of seniors, fighting for workers rights, and protecting the community safety net. Yee, Pak said, “has never shown any interest in our local nonprofits. We all work together here, and he doesn’t seem to care what we do.” Yee told me he has no desire to see funding cut for any critical social services in any part of town. But he has also made no secret of the fact that he questions the current model of delivering city services through a large network of nonprofits, some of which get millions of taxpayer dollars. And the way Pak sees it, all of that — the nonprofits, the business benefits, the contracts — are all at risk. “If Leland Yee is elected mayor,” she told me, “we are all dead.”

I ran into an old San Francisco political figure the other day, a man who has been around since the 1970s, inside and outside of City Hall, who remains an astute observer of the players and the power relationships in the local scene. At the time we talked, he wasn’t supporting any of the mayoral candidates, but he had a thought for me. “This town,” he said, “is being taken over by a syndicate. Willie Brown is the CEO, and Rose Pak is the COO, and it’s all about money and influence.”

That’s not a pleasant thought — I’ve lived through the era of political machine dominance in this town, and it was awful. In the days when Brown ran San Francisco, politics was a tightly controlled operation; only a small number of people managed to get elected to office without the support of the machine. Developers made land-use policy; gentrification and displacement were rampant; corruption at City Hall turned a lot of San Franciscans off, not only to the political process but to the whole notion that government could be a positive force in society.

A few years ago, I thought those days were over — and to a certain extent, district elections will always make machine politics more difficult. But when I see signs of the syndicate popping up — and I see a candidate like Ed Lee, who’s close friends with Brown, leading the Mayor’s Race — it makes me nervous. And for all his obvious flaws, at least Leland Yee isn’t part of that particular operation. If there’s a better reason to vote for him, I don’t know what it is.

YEE HOME PURCHASE RAISES SUSPICIONS

Rose Pak has a question about Leland Yee. “How,” she asked me, “did the guy manage to buy a million-dollar house on a $30,000 City Hall salary?”

Pak isn’t the only one asking — numerous media reports over the years have examined how Yee raised a family of four and bought a house in the Sunset on very little visible income. And while I’m not usually that interested in the personal finances of political candidates, I decided that it was worth a look.

Here’s what I found: Public records show that in July 1999, Yee and his wife, Maxine, purchased a house on 24th Avenue for $875,000 (it’s now assessed at slightly more than $1 million). At the time, Yee was a San Francisco supervisor, earning a little more than $30,000 a year. (The salary of the supervisors was raised dramatically shortly after Yee left the board and went to the state Assembly.) His wife wasn’t working. And his economic interest statements for that period show no other outside earnings. So the disposable, after-tax income of the entire Yee family couldn’t have been much more than $25,000.

That, by any normal standard, shouldn’t have been enough to float a mortgage that, records show, totaled $516,000. In fact, the interest payments alone on that mortgage alone would total $3,600 a month — more than Yee’s gross income.

Documents in the Assessor’s Office show another paper trail, too. In 1989, Jung H. Lee, Yee’s mother, transferred the deed on a four-unit Dolores St. building where the family had been living to Maxine and Leland Yee — for no money. And a few months before the Yees bought the Sunset house, they took out a $320,000 home-equity loan on that property. That was the down payment on the Sunset property.

Still: At that point, the Yees would have been paying off two mortgages, with a total nut of about $5,000 a month — and supporting four kids, in San Francisco. In 2002, Yee’s economic interest statement’s show some modest income from teaching at Lincoln University — but nowhere near enough to pay that level of expenses.

What happened? Yee explains it this way: “For more than 10 years, we were living rent-free in my parents’ property,” he told me I an interview. “We were a close Chinese family, and my parents provided the food and helped pay for the children’s clothing. So we had almost no expenses and we lived very frugally.”

During that period, Yee was working for the San Francisco Department of Public Health, the Oakland Unified School District, and a San Jose nonprofit, earning, he said, between $50,000 and $90,000 a year. If he saved almost all of that money, he would have had more than a half-million dollars in the bank when he bought the Sunset house.

There’s nothing on any of his economic disclosure forms showing any ownership of stocks or other reportable financial interests during that period, so he wasn’t investing the money. In fact, he says, it was, and is, all in simple savings accounts. A bit unusual for that large a sum of money.

How did he get a mortgage? “Back then,” he said, “banks were willing to lend a lot more freely than they do today.”

Starting in 2003, Yee was in the state Assembly, making a higher salary — but still not much in excess of $100,000 a year. After taxes, he was probably taking home about $75,000 — and $60,000 was going to the two mortgages.

How did he do it? “We have been supplementing our income with our savings,” he said. “We don’t take vacations, we are very careful with our money.” And they clearly aren’t desperate for cash — Yee’s daughter occupies two of the four units in the Dolores St. building they own, but the other two units are vacant.

It’s possible. It’s plausible. But I don’t blame people for wondering how he managed to pull it off. (Tim Redmond, with research assistance by Oona Robertson) 

 

 

 

BIG CORPORATIONS HAVE BACKED YEE

Yee became a prodigious fundraiser in Sacramento — and a lot of the money came from big corporations that had business in the Legislature. And while he has perfect scores from the Sierra Club and the big labor unions, he’s taken tens of thousands of dollars from some of the biggest corporations, agribusiness interests, and polluters in the state. And at times, he’s voted their way.

Since 1993, for example, campaign finance records show Yee has taken more than $20,000 from Chevron, ExxonMobil, Valero, Conoco Phillips, and BP. He’s received another $22,450 from the chemical industry (and industry employees). Most of it came from Clorox, Dow Chemical, and Dupont.

And while the Sierra Club may not have considered it a priority, Sen. Mark Leno has worked hard to pass a bill limiting chemical fire retardants in furniture. In 2008, Yee voted against Leno’s AB 706.

That year he also refused to support a bill that would prohibit the use of the chemical diacetyl in workplaces. The industries that opposed AB 514 (including Bayer, Abbott Laboratories, Pfizer, and Johnson & Johnson) have given Yee a total of more than $60,000.

In 2003, Yee voted against a crucial tenant bill, one that would have prevented the owners of single room occupancy hotels from using the Ellis Act to evict tenants. He received a campaign check for $2,500 from the San Francisco Apartment Association the next day. Landlords in general have given Yee close to $40,000.

Then there’s agribusiness. Yee gets a lot of money from the farming industry, despite the fact that there obviously aren’t many farms in his district. Why, for example, would the California Poultry Association, the California Cattlemen’s Association, and the California Farm Bureau give him money? The Poultry Association’s Bill Mattos told us that Yee “has taken a keen interest in California’s poultry industry.”

Yee also took immense flak from the San Francisco Chronicle and other papers over a 2003 vote against a bill to limit emissions from farm vehicles. In an editorial, the paper wrote that he was “doing dirty work for the lobbyists.” In the end, under immense public pressure, he switched positions and voted for the bill. I asked Yee about all that money from all those bad operators, and he told me — as most politicians will — that campaign cash has never influenced any of his votes.

So why do all these groups give him money? “It’s about whether you will sit down and listen,” Yee said. “I will talk to all sides and at least consider the arguments as a thoughtful human being. Then I vote my conscience.” (Tim Redmond, with research by Oona Robertson) 

The super-wealthy want our waterfront

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We are at the Guardian have been raising questions about the deal that the city cut to bring the America’s Cup here – which involves turning prime waterfront property over to wealthy developers with long-term leases – since it was first proposed. But our valid concerns have been largely drowned out by economic development boosterism and the view that we need to simply accept whatever billionaire CEO/sailor Larry Ellison and his partners say they want.

So we were as cheered as we were dismayed to read writer John King’s article in this week’s San Francisco Chronicle about how race organizers are trying to build a harbor for the super-rich to park their yachts so they can watch the races right in the middle of the Embarcadero’s longest stretch of open water and unobstructed bay views, a harbor that would likely be permanent.

King supports the race and its economic benefits. “But we also need to remember that it never hurts to look a gift horse in the mouth. And the open water along Rincon Park is not a cavity that needs to be filled,” he writes. This proposal is so appalling that even Chronicle readers and blog commenters – usually a conservative and curmudgeonly lot that bristles at the idea of asking anything of capital – have overwhelmingly criticized the idea, filling most of today’s Letters the Editor section.

Hopefully, that’s a sign that this idea – which the EIR on the America’s Cup incomprehensibly concluded was not a “significant impact” – is dead in the water. But given how far city leaders like Mayor Ed Lee and Board President David Chiu have been willing to bend over backward to give race organizers what they want, I wouldn’t be so sure.

At its best, the America’s Cup could be a great opportunity to showcase San Francisco and bring in much-needed tax revenues. But if journalists, citizens, and city leaders don’t remain vigilant and skeptical, this race might be remembered most as the ruse that the greedy rich used to sully and exploit one of San Francisco’s most valuable public resources.

Film Listings

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OPENING

Brighton Rock Writer Rowan Joffe (2010’s The American) moves into the director’s chair for this Graham Greene adaptation, previously filmed in 1947 with an early-career star turn by Richard Attenborough. Joffe’s version updates Greene’s 1938 story to 1964, allowing the brutal actions of small-time hood Pinkie Brown to unfold as Britain’s mods vs. rockers youth riots boil in the background. Don’t get too excited, though — despite a cool premise and even cooler setting, and the presence of veterans Helen Mirren and John Hurt in supporting roles, Brighton Rock rages without a rudder. Pinkie is played by Sam Riley (so good as Ian Curtis in 2007’s Control), who snarls like a sociopathic James Dean and is so transparently hateful it’s hard to root for anything other than his hastened demise. Brighton Rock‘s most memorable element is probably Andrea Riseborough, an on-the-verge young Brit who’s being touted as the next Carey Mulligan. She has the thankless yet showy role of Rose, a naïve waitress who becomes entangled in Pinkie’s web after being in the wrong place at the wrong time. A far-from-storybook ending awaits, and you’ll experience little enjoyment watching the characters claw their way there. (1:51) Embarcadero. (Eddy)

Don’t Be Afraid of the Dark If you’re expecting a traditional haunted house story, Don’t Be Afraid of the Dark might be a disappointment. The film, which was co-written by Guillermo del Toro, has a lot in common with his Pan’s Labyrinth (2006) — both movies are more dark fairy tale than horror. They follow a young girl who discovers a mystical world around her, much to the disbelief of the adults around her. It’s worth noting that Don’t Be Afraid of the Dark is lighter fare: despite all the peril involved, it’s actually pretty fun. Young Bailee Madison, who made such an impression in 2009’s Brothers, is a charming lead, precocious but believable. And Katie Holmes is surprisingly sympathetic in her role as the caring stepmother, a nice switch from the standard fairy tale trope. As with Fright Night, the ad campaign for Don’t Be Afraid of the Dark is misleading, so here’s hoping audience members looking for a gory slasher will appreciate a whimsical fable instead. (1:40) California. (Peitzman)

*The Hedgehog You needn’t possess the rough, everyday refinement of the characters of The Hedgehog to appreciate this debut feature by director-screenwriter Mona Achache — just an appreciation for a delicate touch and a tender heart. Eleven-year-old Paloma (the wonderful Garance Le Guillermic) is too smart for her own good, bored, neglected by her parents, and left to fend for herself with only her considerable imagination and a camcorder. She drifts around her fishbowl of privilege, a deluxe art nouveau-style apartment building in Paris, leveling her all-too-wise gaze on its denizens and plotting certain suicide on her 12th birthday — that is until a new resident appears in her viewfinder: a kindly Japanese gentleman Kakuro Ozu (Togo Igawa). He has as much of a connoisseur’s eye as Paloma — the proof is in his unlikely focus of attention, the building’s concierge Renée Michel (Josiane Balasko, resembling a burly Gertrude Stein), who hides her cultured and bookish inclinations behind a gruff, drab exterior. They recognize in each other a reverence for an almost monkish life of the mind, the austere elegance of wabi-sabi, and the transient beauty of rough-hewn imperfection, even in the sleek, well-heeled heart of the City of Light. To the credit of Achache, working with Muriel Barbery’s novel, these unlikely fragile friendships between outsiders take hold in a way that sidesteps preciousness and stays with you long after its pages have turned. (1:40) Clay, Shattuck, Smith Rafael. (Chun)

Motherland When Raffi Tang (Francoise Yip) learns of her estranged mother’s death, the prodigal-daughter returns to her hometown, San Francisco, only to discover that nothing is as first supposed. Forced to contend with the protracted legal battle between her late mother and re-married father (Kenneth Tsang) as well as an incompetent (and poorly acted) police detective (Jason Payne), Tang drifts, looking distracted, lost, and maybe vaguely concerned throughout the first two thirds of the film. Yip does little to enliven a flat script rife with stock phrases and worn cinematic conventions, and while her emotional distance seems genuine, it’s boring nonetheless. Motherland is, to its credit, an angry movie — director Doris Yeung drew on her own experience with the murder of her mother — but the rage fizzles when it finally does erupt, smothered by uninspired acting and a directionless screenplay. (1:33) Four Star. (Cooper Berkmoyer)

Our Idiot Brother Paul Rudd is the ne’er-do-well sibling to Emily Mortimer, Elizabeth Banks, and Zooey Deschanel. (1:36) Presidio.

*Shut Up Little Man! An Audio Misadventure Once upon a time (1987 to be exact), two young men moved to San Francisco from the Midwest. Eddie Lee “Sausage” and Mitchell “Mitch D” Deprey wound up living in a somewhat derelict apartment in the Lower Haight. The paint was peeling and the walls were thin, but the rent was cheap. What Eddie and Mitch didn’t count on was having Peter J. Haskett and Raymond Huffman as their neighbors. “You blind cocksucker. You wanna fuck with me? You try to touch me and I will kill you in a fucking minute.” “Shut up! Shut up! Shut up! Shut up little man!” The insults, tantrum throwing, and threats of violence coming from next door were constant. Eddie and Mitch started to lose sleep; after one failed attempt at complaining to Raymond’s face (he threatened death), they started tape-recording the endless geyser of vitriol — first, as possible future evidence, but also out of a growing voyeuristic fascination with these two seniors who had to be the world’s oddest and angriest odd couple. The rest is history. Mitch and Eddie started including snippets of Peter and Ray’s bickering on mix tapes for friends. Somehow, the editor of the now-defunct SF noise music zine Bananafish heard a snippet and approached Mitch and Eddie about distributing compilations of the recordings to a large network of found sound fans. Gradually “Peter and Raymond” became known and much-beloved characters. Their warped repartee inspired several theatrical adaptations, short animated films, pages of comic book panels by artists such as Dan Clowes, and even a one-off single from Devo side project the Wipeouters. Matthew Bate’s documentary Shut Up Little Man! An Audio Misadventure is much an attempt to comprehensively recount the above long, strange trip from start to finish; it is also the newest chapter in the now 20-year saga of Peter, Raymond, Mitch, and Eddie. (1:30) Roxie. (Sussman)

*!Women Art Revolution Bay Area artist and filmmaker Lynn Hershman Leeson’s vibrant look back at the first waves of feminist art in the ’60s and ’70s is an extremely necessary and impassioned recounting of a history that perpetually seems to be on the edge of erasure. Mixing old and new interviews with artists, critics, and scholars — many of which are from Hershman Leeson’s own personal archive — !W.A.R. lets those who stood at the frontlines of one the most significant movements in contemporary art tell their own stories. Seeing and hearing the testimonies of the likes of Yoko Ono, Cindy Sherman, B. Ruby Rich, Judy Chicago, Carolee Scheeman, Rachel Rosenthal, and Ingrid Sischy, one after another, is dazzling — like being in the presence of an Olympian summit — even as their overlapping tales of pushback, casual misogyny and outright ridicule from critics, the art establishment, and in some cases, their colleagues, paint a damning picture of just how endemic sexism was, and as the need for a film such as !WAR attests to, in many ways still is. (1:23) Lumiere, Shattuck. (Sussman)

ONGOING

*The Arbor An audaciously conceived and genuinely haunting chronicle of a family, The Arbor reinvents two of the most debased forms of nonfiction film: the venerating portrait of an artist who died young and the voyeuristic confession of abuse. The locus here is the short, bottle-strewn life of Andrea Dunbar, a brilliant playwright whose work distilled the manners and speech of the West Yorkshire housing projects. The Arbor effectively stages some of this work in a park near the same apartments, but the project’s focus is Dunbar’s shambling private life and its devastating effect on friends, lovers, and daughters. Our emotions are strained by their collective fury and grief, but never cheated. Curiously, Clio Barnard accomplishes this by being up front in her manipulations. After collecting interviews with the key players, she cast actors to lip sync the answers — that is, the voices are documentary while the images are staged, an uncanny effect that becomes even more so when Barnard stitches together responses to narrate a single event. The technique is eerie and literally disembodying. In the same way that one affected by trauma may experience a separation from his or her self, so the image of the actor speaking comes unglued from the “real” voice — and so too is there a crucial hesitation in our assigning authenticity to a single, undivided subject. There are shades of Greek tragedy in The Arbor‘s patient, distanced unfolding of its characters’ fates. The speakers are imagined as a chorus, and though the drama is offscreen, long since buried, the pain still lives. (1:34) Roxie. (Goldberg)

*Beginners There is nothing conventional about Beginners, a film that starts off with the funeral arrangements for one of its central characters. That man is Hal (Christopher Plummer), who came out to his son Oliver (Ewan McGregor) at the ripe age of 75. Through flashbacks, we see the relationship play out — Oliver’s inability to commit tempered by his father’s tremendous late-stage passion for life. Hal himself is a rare character: an elderly gay man, secure in his sexuality and, by his own admission, horny. He even has a much younger boyfriend, played by the handsome Goran Visnjic. While the father-son bond is the heart of Beginners, we also see the charming development of a relationship between Oliver and French actor Anna (Mélanie Laurent). It all comes together beautifully in a film that is bittersweet but ultimately satisfying. Beginners deserves praise not only for telling a story too often left untold, but for doing so with grace and a refreshing sense of whimsy. (1:44) Four Star, Lumiere. (Peitzman)

*Bellflower Picture Two Lane Blacktop (1971) drifters armed with “dude”-centric vocabulary and an obsession with The Road Warrior (1981) and its apocalypse-wow survivalist chic. There are so many pleasures in this janky, so-very-DIY, heavy-on-the-sunblasted-atmosphere indie that you’re almost willing to overlook the clichés, the dead zones, and the annoying characters. Seeming every-dudes Woodrow (director-writer-producer Evan Glodell) and Aiden (Tyler Dawson) are far too obsessed with tricking out their cars and building a flamethrower for their own good — the misfits must force themselves out of the metal shop of the mind to meet women. So when Woodrow goes up against Milly (Jessie Wiseman) in a cricket-eating contest at a bar, it’s love at first bite. Their meet-gross morphs into a road trip and eventually a relationship, while the flamethrower nags, unexplained, in the background, like an unfired gun — or an unconsummated, not-funny bromance. These manifestations of male fantasy — muscle cars, weapons, and tough chicks — are cast in a dreamy, saturated, and burnt-at-the-edges light, as Glodell and company weave together barely articulated reveries and bad-new-west imagery with a kind of fuck-all intelligence, culminating in a finale that will either haunt you with its scattershot machismo-romanticism or leave you scratching your noggin wondering what just happened. (1:46) Sundance Kabuki. (Chun)

Buck This documentary paints a portrait of horse trainer Buck Brannaman as a sort of modern-day sage, a sentimental cowboy who helps “horses with people problems.” Brannaman has transcended a background of hardship and abuse to become a happy family man who makes a difference for horses and their owners all over the country with his unconventional, humane colt-starting clinics. Though he doesn’t actually whisper to horses, he served as an advisor and inspiration for Robert Redford’s The Horse Whisperer (1998). Director Cindy Meehl focuses generously on her saintly subject’s bits of wisdom in and out of a horse-training setting — e.g. “Everything you do with a horse is a dance” — as well as heartfelt commentary from friends and colleagues. In the harrowing final act of the film, Brannaman deals with a particularly unruly horse and his troubled owner, highlighting the dire and disturbing consequences of improper horse rearing. (1:28) Opera Plaza. (Sam Stander)

Captain America: The First Avenger OK, Marvel. I could get behind 2008’s Iron Man (last year’s Iron Man 2, not so much), but after Thor and now Captain America, I’m starting to get cynical about this multi-year build-up to the full-on Avengers movie, due in May 2012. Can even a superhero-stuffed movie directed by Joss Whedon live up to all this hype? There’s plenty of time to ponder, and maybe worry a little, with Captain America’s backstory-explaining picture now in theaters. Chris Evans stars as the 90-pound weakling who morphs into a supersoldier, thanks to the World War II-era tinkerings of a scientist (Stanley Tucci) and an inventor (Dominic Cooper as Howard Stark, a.k.a. Iron Man’s dad). The original plan for the musclebound shield-bearer (fighting Nazis, natch) gets waylaid a bit when the newly famous Captain America becomes a PR prop for the U.S. government; it’s abandoned entirely when a worse-than-Hitler foe, in the guise of power-obsessed Red Skull (Hugo Weaving), threatens the world. Directed by Spielberg cohort Joe Johnston, Captain America is gee-whiz enjoyable enough, but it’s very nearly the same movie as Thor, which no amount of Tommy Lee Jones (as a sarcastic army colonel) wisecracks can conceal. And here’s an anti-spoiler: there’s no post-credits surprise in this one, so you can bolt as soon as they start to roll. (2:09) SF Center, Shattuck. (Eddy)

Conan the Barbarian Neither 3D (unnecessary) nor Jason Momoa (beefcake-y) are enough to make this Conan the Barbarian competition for the 1982 Schwarzenegger classic. This new take is a barely adequate adventure movie helped along by Rose McGowan’s leering turn as an evil witch with Freddy Krueger claws. Would that everyone involved (including frequent remake director Marcus Nispel) had McGowan’s razor-sharp grasp of tone; as a whole, the film is never quite sure if it’s a camp-tastic voyage (the prologue, containing Conan’s birth and much Ron Perlman nostril-flaring, suggests what might have been) or a semi-straightforward fantasy actioner. A totally forgettable female lead (Rachel Nichols), a he-was-scarier-in-Avatar villain (Stephen Lang), a blah mixture of two tired plots (revenge + “chosen one”) — there’s just not a lot here, aside from a few hilarious lines of dialogue and Momoa’s muscles. He was so great in Game of Thrones, though, I suspect this dud won’t keep his career from skyrocketing. (1:42) 1000 Van Ness. (Eddy)

Cowboys and Aliens Here ’tis in a nutshell: the movie’s called Cowboys and Aliens — and that’s exactly, entirely what you’ll get. Director Jon Favreau may never best 2008’s Iron Man (actor Jon Favreau will prob never top 1996’s Swingers, but that’s a debate for another time), but that doesn’t mean he won’t have a good time trying. Cowboys is a genre mash-up in the most literal sense; as the title suggests, it pits Wild West gunslingers (Harrison Ford as a crabby cattleman, Daniel Craig as an amnesiac outlaw) against gold-seeking space invaders who also delight in kidnapping and torturing humans. As stupidly entertaining as it is, this is a textbook example of a pretty OK movie that could have been so much better … if only. If only the alien characters had a little bit more District 9-style personality. If only the story had a shred of suspense — look ye not here for “spooky” and “mysterious;” this shit is 100 percent full-on explosions. If only Craig’s comically fine-tooled physique didn’t outshine his wooden acting. And so forth. (1:58) 1000 Van Ness, SF Center. (Eddy)

Crazy, Stupid, Love Keep the poster’s allusion to 1967’s The Graduate to one side: there aren’t many revelations about midlife crises in this cleverly penned yet strangely flat ensemble rom-com, awkwardly pitched at almost every demographic at the cineplex. There’s the middle-aged romance that’s withered at the vine: nice but boring family man Cal (Steve Carell) finds himself at a hopeless loss when wife and onetime teenage sweetheart Emily (Julianne Moore) tells him she wants a divorce and she’s slept with a coworker (Kevin Bacon). He ends up waxing pathetic at a slick nightclub where he catches the eye of the well-dressed, spray-tanned smoothie Jacob (Ryan Gosling), who appears to have taken his ladies man stance from the Clooney playbook. It’s manly makeover time: GQ meets Pretty Woman (1990)! Cut to Cal and Emily’s babysitter Jessica (Analeigh Tipton), who is crushing out on Cal, while the separated couple’s tween Robbie (Jonah Bobo) hankers for Jessica. Somehow Josh Groban worms his way into the mix as the dullard suitor of Hannah (Emma Stone) in a hanging chad of a storyline that must somehow be resolved in this mad, mad, mad, mad — actually, the problem with Crazy, Stupid, Love is that it isn’t really that crazy. It tries far too hard to please everybody in the theater to its detriment, reminding the viewer of a tidy, episodic TV series (albeit a quality effort) like Modern Family more than an actual film. Likewise I yearned for a way to fast-forward through the too-cute Jessica-Robbie scenes in order to get back to the sleazy-smart, punchy complexity of Gosling, playing adeptly off both Carrell and Stone. (1:58) Marina, 1000 Van Ness, Shattuck, Sundance Kabuki. (Chun)

The Devil’s Double Say hello to my little friend, again— and rest assured, it’s not a dream and you’re seeing double. New Zealand filmmaker Lee Tamahori gets back to his potboiler roots with this campy, claustrophobic look back at the House of Saddam Hussein, based on a true story and designed to win over fans of Scarface (1983) with its portrait of mad excess and deca-dancey ’80s-ish soundtrack. The craziest poseur of all is Hussein’s son Uday (Dominic Cooper), a petty dictator-in-the-making — and, according to this film, a full-fledged murderous pedophile — who chomps cigars and wraps his jaws around schoolgirls while Cooper happily chews scenery. Uday needs a double to sidestep all those troublesome assassination attempts, so he enlists look-alike childhood friend Latif (also Cooper) to get the surgery, pop in the overbite, bray like a madman, make appearances in his stead, and function as a kind of pet human. Never mind Ludivine Sagnier, glassy-eyed and absurd in the role of Uday’s favorite sex kitten Sarrab — Double is completely Cooper’s, who seizes the moment, investing the morally upstanding Latif with a serious sincerity with just his eyes and body language and infusing evil odd job Uday with a dangerous, comic-book unpredictability. To his credit, Cooper imbues such cult-ready, blow-the-doors-off lines as “I love cunt! I love cunt more than god!” with, erm, believability, even as the denouement rings somewhat false. (1:48) Empire. (Chun)

*Final Destination 5 The thing about my undying love for the Final Destination series is that it’s completely legitimate and 100 percent sincere. You know exactly what you’re getting with each new movie, and these films never try to tell you otherwise. Yes, everyone will die. Yes, the deaths will be creative and disgusting. Yes, the quality of acting will be sacrificed for some of the more expensive splatter effects. For those of us who understand what the series is all about, Final Destination 5 is a triumph. It’s gory, wickedly funny, and a notable improvement on previous sequels. Not to mention the fact that Tony “Candyman” Todd gets a beefed-up role. For once, the 3D is actually a big help, with some of the best in-your-face effects I’ve seen. As for non-fans, I can’t say Final Destination 5 has much to offer. You have to embrace the absurdity and the mission statement before you can fully appreciate death by laser eye surgery. (1:32) 1000 Van Ness. (Peitzman)

Fright Night Don’t let the spooky trailer fool you: the Fright Night remake is almost as silly as the original. In fact, it follows the 1985 film closely, as young Charley Brewster (Anton Yelchin) comes to realize that his neighbor Jerry (Colin Farrell) is a vampire. The biggest change is a smart one — this Fright Night transforms late-night TV host Peter Vincent into Criss Angel-type illusionist Peter Vincent (David Tennant). The casting is spot on all-around, and frankly, Farrell is a lot more believable than Chris Sarandon as the seductive bad boy. The only real problem with the new Fright Night — other than the unnecessary 3D — is that it never fully commits to camp the way the original did. There’s a bit too much back-and-forth between serious scares and goofy blood splatters. Luckily, it’s still an entertaining remake that doesn’t crap all over a classic. It’s also a great reminder that vampires don’t have to be moody — remember, they used to be fun. (2:00) 1000 Van Ness, Presidio. (Peitzman)

*The Future Dreams and drawings, cats and fantasies, ambition and aimlessness, and the mild-mannered yet mortifying games people play, all wind their way into Miranda July’s The Future. The future’s a scary place, as many of us fully realize, even if you hide from it well into your 30s, losing yourself in the everyday. But you can’t duck July’s collection of moments, objects, and small gestures transformed into something strangely slanted and enchanted, both weird and terrifying, when viewed through July’s looking glass. Care and commitment — to oneself and others — are two vivid threads running through The Future. Cute couple Sophie (July) and Jason (Hamish Linklater) — unsettling look-alikes with their curly crops — appear at first to be sailing contently, aimlessly toward an undemanding unknown: Jason works from home as a customer-service operator, and Sophie attempts to herd kiddies as a children’s dance instructor. But enormous, frightening demands beckon — namely the oncoming adoption of a special-needs feline named Paw-Paw (voiced by July as if it’s a traumatized, innocent child). Lickety-splitsville, they must be all they can be before Paw-Paw’s arrival. The weirdness of the familiar, and the kindness of strangers, become ways into fantasy and escape when the couple bumps up against the limits of their imagination. This ultra-low-key horror movie of the banal is obviously remote territory for July (2005’s Me and You and Everyone We Know). The Future is her best film to date and finds her tumbling into a kind of magical realism or plastic fantastic, embodied by a talking cat that becomes the conscience of the movie. (1:31) California, Sundance Kabuki. (Chun)

Glee: The 3D Concert Movie (1:30) 1000 Van Ness.

The Guard Irish police sergeant Gerry Boyle (Brendan Gleeson) is used to running his small town on his own terms — not in a completely Bad Lieutenant (1992) kind of way, though he’s not afraid to sample drugs and hang with hookers. More like, he’s been running the show for years, and would prefer that big-city cops stay the hell out of his village. Alas, a gang of drug smugglers is doing business in the area, so an officious group of investigators from Dublin (horrors!) and America (in the form of an FBI agent played by Don Cheadle) soon descend. His mother’s dying, his brand-new partner’s missing, and between all the interlopers on both sides of the law, Boyle’s having a hard time having a pint in peace. Good thing he’s not as simple-minded as all who surround him think he is. Writer-director John Michael McDonagh (brother of playwright Martin, who directed 2008’s In Bruges — also starring Gleeson) puts an affable Irish spin on what’s essentially a pretty typical indie comedy, with some pretty typical crime-drama elements layered atop. Boyle’s character is memorably clever, but the film that contains him never quite elevates to his level. (1:36) Embarcadero, Shattuck, Sundance Kabuki. (Eddy)

Gun Hill Road Though the visibility of gays and lesbians in cinema remains (largely) confined to independent film, Rashaad Ernesto Green, in his debut feature Gun Hill Road, uses the creative freedom afforded by that closeting to explore issues of race and confused sexuality amid the Latino population of the Bronx. Esai Morales is Enrique, a former drug dealer returning from prison to his wife Angela (Judy Reyes) and teenage son Michael (Harmony Santana). But everyone seems to have moved on with their lives. Angela is having an affair, and Michael has created a new persona, Vanessa. Green’s film focuses on the relationship between the damaged Enrique and Michael, whose cross-dressing and budding transsexuality puts the family members at odds. Nominated for the Grand Jury Prize at Sundance and an entry in this year’s Frameline Film Festival, Gun Hill Road is one in a recent spate of films that deals with coming out in an urban setting. Like Green’s film, Peter Bratt’s La Mission (2009) offered a picture of homophobia in the Latino community. But Gun Hill Road, despite its bulging dramatic heft, shirks the after-school-special formula of La Mission by imagining complex characters rather than hewing them from instantly recognizable, sympathetic archetypes. (1:28) Sundance Kabuki. (Ryan Lattanzio)

*Harry Potter and the Deathly Hallows Part 2 Chances are you aren’t going to jump into the Harry Potter series with Harry Potter and the Deathly Hallows Part 2. So while the movie is probably the best Harry Potter film yet, it’s more a fitting conclusion than a standalone film. For fans of the books, there are no real surprises — this is a close adaptation. And for those Harry Potter movie fans who haven’t read the books, shame on you, and kudos if you managed to not get spoiled. It’s hard for me to offer a serious critical analysis of Part 2, because it represents the end of a long and very emotional journey. (Everyone in that audience was crying. Everyone.) I will say that, as was the case in the book, there are a few overdone, schmaltzy moments that aren’t really necessary. But in the context of the series, they’re forgivable — this may not be the great cinematic event of our generation, but Harry Potter as a whole is sure to be one of our most enduring cultural icons. (2:10) 1000 Van Ness, Sundance Kabuki. (Peitzman)

The Help It’s tough to stitch ‘n’ bitch ‘n’ moan in the face of such heart-felt female bonding, even after you brush away the tears away and wonder why the so-called help’s stories needed to be cobbled with those of the creamy-skinned daughters of privilege that employed them. The Help purports to be the tale of the 1960s African American maids hired by a bourgie segment of Southern womanhood — resourceful hard-workers like Aibileen (Viola Davis) and Minny (Octavia Spencer) raise their employers’ daughters, filling them with pride and strength if they do their job well, while missing out on their own kids’ childhood. Then those daughters turn around and hurt their caretakers, often treating them little better than the slaves their families once owned. Hinging on a self-hatred that devalues the nurturing, housekeeping skills that were considered women’s birthright, this unending ugly, heartbreaking story of the everyday injustices spells separate-and-unequal bathrooms for the family and their help when it comes to certain sniping queen bees like Hilly (Bryce Dallas Howard). But the times they are a-changing, and the help get an assist from ugly duckling of a writer Skeeter (Emma Stone, playing against type, sort of, with fizzy hair), who risks social ostracism to get the housekeepers’ experiences down on paper, amid the Junior League gossip girls and the seismic shifts coming in the civil rights-era South. Based on the best-seller by Kathryn Stockett, The Help hitches the fortunes of two forces together — the African American women who are trying to survive and find respect, and the white women who have to define themselves as more than dependent breeders — under the banner of a feel-good weepie, though not without its guilty shadings, from the way the pale-faced ladies already have a jump, in so many ways, on their African American sisters to the Keane-eyed meekness of Davis’ Aibileen to The Help‘s most memorable performances, which are also tellingly throwback (Howard’s stinging hornet of a Southern belle and Jessica Chastain’s white-trash bimbo-with-a-heart-of-gold). (2:17) Balboa, California, Empire, 1000 Van Ness, Presidio, SF Center, Sundance Kabuki. (Chun)

Midnight in Paris Owen Wilson plays Gil, a self-confessed “Hollywood hack” visiting the City of Light with his conservative future in-laws and crassly materialistic fiancée Inez (Rachel McAdams). A romantic obviously at odds with their selfish pragmatism (somehow he hasn’t realized that yet), he’s in love with Paris and particularly its fabled artistic past. Walking back to his hotel alone one night, he’s beckoned into an antique vehicle and finds himself transported to the 1920s, at every turn meeting the Fitzgeralds, Gertrude Stein (Kathy Bates), Dali (Adrien Brody), etc. He also meets Adriana (Marion Cotillard), a woman alluring enough to be fought over by Hemingway (Corey Stoll) and Picasso (Marcial di Fonzo Bo) — though she fancies aspiring literary novelist Gil. Woody Allen’s latest is a pleasant trifle, no more, no less. Its toying with a form of magical escapism from the dreary present recalls The Purple Rose of Cairo (1985), albeit without that film’s greater structural ingeniousness and considerable heart. None of the actors are at their best, though Cotillard is indeed beguiling and Wilson dithers charmingly as usual. Still — it’s pleasant. (1:34) Albany, Four Star, Embarcadero, 1000 Van Ness, Piedmont, Sundance Kabuki. (Harvey)

*My Perestroika Robin Hessman’s very engaging documentary takes one very relatable look at how changes since glasnost have affected some average Russians. The subjects here are five thirtysomethings who, growing up in Moscow in the 70s and 80s, were the last generation to experience full-on Communist Party indoctrination. But just as they reached adulthood, the whole system dissolved, confusing long-held beliefs and variably impacting their futures. Andrei has ridden the capitalist choo-choo to considerable enrichment as the proprietor of luxury Western menswear shops. But single mother Olga, unlucky in love, just scrapes by, while married schoolteachers Lyuba and Boris are lucky to have inherited an apartment (cramped as it is) they could otherwise ill afford. Meanwhile Ruslan, once member of a famous punk band (which he abandoned on principal because it was getting “too commercial”), both disdains and resents the new order just as he did the old one. Home movies and old footage of pageantry celebrating Soviet socialist glory make a whole ‘nother era come to life in this intimate, unexpectedly charming portrait of its long-term aftermath. (1:27) Balboa. (Harvey)

*The Names of Love Arthur (Jacques Gamblin) is a 40-ish scientist being interviewed about the threat of a bird flu epidemic when his radio broadcast is interrupted by 20-something Baya (Sara Forestier), who denounces him on-air as a “fascist” for frightening the public. But then, Baya tends to use that label rather indiscriminately, applying it to anyone who might conceivably have views to the right of the dial — and Arthur is in fact a solid liberal, which means she can bed him for love. As opposed to the many, many other men she beds as a self-described “political whore,” seeking out conservative types in order to seduce them and hopefully induce an idealogical shift by whispering sweet nothings (“Not all Arabs are thieves,” etc.) as they orgasm. Raised by parents whose emotions are so tightly wound his mother won’t acknowledge her parents were Jews killed at Auschwitz, Arthur has a hard time adjusting to a relationship with a lover who is faithful emotionally but sees promiscuity as her propagandic gift to the world. Meanwhile Baya’s largely Algerian family treats garrulous political argument as the very air they breathe. This odd-couple story written by Baya Kasmi and director Michel Leclerc deals with serious issues in both humorous and respectful fashion, making for one of the more novel, delightful and depthed French romantic comedies in a long time. Added plus: lots of antic gratuitous nudity. (1:42) Opera Plaza, Smith Rafael. (Harvey)

*One Day Why do romantic comedies get such a bad rap? Blame it on the lame set-up, the contrived hurdles artificially buttressed by the obligatory chorus of BFFs, the superficial something-for-every-demographic-with-ADD multinarrative, and the implausible resolutions topped by something as simple as a kiss or as conventional as marriage, but often no deeper, more crafted, or heartfelt than an application of lip gloss. Yet the lite-as-froyo pleasures of the genre don’t daunt Danish director Lone Scherfig, best known for her deft touch with a woman’s story that cuts closer to the bone, with 2009’s An Education. Her new film, One Day, based on the best-selling novel by David Nicholls, flirts with the rom-com form — from the kitsch associations with Same Time, Next Year (1978) to the trailer that hangs its love story on a crush — but musters emotional heft through its accumulation of period details, a latticework of flashbacks, and collection of encounters between its charming protagonists: upper-crusty TV presenter Dexter (Jim Sturgess) and working-class aspiring writer Emma (Anne Hathaway). Their quickie university friendship slowly unfolds, as they meet every St. Swithin’s Day, July 15, over a span of years, into the most important relationship of their lives. Despite the blue-collar female lead and UK backdrop that it shares with An Education, One Day feels like a departure for Scherfig, who first found international attention for her award-winning Dogme 95-affiliated Italian for Beginners (2000). (1:48) Balboa, Marina, 1000 Van Ness, Piedmont, SF Center, Shattuck. (Chun)

*Point Blank Not for nothing did Hollywood remake French filmmaker Fred Cavaye’s last film, Anything for Her (2008) as The Next Three Days (2010) — Cavaye’s latest, tauter-than-taut thriller almost screams out for a similar rework, with its Bourne-like handheld camera work, high-impact immediacy, and noirish narrative economy. Point Blank — not to be confused with the 1967 Lee Marvin vehicle —kicks off with a literal slam: a mystery man (Roschdy Zem) crashing into a metal barrier, on the run from two menacing figures until he is cornered and then taken out of the action by fate. His mind mainly on the welfare of his very pregnant wife Nadia (Elena Anaya), nursing assistant Samuel (Gilles Lellouche) has the bad luck to stumble on a faux doctor attempting to make sure that the injured man never rises from his hospital bed. As police wrangle over whose case this exactly is — the murder of an industrialist seems to have expanded the powers of the stony-faced, monolithic Commandant Werner (Gerard Lanvin) — Samuel gets sucked into the mystery man’s lot, a conspiracy that allows them to trust no one, and seemingly impossibly odds against getting out of the mess alive. Cavaye never quite stops applying the pressure in this clever, unrelenting cat-and-mouse and mouse-and-his-spouse game, topping it with a nerve-jangling search through a messily chaotic police station. (1:24) Embarcadero, Shattuck. (Chun)

*Rise of the Planet of the Apes “You gotta love a movie where the animals beat up on the humans,” declared my Rise of the Planet of the Apes companion. Indeed, ape must not kill ape, and this Planet of the Apes prequel-cum-remake of Conquest of the Planet of the Apes (1972) takes the long view, back to the days when ape-human relations were still high-minded enough to forbid smart apes from killing those well-armed, not-so-bright humanoids. I was a fan of the original series, but honestly, I approached Rise with trepidation: I dreaded the inevitable scenes of human cruelty meted out to exploited primates — the current wave of chimp-driven films seems focused on holding a scary, shaming mirror up to the two-legged mammalian violence toward their closest living genetic relatives. It’s a contrast to the original series, which provided prisms with which to peer at race relations and generational conflict. But I needn’t have feared this PG-13 “reboot.” There’s little CGI-driven gore, apart from the visceral opening and the showdown, though the heartbreak remains. Scientist Will (James Franco, brow perpetually furrowed with worry) is working to find a medicine designed to supercharge the brain in the wake of Alzheimer’s — a disease that has struck down his father (John Lithgow). When the experimental chimp that responds to his serum becomes violently aggressive, the project is shut down, although the primate leaves behind a surprise: a baby chimp that Will and his father name Caesar and raise like a beloved child in their idyllic Bay Area Victorian. Growing in intelligence as he matures, Caesar finds himself torn by an existential dilemma: is he a pet or a mammal with rights that must be respected? Rise becomes Caesar’s story, rendered in heart-wrenching, exhilarating ways — to director Rupert Wyatt and his team’s credit you don’t miss the performance finesse of Roddy McDowell and Kim Hunter in groundbreaking prosthetic ape face in the original movies — while resolving at least one question about why humans gave up the globe to the primates. One can only imagine the next edition will take care of the lingering question about how even the cleverest of apes will feed themselves in Muir Woods. (1:50) Empire, 1000 Van Ness, Presidio, SF Center, Sundance Kabuki. (Chun)

Sarah’s Key (1:42) Albany, Bridge, Piedmont.

*Senna When Ayrton Senna died in 1994 at the age of 34, he had already secured his legacy as one of the greatest and most beloved Formula One racers of all time. The three-time world champion was a hero in his native Brazil and a respected and feared opponent on the track. This eponymous documentary by director Asif Kapadia is nearly as dynamic as the man himself, with more than enough revving engines and last minute passes to satisfy your lust for speed and a decent helping Ayrton’s famous personality as well. Senna was a champion, driven to win even as the sometimes-backhanded politics of the racing world stood in his way. A tragic figure, maybe, but a legend nonetheless. You don’t have to be an F1 fan to appreciate this film, but you may wind up one by the time the credits roll. (1:44) Embarcadero, Smith Rafael. (Berkmoyer)

Sholem Aleichem: Laughing in the Darkness This documentary cuts to the chase right at the beginning: yeah, Sholem Aleichem was the guy who wrote the Tevye stories that inspired Fiddler on the Roof. But filmmaker Joseph Dorman isn’t trying to make Fiddler: Behind the Musical. Instead, he takes an in-depth look at the life, writing career, and cultural significance of “one of the great modern Jewish writers — and our greatest Yiddish writer,” per the film’s press notes. Fans of Jewish lit will be particularly engaged by Sholem Aleichem’s tale; raised in a shtetl in what’s now the Ukraine, he moved around Europe and to the United States pursuing various careers, but always writing the popular stories that addressed not just Jewish life, but broader issues facing turn-of-the-last-century Jews, including the cross-generational conflicts that make up much of Fiddler‘s plot and humor. That said, this film does rely an awful lot on PBS-style slow pans over black-and-white photos and intellectual talking heads; one suspects the subject himself (so devoted was he to entertaining the regular folk who gobbled up his tales) would’ve preferred his life story to unfold in a livelier fashion. (1:33) Opera Plaza. (Eddy)

Spy Kids: All the Time in the World (1:29) 1000 Van Ness.

30 Minutes or Less In some ways, 30 Minutes or Less is reminiscent of 2008’s Pineapple Express: both are stoner action comedies about normal people shoved into high-stakes criminal activity. But while Pineapple Express was an exciting addition to the genre, 30 Minutes or Less is a flimsy 80-minute diversion that still feels like a waste of time. Jesse Eisenberg plays Nick, a pizza delivery boy who is forced to rob a bank after two would-be criminals strap a bomb to his chest. Strangely, Eisenberg was more charming as Mark Zuckerberg in The Social Network (2010) — and his buddy Chet (Aziz Ansari) doesn’t exactly up the likability factor. There’s actually the potential for an interesting story here: something darker seems appropriate, given that 30 Minutes or Less was inspired by a true story with a very unhappy ending. But the film completely fumbles, delivering an action comedy that’s neither tense nor funny. That means the pizza’s free, right? (1:29) 1000 Van Ness, SF Center, Shattuck. (Peitzman)

The Tree of Life Mainstream American films are so rarely adventuresome that overreactive gratitude frequently greets those rare, self-conscious, usually Oscar-baiting stabs at profundity. Terrence Malick has made those gestures so sparingly over four decades that his scarcity is widely taken for genius. Now there’s The Tree of Life, at once astonishingly ambitious — insofar as general addressing the origin/meaning of life goes — and a small domestic narrative artificially inflated to a maximally pretentious pressure-point. The thesis here is a conflict between “nature” (the way of striving, dissatisfied, angry humanity) and “grace” (the way of love, femininity, and God). After a while Tree settles into a fairly conventional narrative groove, dissecting — albeit in meandering fashion — the travails of a middle-class Texas household whose patriarch (a solid Brad Pitt) is sternly demanding of his three young sons. As a modern-day survivor of that household, Malick’s career-reviving ally Sean Penn has little to do but look angst-ridden while wandering about various alien landscapes. Set in Waco but also shot in Rome, at Versailles, and in Saturn’s orbit (trust me), The Tree of Life is so astonishingly self-important while so undernourished on some basic levels that it would be easy to dismiss as lofty bullshit. Its Cannes premiere audience booed and cheered — both factions right, to an extent. (2:18) Four Star, Lumiere, Shattuck. (Harvey)

*The Trip Eclectic British director Michael Winterbottom rebounds from sexually humiliating Jessica Alba in last year’s flop The Killer Inside Me to humiliating Steve Coogan in all number of ways (this time to positive effect) in this largely improvised comic romp through England’s Lake District. Well, romp might be the wrong descriptive — dubbed a “foodie Sideways” but more plaintive and less formulaic than that sun-dappled California affair, this TV-to-film adaptation displays a characteristic English glumness to surprisingly keen emotional effect. Playing himself, Coogan displays all the carefree joie de vivre of a colonoscopy patient with hemorrhoids as he sloshes through the gray northern landscape trying to get cell reception when not dining on haute cuisine or being wracked with self-doubt over his stalled movie career and love life. Throw in a happily married, happy-go-lucky frenemy (comic actor Rob Brydon) and Coogan (TV’s I’m Alan Partridge), can’t help but seem like a pathetic middle-aged prick in a puffy coat. Somehow, though, his confused narcissism is a perverse panacea. Come for the dueling Michael Caine impressions and snot martinis, stay for the scallops and Brydon’s “small man in a box” routine. (1:52) Opera Plaza. (Devereaux)

*Vigilante Vigilante Eschewing any pretense of objectivity and adopting a civic-journalism approach, Bay Area director Max Good and producer Nathan Wollman exhaustively explore the issues at stake in the current graffiti and street art scene by focusing on some unexpected, once-hidden antagonists: the so-called buffers, graffiti abatement advocates, and self-styled vigilantes who obsessively paint over graffiti in cities like Los Angeles (Joe Connolly) and New Orleans (Fred Radtke). Good wraps his interviews with well-known street artists like Shepard Fairey, cultural critics such as Stefano Bloch, and graf advocates a la SF author Steve Rotman around his central pursuit: he’s trying to uncover the identity of the Silver Buff, the mysterious figure who has splashed silver over artwork and tags in Berkeley for more than a decade. After capturing the Buff on camera in the wee hours of the morn, the documentarian get his story — it’s Jim Sharp, a stubborn preservationist intent on “beautifying” the blight, tearing down street posters, picking up trash, and covering over what he sees as vandalism, even if he has to damage the property he claims to be cleaning up. In a witty twist on if-you-can’t-beat-’em-join-’em, Good and Wollman ratchet their tale up a notch when they follow Sharp with colorful paint of their own, brilliantly driving home an appeal for freedom of expression and a reclamation of public space. (1:26) Roxie. (Chun)

The Whistleblower (1:58) Opera Plaza, Shattuck, Smith Rafael.


Film listings are edited by Cheryl Eddy. Reviewers are Kimberly Chun, Michelle Devereaux, Max Goldberg, Dennis Harvey, Louis Peitzman, Lynn Rapoport, Ben Richardson, and Matt Sussman. For rep house showtimes, see Rep Clock. 

PSIgasm explores the science of the climax

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Kinsey was an obvious pioneer of sexy science and the sexual revolution was sparked in the decades after his first studies contributed hard facts about human sexuality, but at this point his findings needs refreshing.

But instead of intensified sexual investigations, our country is regressing and the frigidness of conservative politics tied up with the pharmaceutical industry have pushed sex nerds away from researching healthy bodies to focus their attention on limp studies — deficiencies, dysfunction, and anything else that can be prescribed.

The PSIgasm Project, a Bay Area sex-positive research project, wants to jump back into the fun stuff and track down just what exactly the the big “o” does to the human body.

It may look like a super powerful dildo, but the PSIgasm is actually a fancy scienticfic device that records changes in body temperature, heat capacity, heart rate, blood volume, moisture, and movement; all signs pointing to orgasm. The smart instrument of pleasure was concieved in 2010 by Ned Mayhem, a PhD candidate in experimental physics at UC Berkeley and his lover Maggie Mayhem, an HIV prevention specialist, both of whom are sex positive activists, queer porn performers. The aim of their project is simple: to get people off and simaltaeously monitor the physiological responses correlated with arousal and orgasm. You can almost hear this city full of tech geeks pleading, “more, more!”

“The idea that the reactions to sex can be quantified blows their minds,” says Mr. Mayhem of excited audeinces and test subjects who have been introduced to the project. “Sex is usually talked about in a kind of ‘woo-woo’ way, but what’s going on in your body are real physical processes. When you’re turned on, it’s not just your mental state, or magic divorced from your body. It’s actual chemicals, flowing.”

psigasm

The scientific shaft, version II

Mr. Mayhem is currently bulking up version three of the PSIgasm, which involves a lot of technical tweaking and electronics upgrading to make sure it’s reliable enough for vigerous, all-night, hot and heavy testing. The plan is to record data from people with all different anatomies, gender identities, ages and cultures, engaged in sex for various reasons and in different places, like dungens, bedrooms, and backseats. If there were ever a research study that would gain ethusiastic volunteers in this city, PSIgasm would be it. 

The Mayhems want their findings to not only inform people about the wonders of their own bodies, but dispute society’s widespread misconceptions of “normal” sex by showing conclusive data that people orgasm from differnt types of action, both soft and rough, wild and quiet. The mobility of the PSIgasm will also keep the data honest by allowing individuals using the smart dildo to play privately however they please, without white lab coats standing over their shoulder.

Eventaully Mr. Mayhem plans to make all of the PSIgasm’s designs public so people can build their own equipement and anonomously share their data.

For the time being, he’s working the projects presentation for Arse Elektronika, which may or may not include a live demonstration. Now that sounds like exciting science!

Vigilante Vigilante: The anti-anti-tagging movie

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Fred Radke buffs Banksy and can’t stand public mural walls, even when they’re meant to inspire  hope in his post-Katrina NoLa. 

Joe Connolly deals with the death of his 11-year old son by zealously trucking around cans of paint and paint-removing chemicals, occasionally throwing up his own tag as a caution sign to the other, bad, graffiti artists.

Jim “Silver Buff” Sharp will even take down signs for lost dogs in his mission to purge Berkeley’s streets of DIY expression.

Meet your anti-graffiti activists, courtesy of a new film by Berkeley producers, Vigilante Vigilante.

The movie, shot over the course of 500-some days by Max Good and Nathan Wollman, gives a breathless history of people writing on walls (including a dubious reference to graff buffers back in the Paleolithic days), right up to modern day Bay Area strife – anybody remember the Warm Water Cove “clean-up”? The timeline focuses on the conflict between taggers and law-and-order types. If, in this age of JR and other highly-publicized and lauded street art, you don’t think is for real anymore, watch this video

Good capturing Sharp’s technique

The movie then moves onto Good and Wollman’s mission to expose the unaffiliated lone wolfs who spend their days erasing other people’s works of self-expression. They travel across the country, gaining surprising amounts of access to the three men’s routines.

But as it turns out, Vigilante isn’t down to use the middle-aged to elderly white guys they profile (add to this list a one “Silver Circle” from Portland, who is now retired) as the faces of evil. Instead, the movie couches its critique in the wack broken windows sociological theory – itself a tool used by elite populations to justify wiping clean the visible signs of any disenfranchised citizens. 

By the end of the movie, Good and Wollman are arranging meet-ups between the anti-taggers so that they can swap paint-matching and poster removal techniques. The scene is almost heartwarming: the anti-graffiti vigilantes, with their relentless schedules and dedication to their craft almost win the audience over. Even if we’re a little creeped out by them.

Coca Cola vs. Twist’s tag wall: Which is the visual pollution?

So who is the villan in all this? Vigilante Vigilante finds a plausible symbol of nefariousness: James Q. Wilson, the sociologist behind the broken window theory (the inspiration, by the way, for Rudy Giuliani’s 1990s purging of downtown Manhattan).

The producers were right to do so. For the community member upset that their neighborhood is poor, that their area’s youth are unemployed, that circumstances seem beyond their control, Wilson’s theory successfully obfuscates cause and effect, a standard conservative trick of defeating class consciousness. Graffiti doesn’t cause race riots, poorly-dealt-with natural disasters, or high unemployment rates. Writing on a wall is often the response to a society that belittles minority youth, the middle class and poorer, and anyone who is having trouble with the capitalistic treadmill. Jeff Chang‘s Can’t Stop Won’t Stop is a great place to start if you’re interested in this anti-colonialist view of street art.

The obsessive cover-ups of the vigilantes (that in more than one case have morphed into tags themselves, a fact the filmmakers highlight when they begin covering up Sharp’s silver buffs with neon pink and gold buffs, to his dismay), are ultimately their attempt at regaining control in a world that can seem really mean at times. Which doesn’t change the fact that what they’re doing is lame — can hardly blame this guy… 

Vigilante Vigilante is at the Roxie through Sat/20

 

Film Listings

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OPENING

Amigo John Sayles’ career is a fascinating one too varied to fully examine here; suffice it to say, the man’s first big gig was writing 1978’s Piranha before he became the indie auteur behind such notables as 1984’s The Brother from Another Planet, 1987’s Matewan, 1988’s Eight Men Out, and 1996’s Lone Star. He favors large ensemble casts, socially-conscious themes, and an unhurried pace that allows the exploration of various plot threads. Amigo is possibly most similar to 1997’s Men With Guns, in that it’s largely subtitled, is set in a foreign country (here, the Philippines), and plays out against a backdrop of political and military unrest. The film takes place during the Philippine-American War, circa 1900, as U.S. troops (led by Sayles favorite Chris Cooper) roam the just-freed-from-Spain jungles searching for rebels who threaten America’s claim to the land. Also in the mix are town leader Rafael (Filipino superstar Joel Torre), his guerilla brother (Ronnie Lazaro), and a crooked priest (Yul Vázquez) fond of incorrectly translating between sides. Amigo‘s an important film simply because it educates about a little-known conflict — frankly, America’s conduct as occupiers is so cruel that it’s no surprise the history books gloss over it — but it’s slow-moving and heavy-handed, with a tone that pitches uneasily between humor and tragedy. (2:08) Stonestown. (Eddy)

*The Arbor An audaciously conceived and genuinely haunting chronicle of a family, The Arbor reinvents two of the most debased forms of nonfiction film: the venerating portrait of an artist who died young and the voyeuristic confession of abuse. The locus here is the short, bottle-strewn life of Andrea Dunbar, a brilliant playwright whose work distilled the manners and speech of the West Yorkshire housing projects. The Arbor effectively stages some of this work in a park near the same apartments, but the project’s focus is Dunbar’s shambling private life and its devastating effect on friends, lovers, and daughters. Our emotions are strained by their collective fury and grief, but never cheated. Curiously, Clio Barnard accomplishes this by being up front in her manipulations. After collecting interviews with the key players, she cast actors to lip sync the answers — that is, the voices are documentary while the images are staged, an uncanny effect that becomes even more so when Barnard stitches together responses to narrate a single event. The technique is eerie and literally disembodying. In the same way that one affected by trauma may experience a separation from his or her self, so the image of the actor speaking comes unglued from the “real” voice — and so too is there a crucial hesitation in our assigning authenticity to a single, undivided subject. There are shades of Greek tragedy in The Arbor‘s patient, distanced unfolding of its characters’ fates. The speakers are imagined as a chorus, and though the drama is offscreen, long since buried, the pain still lives. (1:34) Roxie. (Goldberg)

*Bellflower Picture Two Lane Blacktop (1971) drifters armed with “dude”-centric vocabulary and an obsession with The Road Warrior (1981) and its apocalypse-wow survivalist chic. There are so many pleasures in this janky, so-very-DIY, heavy-on-the-sunblasted-atmosphere indie that you’re almost willing to overlook the clichés, the dead zones, and the annoying characters. Seeming every-dudes Woodrow (director-writer-producer Evan Glodell) and Aiden (Tyler Dawson) are far too obsessed with tricking out their cars and building a flamethrower for their own good — the misfits must force themselves out of the metal shop of the mind to meet women. So when Woodrow goes up against Milly (Jessie Wiseman) in a cricket-eating contest at a bar, it’s love at first bite. Their meet-gross morphs into a road trip and eventually a relationship, while the flamethrower nags, unexplained, in the background, like an unfired gun — or an unconsummated, not-funny bromance. These manifestations of male fantasy — muscle cars, weapons, and tough chicks — are cast in a dreamy, saturated, and burnt-at-the-edges light, as Glodell and company weave together barely articulated reveries and bad-new-west imagery with a kind of fuck-all intelligence, culminating in a finale that will either haunt you with its scattershot machismo-romanticism or leave you scratching your noggin wondering what just happened. (1:46) (Chun)

Conan the Barbarian Jason Momoa (Game of Thrones), Rose McGowan, and Ron Perlman star (in 3D) in this latest take on the Robert E. Howard hero. (1:42)

*The Future See “Fear and Longing.” (1:31)

Fright Night Don’t let the spooky trailer fool you: the Fright Night remake is almost as silly as the original. In fact, it follows the 1985 film closely, as young Charley Brewster (Anton Yelchin) comes to realize that his neighbor Jerry (Colin Farrell) is a vampire. The biggest change is a smart one — this Fright Night transforms late-night TV host Peter Vincent into Criss Angel-type illusionist Peter Vincent (David Tennant). The casting is spot on all-around, and frankly, Farrell is a lot more believable than Chris Sarandon as the seductive bad boy. The only real problem with the new Fright Night — other than the unnecessary 3D — is that it never fully commits to camp the way the original did. There’s a bit too much back-and-forth between serious scares and goofy blood splatters. Luckily, it’s still an entertaining remake that doesn’t crap all over a classic. It’s also a great reminder that vampires don’t have to be moody — remember, they used to be fun. (2:00) (Peitzman)

Griff the Invisible See “Fortress of Meh.” (1:33) Shattuck.

Gun Hill Road See “Once Upon a Time in the Bronx.” (1:28) Sundance Kabuki.

*One Day See “Deep in the Heart.” (1:48) Balboa.

*Senna When Ayrton Senna died in 1994 at the age of 34, he had already secured his legacy as one of the greatest and most beloved Formula One racers of all time. The three-time world champion was a hero in his native Brazil and a respected and feared opponent on the track. This eponymous documentary by director Asif Kapadia is nearly as dynamic as the man himself, with more than enough revving engines and last minute passes to satisfy your lust for speed and a decent helping Ayrton’s famous personality as well. Senna was a champion, driven to win even as the sometimes-backhanded politics of the racing world stood in his way. A tragic figure, maybe, but a legend nonetheless. You don’t have to be an F1 fan to appreciate this film, but you may wind up one by the time the credits roll. (1:44) Embarcadero, Smith Rafael. (Cooper Berkmoyer)

Sholem Aleichem: Laughing in the Darkness This documentary cuts to the chase right at the beginning: yeah, Sholem Aleichem was the guy who wrote the Tevye stories that inspired Fiddler on the Roof. But filmmaker Joseph Dorman isn’t trying to make Fiddler: Behind the Musical. Instead, he takes an in-depth look at the life, writing career, and cultural significance of “one of the great modern Jewish writers — and our greatest Yiddish writer,” per the film’s press notes. Fans of Jewish lit will be particularly engaged by Sholem Aleichem’s tale; raised in a shtetl in what’s now the Ukraine, he moved around Europe and to the United States pursuing various careers, but always writing the popular stories that addressed not just Jewish life, but broader issues facing turn-of-the-last-century Jews, including the cross-generational conflicts that make up much of Fiddler‘s plot and humor. That said, this film does rely an awful lot on PBS-style slow pans over black-and-white photos and intellectual talking heads; one suspects the subject himself (so devoted was he to entertaining the regular folk who gobbled up his tales) would’ve preferred his life story to unfold in a livelier fashion. (1:33) Opera Plaza. (Eddy)

Spy Kids: All the Time in the World Robert Rodriguez just can’t stop making these. (1:29)

ONGOING

Another Earth After serving a prison sentence for a youthful drunk-driving incident that killed two passengers in another car, Rhoda (Brit Marling) emerges no longer a blithe party girl but a haunted loner who prefers working as a high school janitor. Obsessed by her crime, she starts spying on the man it had left widowed and childless, a onetime composer (William Mapother) who like her has retreated into a solitary shell of depression. She finds a way to integrate herself (without revealing her identity) into his threadbare current existence, the two of them bonding over fascination with a newly discovered planet that appears the exact duplicate of Earth — complete with the possibility of our doubles living a parallel existence there. You can take Mike Cahill’s modestly scaled U.S. indie feature (cowritten with actor Marling) as a familiar drama about grief and repentance with a novel gloss of sci-fi, or as a sci-fi story with unusual attention to character emotions and almost no need of fantasy FX. Either way, it’s earnest, well-acted and interesting if not quite memorable; as has been noted elsewhere, the material could have fit just as effectively into a half-hour Twilight Zone episode. (1:32) Opera Plaza, Shattuck. (Harvey)

*Attack the Block The Goonies go to a South London projects, with more gore, guts, and gumption? With good reason, writer, director, and Edgar Wright/Simon Pegg cohort Joe Cornish’s own project, Attack the Block, has been getting raves at fests for its effortless, energetic originality, discernible through its thick, glottal stop-chomping, Jafaican-draped local brogue. The question posed, ever so entertainingly: what happens when you pit the toughest kids on the block against a ferocious pack of outer-space critters — not quite out to serve man but rather sever him limb from limb? We start out seeing this gang of at-risk, risk-taking youth through the peepers of a vulnerable female mugging victim and neighbor, Sam (Jodie Whittaker) — they seem as scary as any alien invader and she wants to bring down the full force of the law on them. But the pack, led by Moses (John Boyega, who charismatically scowls like a young 50 Cent), has more pressing matters at hand: a mysterious creature has come crashing down from out of the sky, and naturally, being nasty terrors, they kill it, bringing down a intergalactic shit storm of trouble. Their favorite refuge: the top-floor weed room overseen by Ron (Pegg sidekick Nick Frost), where they attempt to suss out why they’ve become the prime prey for wolfish aliens out for blood. Throw in chills, bike chases, a resourceful use of elevators and dumpsters, and an epic, eerie dubstep theme by Basement Jaxx, and you have a very fun horror-thriller that declines to preach but manages to bring home a message reminiscent of Night of the Living Dead (1968). Consider this a whole-hearted, double-fisted antidote to the fearful vigilantism of films like 2009’s Harry Brown. (1:28) Metreon. (Chun)

Beats, Rhymes & Life Actor Michael Rapaport probably didn’t set out to make a hip-hop Metallica: Some Kind of Monster (2004), but that’s pretty much where his portrait of A Tribe Called Quest ends up. The first half of Beats, Rhymes & Life: The Travels of A Tribe Called Quest is predictably worshipful, slathering on low angles and slow motion to cover mediocre live shows. More effectively, Rapaport traces the Queens group’s brief incubation period and subsequent breakthroughs in what would later be called alternative or, more obnoxiously, conscious hip-hop. A slew of notable followers and contemporaries toast Tribe’s first three albums, but by the time Rapaport catches up to the group’s 2008 reunion even their longtime friends De La Soul are wishing they’d call the whole thing off. The documentary slides into the Monster zone of hurt feelings and passive aggressive behavior in accounting for the group’s split after their inappropriately named 1998 album, The Love Movement. Phife Dawg and Q-Tip are the warring egos, though perennially slighted Phife is really no match for the imperially cool Tip. DJ Ali Shaheed Muhammad is the Kirk Hammett of the outfit, looking on helplessly as the two bigger personalities make a mess of things. There’s still novelty in a story about aging in hip-hop, but Rapaport’s portrait is utterly conventional. He also doesn’t pursue more interesting questions of race and politics that naturally follow the band’s crossover appeal. (1:38) Shattuck. (Goldberg)

*Beginners There is nothing conventional about Beginners, a film that starts off with the funeral arrangements for one of its central characters. That man is Hal (Christopher Plummer), who came out to his son Oliver (Ewan McGregor) at the ripe age of 75. Through flashbacks, we see the relationship play out — Oliver’s inability to commit tempered by his father’s tremendous late-stage passion for life. Hal himself is a rare character: an elderly gay man, secure in his sexuality and, by his own admission, horny. He even has a much younger boyfriend, played by the handsome Goran Visnjic. While the father-son bond is the heart of Beginners, we also see the charming development of a relationship between Oliver and French actor Anna (Mélanie Laurent). It all comes together beautifully in a film that is bittersweet but ultimately satisfying. Beginners deserves praise not only for telling a story too often left untold, but for doing so with grace and a refreshing sense of whimsy. (1:44) Lumiere. (Peitzman)

Bride Flight Who doesn’t love a sweeping Dutch period piece? Ben Sombogaart’s Bride Flight is pure melodrama soup, enough to give even the most devout arthouse-goer the bloats. Emigrating from post-World War II Holland to New Zealand with two gal pals, the sweetly staid Ada (Karina Smulders) falls for smarm-ball Frank (Waldemar Torenstra, the Dutchman’s James Franco) and kind of joins the mile high club to the behest of her conscience. The women arrive with emotional baggage and carry-ons of the uterine kind. As the harem adjusts to the country mores of the Highlands, Frank tries a poke at all of them in a series of sex scenes more moldy than smoldery. This Flight, set to a plodding score and stuffy mise-en-scene, never quite leaves the runway. Not to mention the whole picture, pale as a corpse, resembles one of those old-timey photographs of your great grandma’s wedding. These kinds of pastoral romances ought to be put out to, well, pasture. (2:10) Opera Plaza. (Ryan Lattanzio)

*Bridesmaids For anyone burned out on bad romantic comedies, Bridesmaids can teach you how to love again. This film is an answer to those who have lamented the lack of strong female roles in comedy, of good vehicles for Saturday Night Live cast members, of an appropriate showcase for Melissa McCarthy. The hilarious but grounded Kristen Wiig stars as Annie, whose best friend Lillian (Maya Rudolph) is getting hitched. Financially and romantically unstable, Annie tries to throw herself into her maid of honor duties — all while competing with the far more refined Helen (Rose Byrne). Bridesmaids is one of the best comedies in recent memory, treating its relatable female characters with sympathy. It’s also damn funny from start to finish, which is more than can be said for most of the comedies Hollywood continues to churn out. Here’s your choice: let Bridesmaids work its charm on you, or never allow yourself to complain about an Adam Sandler flick again. (2:04) Shattuck. (Peitzman)

Buck This documentary paints a portrait of horse trainer Buck Brannaman as a sort of modern-day sage, a sentimental cowboy who helps “horses with people problems.” Brannaman has transcended a background of hardship and abuse to become a happy family man who makes a difference for horses and their owners all over the country with his unconventional, humane colt-starting clinics. Though he doesn’t actually whisper to horses, he served as an advisor and inspiration for Robert Redford’s The Horse Whisperer (1998). Director Cindy Meehl focuses generously on her saintly subject’s bits of wisdom in and out of a horse-training setting — e.g. “Everything you do with a horse is a dance” — as well as heartfelt commentary from friends and colleagues. In the harrowing final act of the film, Brannaman deals with a particularly unruly horse and his troubled owner, highlighting the dire and disturbing consequences of improper horse rearing. (1:28) Opera Plaza, Shattuck. (Sam Stander)

Captain America: The First Avenger OK, Marvel. I could get behind 2008’s Iron Man (last year’s Iron Man 2, not so much), but after Thor and now Captain America, I’m starting to get cynical about this multi-year build-up to the full-on Avengers movie, due in May 2012. Can even a superhero-stuffed movie directed by Joss Whedon live up to all this hype? There’s plenty of time to ponder, and maybe worry a little, with Captain America’s backstory-explaining picture now in theaters. Chris Evans stars as the 90-pound weakling who morphs into a supersoldier, thanks to the World War II-era tinkerings of a scientist (Stanley Tucci) and an inventor (Dominic Cooper as Howard Stark, a.k.a. Iron Man’s dad). The original plan for the musclebound shield-bearer (fighting Nazis, natch) gets waylaid a bit when the newly famous Captain America becomes a PR prop for the U.S. government; it’s abandoned entirely when a worse-than-Hitler foe, in the guise of power-obsessed Red Skull (Hugo Weaving), threatens the world. Directed by Spielberg cohort Joe Johnston, Captain America is gee-whiz enjoyable enough, but it’s very nearly the same movie as Thor, which no amount of Tommy Lee Jones (as a sarcastic army colonel) wisecracks can conceal. And here’s an anti-spoiler: there’s no post-credits surprise in this one, so you can bolt as soon as they start to roll. (2:09) SF Center, Shattuck, Sundance Kabuki. (Eddy)

The Change-Up This brom-com just might go down as the one where Ryan Reynolds proves his acting chops by playing a creepy Peter Pan and an upstanding family man with Jason Bateman’s physical tics. And it’s almost good enough to wipe out those terrible memories of Reynolds’ dances with CGI in Green Lantern. Yet 2011 summer movies’ MVP Bateman still manages to steal all the best scenes as both the straight man and the kidult-in-a-grown-up’s-body: namely those R-pushing moments he’s changing diapers and taking a face full of baby poo, coming on like a pink-Polo’d jackass at a big-money meeting, and watching the woman of his dreams saunter into the can to cope with backfiring Thai grub. It’s the stuff of fantasy — as well as some clever writing and considerable buddy-buddy chemistry — when career-climbing, do-right lawyer Dave (Bateman) and perpetual playa Mitch (Reynolds) voice envy for each other’s lives while pissing into a magical fountain. The old switcheroo inexplicably occurs the next morning when each chum find himself in the other’s body. Fortunately the Freaky Friday (1976) kookiness that ensues rises a bit above the safe norm by plunging headlong into all the cringey discomfort that comes with watching babies toy with cleavers and electrical outlets. The Change-Up is completely ludicrous, fo’ sho’, and never really strays from the reassuring confines of its story arc, but the laughs accompanying its morning-afters will satisfy more than any new Hangover. (1:52) Four Star, Marina, 1000 Van Ness, Shattuck. (Chun)

Cowboys and Aliens Here ’tis in a nutshell: the movie’s called Cowboys and Aliens — and that’s exactly, entirely what you’ll get. Director Jon Favreau may never best 2008’s Iron Man (actor Jon Favreau will prob never top 1996’s Swingers, but that’s a debate for another time), but that doesn’t mean he won’t have a good time trying. Cowboys is a genre mash-up in the most literal sense; as the title suggests, it pits Wild West gunslingers (Harrison Ford as a crabby cattleman, Daniel Craig as an amnesiac outlaw) against gold-seeking space invaders who also delight in kidnapping and torturing humans. As stupidly entertaining as it is, this is a textbook example of a pretty OK movie that could have been so much better … if only. If only the alien characters had a little bit more District 9-style personality. If only the story had a shred of suspense — look ye not here for “spooky” and “mysterious;” this shit is 100 percent full-on explosions. If only Craig’s comically fine-tooled physique didn’t outshine his wooden acting. And so forth. (1:58) 1000 Van Ness, Presidio, SF Center. (Eddy)

Crazy, Stupid, Love Keep the poster’s allusion to 1967’s The Graduate to one side: there aren’t many revelations about midlife crises in this cleverly penned yet strangely flat ensemble rom-com, awkwardly pitched at almost every demographic at the cineplex. There’s the middle-aged romance that’s withered at the vine: nice but boring family man Cal (Steve Carell) finds himself at a hopeless loss when wife and onetime teenage sweetheart Emily (Julianne Moore) tells him she wants a divorce and she’s slept with a coworker (Kevin Bacon). He ends up waxing pathetic at a slick nightclub where he catches the eye of the well-dressed, spray-tanned smoothie Jacob (Ryan Gosling), who appears to have taken his ladies man stance from the Clooney playbook. It’s manly makeover time: GQ meets Pretty Woman (1990)! Cut to Cal and Emily’s babysitter Jessica (Analeigh Tipton), who is crushing out on Cal, while the separated couple’s tween Robbie (Jonah Bobo) hankers for Jessica. Somehow Josh Groban worms his way into the mix as the dullard suitor of Hannah (Emma Stone) in a hanging chad of a storyline that must somehow be resolved in this mad, mad, mad, mad — actually, the problem with Crazy, Stupid, Love is that it isn’t really that crazy. It tries far too hard to please everybody in the theater to its detriment, reminding the viewer of a tidy, episodic TV series (albeit a quality effort) like Modern Family more than an actual film. Likewise I yearned for a way to fast-forward through the too-cute Jessica-Robbie scenes in order to get back to the sleazy-smart, punchy complexity of Gosling, playing adeptly off both Carrell and Stone. (1:58) Marina, 1000 Van Ness, SF Center, Shattuck, Sundance Kabuki. (Chun)

*Crime After Crime In 1983, Deborah Peagler was sentenced to 25 years to life for first-degree murder in the death of her former boyfriend Oliver Wilson, whom two local L.A. gang members had strangled — supposedly at her behest. Encouraged to plead guilty to avoid the death penalty, Peagler had a juryless trial and was quickly shunted off to prison. There she was repeatedly turned down for parole despite spending the years of her incarceration as a church leader, mentor, and tutor to other inmates; a highly skilled electronics-assembly supervisor; earning two degrees; and sustaining good long-distance relationships with her two daughters. Even most of the victim’s surviving relatives had come to believe she should have been released years earlier. For her part, Peagler always claimed she intended Wilson to be beaten, but had not asked for or condoned his murder. What was missing (or suppressed) from the original trial were the myriad reasons she’d wanted to frighten him away from herself and her family, including the fact that he’d frequently beaten her. Walnut Creek attorneys Nadia Costa and Joshua Safran agreed to take on Peagler’s case pro bono, and they launched what turned into years of effort during which her cause becomes a public cause célèbre, and indications emerge of some very ugly misconduct by the District Attorney’s office. This battle is chronicled in Bay Area filmmaker Yoav Potash’s documentary Crime After Crime. It’s a story with plenty of lurid and tragic revelations, ranging from child sexual abuse to terminal illness to hidden evidence of perjury. The film won’t exactly stoke your faith in the justice system, but this thoroughly engrossing document does affirm that there is hope good people can and will fight the system. (1:33) Smith Rafael. (Harvey)

The Devil’s Double Say hello to my little friend, again— and rest assured, it’s not a dream and you’re seeing double. New Zealand filmmaker Lee Tamahori gets back to his potboiler roots with this campy, claustrophobic look back at the House of Saddam Hussein, based on a true story and designed to win over fans of Scarface (1983) with its portrait of mad excess and deca-dancey ’80s-ish soundtrack. The craziest poseur of all is Hussein’s son Uday (Dominic Cooper), a petty dictator-in-the-making — and, according to this film, a full-fledged murderous pedophile — who chomps cigars and wraps his jaws around schoolgirls while Cooper happily chews scenery. Uday needs a double to sidestep all those troublesome assassination attempts, so he enlists look-alike childhood friend Latif (also Cooper) to get the surgery, pop in the overbite, bray like a madman, make appearances in his stead, and function as a kind of pet human. Never mind Ludivine Sagnier, glassy-eyed and absurd in the role of Uday’s favorite sex kitten Sarrab — Double is completely Cooper’s, who seizes the moment, investing the morally upstanding Latif with a serious sincerity with just his eyes and body language and infusing evil odd job Uday with a dangerous, comic-book unpredictability. To his credit, Cooper imbues such cult-ready, blow-the-doors-off lines as “I love cunt! I love cunt more than god!” with, erm, believability, even as the denouement rings somewhat false. (1:48) California, SF Center, Sundance Kabuki. (Chun)

*Final Destination 5 The thing about my undying love for the Final Destination series is that it’s completely legitimate and 100 percent sincere. You know exactly what you’re getting with each new movie, and these films never try to tell you otherwise. Yes, everyone will die. Yes, the deaths will be creative and disgusting. Yes, the quality of acting will be sacrificed for some of the more expensive splatter effects. For those of us who understand what the series is all about, Final Destination 5 is a triumph. It’s gory, wickedly funny, and a notable improvement on previous sequels. Not to mention the fact that Tony “Candyman” Todd gets a beefed-up role. For once, the 3D is actually a big help, with some of the best in-your-face effects I’ve seen. As for non-fans, I can’t say Final Destination 5 has much to offer. You have to embrace the absurdity and the mission statement before you can fully appreciate death by laser eye surgery. (1:32) 1000 Van Ness. (Peitzman)

*Friends With Benefits If you see only one romantic comedy this summer about a sex-sans-pair-bonding pact between a girl and a guy saddled with intimacy issues — well, chances are, if you tend to see movies with premises like this, you probably already saw No Strings Attached. In which case, poor unlucky Friends with Benefits may be filed away in your brain as that other movie about fuckbuddies, the one in which Ashton Kutcher is played by Justin Timberlake and Natalie Portman (in a slightly eerie cosmic echo of last year’s Black Swan) is played by Mila Kunis. But if you see two such movies this summer, and admit it, you probably might, you’ll likely agree that FWB kicks NSA‘s booty call, particularly in the areas of scriptwriting ingenuity, pacing, and the casting subcategory of basic chemistry between romantic leads, with points possibly taken off for shark-jumping use of flash mobs and the fact that the maddeningly sticky song “Closing Time” will now be with you from closing credits ’til doomsday. This is not a searing, psychologically nuanced portrayal of two young people’s struggles to grapple with modern-day sexual mores and their own crippling pathologies — rather, the pair’s emotional baggage mostly seems to be stuffed with packing peanuts, and scenes in which they catalog their sexual proclivities in a humorously businesslike, gently raunchy fashion reveal them to be hearteningly adept at the art of communication. But such moments keep us entertained as the film, salted with light jabs at the genre’s worn-down touchstones yet utterly complicit, depicts the inevitable stages of a non-relationship relationship. (1:44) Sundance Kabuki. (Rapoport)

*The Future Dreams and drawings, cats and fantasies, ambition and aimlessness, and the mild-mannered yet mortifying games people play, all wind their way into Miranda July’s The Future. The future’s a scary place, as many of us fully realize, even if you hide from it well into your 30s, losing yourself in the everyday. But you can’t duck July’s collection of moments, objects, and small gestures transformed into something strangely slanted and enchanted, both weird and terrifying, when viewed through July’s looking glass. Care and commitment — to oneself and others — are two vivid threads running through The Future. Cute couple Sophie (July) and Jason (Hamish Linklater) — unsettling look-alikes with their curly crops — appear at first to be sailing contently, aimlessly toward an undemanding unknown: Jason works from home as a customer-service operator, and Sophie attempts to herd kiddies as a children’s dance instructor. But enormous, frightening demands beckon — namely the oncoming adoption of a special-needs feline named Paw-Paw (voiced by July as if it’s a traumatized, innocent child). Lickety-splitsville, they must be all they can be before Paw-Paw’s arrival. The weirdness of the familiar, and the kindness of strangers, become ways into fantasy and escape when the couple bumps up against the limits of their imagination. This ultra-low-key horror movie of the banal is obviously remote territory for July (2005’s Me and You and Everyone We Know). The Future is her best film to date and finds her tumbling into a kind of magical realism or plastic fantastic, embodied by a talking cat that becomes the conscience of the movie. (1:31) Shattuck. (Chun)

Glee: The 3D Concert Movie (1:30) 1000 Van Ness.

The Guard Irish police sergeant Gerry Boyle (Brendan Gleeson) is used to running his small town on his own terms — not in a completely Bad Lieutenant (1992) kind of way, though he’s not afraid to sample drugs and hang with hookers. More like, he’s been running the show for years, and would prefer that big-city cops stay the hell out of his village. Alas, a gang of drug smugglers is doing business in the area, so an officious group of investigators from Dublin (horrors!) and America (in the form of an FBI agent played by Don Cheadle) soon descend. His mother’s dying, his brand-new partner’s missing, and between all the interlopers on both sides of the law, Boyle’s having a hard time having a pint in peace. Good thing he’s not as simple-minded as all who surround him think he is. Writer-director John Michael McDonagh (brother of playwright Martin, who directed 2008’s In Bruges — also starring Gleeson) puts an affable Irish spin on what’s essentially a pretty typical indie comedy, with some pretty typical crime-drama elements layered atop. Boyle’s character is memorably clever, but the film that contains him never quite elevates to his level. (1:36) Embarcadero, Shattuck, Sundance Kabuki. (Eddy)

*Harry Potter and the Deathly Hallows Part 2 Chances are you aren’t going to jump into the Harry Potter series with Harry Potter and the Deathly Hallows Part 2. So while the movie is probably the best Harry Potter film yet, it’s more a fitting conclusion than a standalone film. For fans of the books, there are no real surprises — this is a close adaptation. And for those Harry Potter movie fans who haven’t read the books, shame on you, and kudos if you managed to not get spoiled. It’s hard for me to offer a serious critical analysis of Part 2, because it represents the end of a long and very emotional journey. (Everyone in that audience was crying. Everyone.) I will say that, as was the case in the book, there are a few overdone, schmaltzy moments that aren’t really necessary. But in the context of the series, they’re forgivable — this may not be the great cinematic event of our generation, but Harry Potter as a whole is sure to be one of our most enduring cultural icons. (2:10) Empire, 1000 Van Ness, Sundance Kabuki. (Peitzman)

The Help It’s tough to stitch ‘n’ bitch ‘n’ moan in the face of such heart-felt female bonding, even after you brush away the tears away and wonder why the so-called help’s stories needed to be cobbled with those of the creamy-skinned daughters of privilege that employed them. The Help purports to be the tale of the 1960s African American maids hired by a bourgie segment of Southern womanhood — resourceful hard-workers like Aibileen (Viola Davis) and Minny (Octavia Spencer) raise their employers’ daughters, filling them with pride and strength if they do their job well, while missing out on their own kids’ childhood. Then those daughters turn around and hurt their caretakers, often treating them little better than the slaves their families once owned. Hinging on a self-hatred that devalues the nurturing, housekeeping skills that were considered women’s birthright, this unending ugly, heartbreaking story of the everyday injustices spells separate-and-unequal bathrooms for the family and their help when it comes to certain sniping queen bees like Hilly (Bryce Dallas Howard). But the times they are a-changing, and the help get an assist from ugly duckling of a writer Skeeter (Emma Stone, playing against type, sort of, with fizzy hair), who risks social ostracism to get the housekeepers’ experiences down on paper, amid the Junior League gossip girls and the seismic shifts coming in the civil rights-era South. Based on the best-seller by Kathryn Stockett, The Help hitches the fortunes of two forces together — the African American women who are trying to survive and find respect, and the white women who have to define themselves as more than dependent breeders — under the banner of a feel-good weepie, though not without its guilty shadings, from the way the pale-faced ladies already have a jump, in so many ways, on their African American sisters to the Keane-eyed meekness of Davis’ Aibileen to The Help‘s most memorable performances, which are also tellingly throwback (Howard’s stinging hornet of a Southern belle and Jessica Chastain’s white-trash bimbo-with-a-heart of-gold). (2:17) Balboa, California, Empire, 1000 Van Ness, Presidio, SF Center, Sundance Kabuki. (Chun)

Horrible Bosses Lead by a clearly talented ensemble of comic actors, Horrible Bosses is yet another example of a big-budget summer comedy with a promising conceit (see Bad Teacher) that fails to deliver anything but crude alms to the lowest common denominator. Seth Gordon directs Jason Bateman, Jason Sudeikis, and Charlie Day as three pals fed up with their evil employers (Kevin Spacey, Colin Farrell and Jennifer Aniston, respectively) so they hatch a plan to have them killed. Because the answer to their problem obviously lies in a dive bar in the “bad part of town,” Jamie Foxx plays Motherfucker Jones, their murder consultant and the film’s most likable character-stereotype. In the tradition of The Hangover (2009) and its ilk of beer-guzzling, frat-boy cousins, Horrible Bosses is a disastrous pile-up of idiocy that’s more vapid than vulgar despite a few amusing performances. See it for no other reason than Michael Bluth and Charlie Kelly on coke. (1:33) 1000 Van Ness. (Lattanzio)

*Magic Trip How to bottle the lysergic thrills and chills of a monumental road trip that marked the close of the Beat Generation era and the dawn of the hippie years? Remarkably, Ken Kesey and his Merry Pranksters did just that — and with the help of directors-writers Alison Ellwood and Alex Gibney, their efforts have been retrieved from the swamps of yesterday. You don’t have to be a Summer of Love easy rider, Kesey reader, Deadhead, or acid gobbler to appreciate the freewheeling energy and epoch-making antics of Magic Trip, which arrives well-outfitted in much invaluable, real-deal-y footage and audio of Kesey, driver Neal Cassady, and the proto-Merry Pranksters, shot during their 1964 trip from La Honda to the World’s Fair in NYC, off, on, and hovering 10 miles above the paint-strewn school bus named Further. Already viewed through the lens of Tom Wolfe’s The Electric Kool-Aid Acid Test, the trip unfolds in all its truly weird, silly, LSD-laden, improvised, awkward, flailing, freeing glory, as the filmmakers gracefully sidestep the audio sync problems that drove Kesey to give up on assembling the film himself. Instead Ellwood and Gibney contextualize the hijinks with voice-over interviews from Pranksters prepped to look back on the journey’s consciousness-expanding trips, both good and bad, and imaginatively animate memorable asides, including a tape recording of Kesey’s first LSD experiments as a Stanford student. “What long, strange trip,” indeed — and this affectionate document viscerally, wonderfully conveys why it changed lives as well. (1:47) Lumiere. (Chun)

Midnight in Paris Owen Wilson plays Gil, a self-confessed “Hollywood hack” visiting the City of Light with his conservative future in-laws and crassly materialistic fiancée Inez (Rachel McAdams). A romantic obviously at odds with their selfish pragmatism (somehow he hasn’t realized that yet), he’s in love with Paris and particularly its fabled artistic past. Walking back to his hotel alone one night, he’s beckoned into an antique vehicle and finds himself transported to the 1920s, at every turn meeting the Fitzgeralds, Gertrude Stein (Kathy Bates), Dali (Adrien Brody), etc. He also meets Adriana (Marion Cotillard), a woman alluring enough to be fought over by Hemingway (Corey Stoll) and Picasso (Marcial di Fonzo Bo) — though she fancies aspiring literary novelist Gil. Woody Allen’s latest is a pleasant trifle, no more, no less. Its toying with a form of magical escapism from the dreary present recalls The Purple Rose of Cairo (1985), albeit without that film’s greater structural ingeniousness and considerable heart. None of the actors are at their best, though Cotillard is indeed beguiling and Wilson dithers charmingly as usual. Still — it’s pleasant. (1:34) Albany, Embarcadero, 1000 Van Ness, Piedmont, Sundance Kabuki. (Harvey)

*My Perestroika Robin Hessman’s very engaging documentary takes one very relatable look at how changes since glasnost have affected some average Russians. The subjects here are five thirtysomethings who, growing up in Moscow in the 70s and 80s, were the last generation to experience full-on Communist Party indoctrination. But just as they reached adulthood, the whole system dissolved, confusing long-held beliefs and variably impacting their futures. Andrei has ridden the capitalist choo-choo to considerable enrichment as the proprietor of luxury Western menswear shops. But single mother Olga, unlucky in love, just scrapes by, while married schoolteachers Lyuba and Boris are lucky to have inherited an apartment (cramped as it is) they could otherwise ill afford. Meanwhile Ruslan, once member of a famous punk band (which he abandoned on principal because it was getting “too commercial”), both disdains and resents the new order just as he did the old one. Home movies and old footage of pageantry celebrating Soviet socialist glory make a whole ‘nother era come to life in this intimate, unexpectedly charming portrait of its long-term aftermath. (1:27) Balboa. (Harvey)

*The Names of Love Arthur (Jacques Gamblin) is a 40-ish scientist being interviewed about the threat of a bird flu epidemic when his radio broadcast is interrupted by 20-something Baya (Sara Forestier), who denounces him on-air as a “fascist” for frightening the public. But then, Baya tends to use that label rather indiscriminately, applying it to anyone who might conceivably have views to the right of the dial — and Arthur is in fact a solid liberal, which means she can bed him for love. As opposed to the many, many other men she beds as a self-described “political whore,” seeking out conservative types in order to seduce them and hopefully induce an idealogical shift by whispering sweet nothings (“Not all Arabs are thieves,” etc.) as they orgasm. Raised by parents whose emotions are so tightly wound his mother won’t acknowledge her parents were Jews killed at Auschwitz, Arthur has a hard time adjusting to a relationship with a lover who is faithful emotionally but sees promiscuity as her propagandic gift to the world. Meanwhile Baya’s largely Algerian family treats garrulous political argument as the very air they breathe. This odd-couple story written by Baya Kasmi and director Michel Leclerc deals with serious issues in both humorous and respectful fashion, making for one of the more novel, delightful and depthed French romantic comedies in a long time. Added plus: lots of antic gratuitous nudity. (1:42) Clay, Piedmont, Shattuck, Smith Rafael. (Harvey)

*Point Blank Not for nothing did Hollywood remake French filmmaker Fred Cavaye’s last film, Anything for Her (2008) as The Next Three Days (2010) — Cavaye’s latest, tauter-than-taut thriller almost screams out for a similar rework, with its Bourne-like handheld camera work, high-impact immediacy, and noirish narrative economy. Point Blank — not to be confused with the 1967 Lee Marvin vehicle —kicks off with a literal slam: a mystery man (Roschdy Zem) crashing into a metal barrier, on the run from two menacing figures until he is cornered and then taken out of the action by fate. His mind mainly on the welfare of his very pregnant wife Nadia (Elena Anaya), nursing assistant Samuel (Gilles Lellouche) has the bad luck to stumble on a faux doctor attempting to make sure that the injured man never rises from his hospital bed. As police wrangle over whose case this exactly is — the murder of an industrialist seems to have expanded the powers of the stony-faced, monolithic Commandant Werner (Gerard Lanvin) — Samuel gets sucked into the mystery man’s lot, a conspiracy that allows them to trust no one, and seemingly impossibly odds against getting out of the mess alive. Cavaye never quite stops applying the pressure in this clever, unrelenting cat-and-mouse and mouse-and-his-spouse game, topping it with a nerve-jangling search through a messily chaotic police station. (1:24) Embarcadero. (Chun)

*Rise of the Planet of the Apes “You gotta love a movie where the animals beat up on the humans,” declared my Rise of the Planet of the Apes companion. Indeed, ape must not kill ape, and this Planet of the Apes prequel-cum-remake of Conquest of the Planet of the Apes (1972) takes the long view, back to the days when ape-human relations were still high-minded enough to forbid smart apes from killing those well-armed, not-so-bright humanoids. I was a fan of the original series, but honestly, I approached Rise with trepidation: I dreaded the inevitable scenes of human cruelty meted out to exploited primates — the current wave of chimp-driven films seems focused on holding a scary, shaming mirror up to the two-legged mammalian violence toward their closest living genetic relatives. It’s a contrast to the original series, which provided prisms with which to peer at race relations and generational conflict. But I needn’t have feared this PG-13 “reboot.” There’s little CGI-driven gore, apart from the visceral opening and the showdown, though the heartbreak remains. Scientist Will (James Franco, brow perpetually furrowed with worry) is working to find a medicine designed to supercharge the brain in the wake of Alzheimer’s — a disease that has struck down his father (John Lithgow). When the experimental chimp that responds to his serum becomes violently aggressive, the project is shut down, although the primate leaves behind a surprise: a baby chimp that Will and his father name Caesar and raise like a beloved child in their idyllic Bay Area Victorian. Growing in intelligence as he matures, Caesar finds himself torn by an existential dilemma: is he a pet or a mammal with rights that must be respected? Rise becomes Caesar’s story, rendered in heart-wrenching, exhilarating ways — to director Rupert Wyatt and his team’s credit you don’t miss the performance finesse of Roddy McDowell and Kim Hunter in groundbreaking prosthetic ape face in the original movies — while resolving at least one question about why humans gave up the globe to the primates. One can only imagine the next edition will take care of the lingering question about how even the cleverest of apes will feed themselves in Muir Woods. (1:50) Empire, 1000 Van Ness, Presidio, SF Center, Sundance Kabuki. (Chun)

*Salvation Boulevard The ridiculous and ill-reputed worlds of ex-Deadheads and evangelical mega-churches collide in director George Ratliff’s Salvation Boulevard, based on Larry Beinhart’s novel of the same name. When proselytizing pastor Dan Day (Pierce Brosnan) accidentally murders an atheist professor (Ed Harris), churchgoer Carl (Greg Kinnear) tries to forget what he saw. He soon finds himself embroiled in plots involving a kidnapping in Mexico and the fundamentalist takeover of his town. Carl’s god-fearin’, brainwashed wife (Jennifer Connelly) isn’t the least bit understanding, and instead takes to painting demons to exorcise her grief. Though the film often struggles to find a consistent tone, its lampoon of spiritual hogwash (i.e. purity balls) and the sheer inanity of the situational comedy makes for pleasantly amusing satire. The real saint of the film — and no surprise here — is Marisa Tomei as a pothead security guard named Honey. (1:35) Opera Plaza, Shattuck. (Lattanzio)

Sarah’s Key (1:42) Albany, Embarcadero, Piedmont.

Sex and Zen: Extreme Ecstasy (2:09) Four Star.

30 Minutes or Less In some ways, 30 Minutes or Less is reminiscent of 2008’s Pineapple Express: both are stoner action comedies about normal people shoved into high-stakes criminal activity. But while Pineapple Express was an exciting addition to the genre, 30 Minutes or Less is a flimsy 80-minute diversion that still feels like a waste of time. Jesse Eisenberg plays Nick, a pizza delivery boy who is forced to rob a bank after two would-be criminals strap a bomb to his chest. Strangely, Eisenberg was more charming as Mark Zuckerberg in The Social Network (2010) — and his buddy Chet (Aziz Ansari) doesn’t exactly up the likability factor. There’s actually the potential for an interesting story here: something darker seems appropriate, given that 30 Minutes or Less was inspired by a true story with a very unhappy ending. But the film completely fumbles, delivering an action comedy that’s neither tense nor funny. That means the pizza’s free, right? (1:29) 1000 Van Ness, Presidio, SF Center, Shattuck. (Peitzman)

The Tree of Life Mainstream American films are so rarely adventuresome that overreactive gratitude frequently greets those rare, self-conscious, usually Oscar-baiting stabs at profundity. Terrence Malick has made those gestures so sparingly over four decades that his scarcity is widely taken for genius. Now there’s The Tree of Life, at once astonishingly ambitious — insofar as general addressing the origin/meaning of life goes — and a small domestic narrative artificially inflated to a maximally pretentious pressure-point. The thesis here is a conflict between “nature” (the way of striving, dissatisfied, angry humanity) and “grace” (the way of love, femininity, and God). After a while Tree settles into a fairly conventional narrative groove, dissecting — albeit in meandering fashion — the travails of a middle-class Texas household whose patriarch (a solid Brad Pitt) is sternly demanding of his three young sons. As a modern-day survivor of that household, Malick’s career-reviving ally Sean Penn has little to do but look angst-ridden while wandering about various alien landscapes. Set in Waco but also shot in Rome, at Versailles, and in Saturn’s orbit (trust me), The Tree of Life is so astonishingly self-important while so undernourished on some basic levels that it would be easy to dismiss as lofty bullshit. Its Cannes premiere audience booed and cheered — both factions right, to an extent. (2:18) California, Lumiere. (Harvey)

*The Trip Eclectic British director Michael Winterbottom rebounds from sexually humiliating Jessica Alba in last year’s flop The Killer Inside Me to humiliating Steve Coogan in all number of ways (this time to positive effect) in this largely improvised comic romp through England’s Lake District. Well, romp might be the wrong descriptive — dubbed a “foodie Sideways” but more plaintive and less formulaic than that sun-dappled California affair, this TV-to-film adaptation displays a characteristic English glumness to surprisingly keen emotional effect. Playing himself, Coogan displays all the carefree joie de vivre of a colonoscopy patient with hemorrhoids as he sloshes through the gray northern landscape trying to get cell reception when not dining on haute cuisine or being wracked with self-doubt over his stalled movie career and love life. Throw in a happily married, happy-go-lucky frenemy (comic actor Rob Brydon) and Coogan (TV’s I’m Alan Partridge), can’t help but seem like a pathetic middle-aged prick in a puffy coat. Somehow, though, his confused narcissism is a perverse panacea. Come for the dueling Michael Caine impressions and snot martinis, stay for the scallops and Brydon’s “small man in a box” routine. (1:52) Bridge, Shattuck. (Devereaux)

*Vigilante Vigilante Eschewing any pretense of objectivity and adopting a civic-journalism approach, Bay Area director Max Good and producer Nathan Wollman exhaustively explore the issues at stake in the current graffiti and street art scene by focusing on some unexpected, once-hidden antagonists: the so-called buffers, graffiti abatement advocates, and self-styled vigilantes who obsessively paint over graffiti in cities like Los Angeles (Joe Connolly) and New Orleans (Fred Radtke). Good wraps his interviews with well-known street artists like Shepard Fairey, cultural critics such as Stefano Bloch, and graf advocates a la SF author Steve Rotman around his central pursuit: he’s trying to uncover the identity of the Silver Buff, the mysterious figure who has splashed silver over artwork and tags in Berkeley for more than a decade. After capturing the Buff on camera in the wee hours of the morn, the documentarian get his story — it’s Jim Sharp, a stubborn preservationist intent on “beautifying” the blight, tearing down street posters, picking up trash, and covering over what he sees as vandalism, even if he has to damage the property he claims to be cleaning up. In a witty twist on if-you-can’t-beat-’em-join-’em, Good and Wollman ratchet their tale up a notch when they follow Sharp with colorful paint of their own, brilliantly driving home an appeal for freedom of expression and a reclamation of public space. (1:26) Roxie. (Chun)

The Whistleblower (1:58) Embarcadero, Shattuck, Smith Rafael.


Film listings are edited by Cheryl Eddy. Reviewers are Kimberly Chun, Michelle Devereaux, Max Goldberg, Dennis Harvey, Louis Peitzman, Lynn Rapoport, Ben Richardson, and Matt Sussman. For rep house showtimes, see Rep Clock.

San Francisco’s chance at seeing 3D porn goes flat

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If you thought wizards and animated toys were fun in 3D, imagine putting on a pair of those nerdy glasses and getting popped in the face by some erect nipples. Sex on the big screen is always a thrill, but the Chinese film, Sex and Zen, is taking eroticism to a whole new dimension (corny pun intended) and is sure to get viewers foolishly grasping at the seemingly tangible passion. Keep your hands at your sides, San Franciscans; unfortunately the film’s debut in our city will only be offered in standard 2D.

Based on the ancient Chinese novel, The Prayer Mat of Flesh, and a remake of the 1991 film with the same name, Sex and Zen claims to be a bold, sexual comedy about a lustful scholar’s sexual adventures to become the ideal lover for his new wife. Practice makes perfect and therefore the film is packed with colorful sex and stars a roster of hot bods, including Japanese porn stars Hara Saori and Suo Yukiko and Hong Kong actress Vonnie Liu. Sex and Zen is considered soft-core, so don’t get your hopes up for massive erections or explosive female ejaculation, but you can still get your shameless 3D kicks with gags featuring jiggly breasts and a gigantic horse cock. 

So why is the Bay Area being teased and then restricted from the 3D amusement? Sex and Zen’s distributor, China Lion Film Distribution, brings about 15 films a year to the US, usually without issue, but this film’s mix of campy-eroticism earned a NC-17 rating from Motion Picture Association of America, meaning big, fat corporate theaters weren’t interested in showing the movie and most smaller, independent art house theaters don’t have the ability to show in the third dimension. China Lion CEO and Kiwi Milt Barlow, says in general, finding happy host screens in the US has been a battle, but San Francisco seems to be the biggest loser in this round.

“On the surface, America is a very conservative country and I find it quite puzzling. It’s supposed to be the land of free speech, sex, drugs, and rock ‘n’ roll,” says Barlow, chuckling, although audibly disappointed. “Americans invented porn, didn’t they?”

According to the MPAA, NC-17 simply means the film contains visuals “most parents would consider patently too adult for their children 17 and under” and “does not mean ‘obscene’ or ‘pornographic’ in the common or legal meaning of those words, and should not be construed as a negative judgment in any sense.” Many corporate theaters uphold policies that restrict the showing of anything past the ‘R’ rating. When you take a glimpse at the types of programming available on cable or even prime-time TV, it feels likely some creepy censorship shit. 

“You can see some pretty rugged stuff on Showtime. Sex and Zen is not a porn– it’s an erotic farce. It’s slapstick and campy.”

The film’s popularity on opening night in Hong Kong surpassed Avatar and stripped the original, highly popular Sex and Zen from its title for highest grossing adult film. Barlow, and I’m guessing many a San Franciscan, are hoping that this potential cult classic will garner a positive response from other theaters in the US who are showing in 3D, such as Dallas, Portland and LA, and eventually swing back around in its intended form. Until then, our hands are tied, and not in a fun way. Boo America. 

 

Sex and Zen

Fri/12, check theater website for showtimes

Four Star Theater

2200 Clement St., SF

(415) 666-3488

http://www.lntsf.com/4-star_theatre

 

Film Listings

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OPENING

Final Destination 5 Because Death never dies, or stops making sequels. (1:32)

Glee: The 3D Concert Movie The TV show goes cinematically 3D. (1:30)

The Help Three women (played by Emma Stone, Viola Davis, and Octavia Spencer) form an unlikely alliance in 1960s Mississippi. (2:17) Balboa, California, Presidio.

*Point Blank Not for nothing did Hollywood remake French filmmaker Fred Cavaye’s last film, Anything for Her (2008) as The Next Three Days (2010) — Cavaye’s latest, tauter-than-taut thriller almost screams out for a similar rework, with its Bourne-like handheld camera work, high-impact immediacy, and noirish narrative economy. Point Blank — not to be confused with the 1967 Lee Marvin vehicle —kicks off with a literal slam: a mystery man (Roschdy Zem) crashing into a metal barrier, on the run from two menacing figures until he is cornered and then taken out of the action by fate. His mind mainly on the welfare of his very pregnant wife Nadia (Elena Anaya), nursing assistant Samuel (Gilles Lellouche) has the bad luck to stumble on a faux doctor attempting to make sure that the injured man never rises from his hospital bed. As police wrangle over whose case this exactly is — the murder of an industrialist seems to have expanded the powers of the stony-faced, monolithic Commandant Werner (Gerard Lanvin) — Samuel gets sucked into the mystery man’s lot, a conspiracy that allows them to trust no one, and seemingly impossibly odds against getting out of the mess alive. Cavaye never quite stops applying the pressure in this clever, unrelenting cat-and-mouse and mouse-and-his-spouse game, topping it with a nerve-jangling search through a messily chaotic police station. (1:24) Embarcadero. (Chun)

*Salvation Boulevard The ridiculous and ill-reputed worlds of ex-Deadheads and evangelical mega-churches collide in director George Ratliff’s Salvation Boulevard, based on Larry Beinhart’s novel of the same name. When proselytizing pastor Dan Day (Pierce Brosnan) accidentally murders an atheist professor (Ed Harris), churchgoer Carl (Greg Kinnear) tries to forget what he saw. He soon finds himself embroiled in plots involving a kidnapping in Mexico and the fundamentalist takeover of his town. Carl’s god-fearin’, brainwashed wife (Jennifer Connelly) isn’t the least bit understanding, and instead takes to painting demons to exorcise her grief. Though the film often struggles to find a consistent tone, its lampoon of spiritual hogwash (i.e. purity balls) and the sheer inanity of the situational comedy makes for pleasantly amusing satire. The real saint of the film — and no surprise here — is Marisa Tomei as a pothead security guard named Honey. (1:35) )Opera Plaza, Shattuck. (Ryan Lattanzio)

Sex and Zen: Extreme Ecstasy Ming Dynasty-set porn on the big screen. (2:09) Four Star.

30 Minutes or Less Jesse Eisenberg and Danny McBride star in this comedy caper about a pizza delivery guy forced to rob a bank. (1:29) Presidio, Shattuck.

*Vigilante Vigilante Eschewing any pretense of objectivity and adopting a civic-journalism approach, Bay Area director Max Good and producer Nathan Wollman exhaustively explore the issues at stake in the current graffiti and street art scene by focusing on some unexpected, once-hidden antagonists: the so-called buffers, graffiti abatement advocates, and self-styled vigilantes who obsessively paint over graffiti in cities like Los Angeles (Joe Connolly) and New Orleans (Fred Radtke). Good wraps his interviews with well-known street artists like Shepard Fairey, cultural critics such as Stefano Bloch, and graf advocates a la SF author Steve Rotman around his central pursuit: he’s trying to uncover the identity of the Silver Buff, the mysterious figure who has splashed silver over artwork and tags in Berkeley for more than a decade. After capturing the Buff on camera in the wee hours of the morn, the documentarian get his story — it’s Jim Sharp, a stubborn preservationist intent on “beautifying” the blight, tearing down street posters, picking up trash, and covering over what he sees as vandalism, even if he has to damage the property he claims to be cleaning up. In a witty twist on if-you-can’t-beat-’em-join-’em, Good and Wollman ratchet their tale up a notch when they follow Sharp with colorful paint of their own, brilliantly driving home an appeal for freedom of expression and a reclamation of public space. (1:26) Roxie. (Chun)

The Whistleblower Rachel Weisz stars as a scandal-unearthing American working on a U.N. peacekeeping mission in post-war Bosnia. (1:58) Embarcadero.

ONGOING

Another Earth After serving a prison sentence for a youthful drunk-driving incident that killed two passengers in another car, Rhoda (Brit Marling) emerges no longer a blithe party girl but a haunted loner who prefers working as a high school janitor. Obsessed by her crime, she starts spying on the man it had left widowed and childless, a onetime composer (William Mapother) who like her has retreated into a solitary shell of depression. She finds a way to integrate herself (without revealing her identity) into his threadbare current existence, the two of them bonding over fascination with a newly discovered planet that appears the exact duplicate of Earth — complete with the possibility of our doubles living a parallel existence there. You can take Mike Cahill’s modestly scaled U.S. indie feature (cowritten with actor Marling) as a familiar drama about grief and repentance with a novel gloss of sci-fi, or as a sci-fi story with unusual attention to character emotions and almost no need of fantasy FX. Either way, it’s earnest, well-acted and interesting if not quite memorable; as has been noted elsewhere, the material could have fit just as effectively into a half-hour Twilight Zone episode. (1:32) Opera Plaza, Shattuck. (Harvey)

*Attack the Block The Goonies go to a South London projects, with more gore, guts, and gumption? With good reason, writer, director, and Edgar Wright/Simon Pegg cohort Joe Cornish’s own project, Attack the Block, has been getting raves at fests for its effortless, energetic originality, discernible through its thick, glottal stop-chomping, Jafaican-draped local brogue. The question posed, ever so entertainingly: what happens when you pit the toughest kids on the block against a ferocious pack of outer-space critters — not quite out to serve man but rather sever him limb from limb? We start out seeing this gang of at-risk, risk-taking youth through the peepers of a vulnerable female mugging victim and neighbor, Sam (Jodie Whittaker) — they seem as scary as any alien invader and she wants to bring down the full force of the law on them. But the pack, led by Moses (John Boyega, who charismatically scowls like a young 50 Cent), has more pressing matters at hand: a mysterious creature has come crashing down from out of the sky, and naturally, being nasty terrors, they kill it, bringing down a intergalactic shit storm of trouble. Their favorite refuge: the top-floor weed room overseen by Ron (Pegg sidekick Nick Frost), where they attempt to suss out why they’ve become the prime prey for wolfish aliens out for blood. Throw in chills, bike chases, a resourceful use of elevators and dumpsters, and an epic, eerie dubstep theme by Basement Jaxx, and you have a very fun horror-thriller that declines to preach but manages to bring home a message reminiscent of Night of the Living Dead (1968). Consider this a whole-hearted, double-fisted antidote to the fearful vigilantism of films like 2009’s Harry Brown. (1:28) Metreon. (Chun)

Beats, Rhymes & Life Actor Michael Rapaport probably didn’t set out to make a hip-hop Metallica: Some Kind of Monster (2004), but that’s pretty much where his portrait of A Tribe Called Quest ends up. The first half of Beats, Rhymes & Life: The Travels of A Tribe Called Quest is predictably worshipful, slathering on low angles and slow motion to cover mediocre live shows. More effectively, Rapaport traces the Queens group’s brief incubation period and subsequent breakthroughs in what would later be called alternative or, more obnoxiously, conscious hip-hop. A slew of notable followers and contemporaries toast Tribe’s first three albums, but by the time Rapaport catches up to the group’s 2008 reunion even their longtime friends De La Soul are wishing they’d call the whole thing off. The documentary slides into the Monster zone of hurt feelings and passive aggressive behavior in accounting for the group’s split after their inappropriately named 1998 album, The Love Movement. Phife Dawg and Q-Tip are the warring egos, though perennially slighted Phife is really no match for the imperially cool Tip. DJ Ali Shaheed Muhammad is the Kirk Hammett of the outfit, looking on helplessly as the two bigger personalities make a mess of things. There’s still novelty in a story about aging in hip-hop, but Rapaport’s portrait is utterly conventional. He also doesn’t pursue more interesting questions of race and politics that naturally follow the band’s crossover appeal. (1:38) Shattuck. (Goldberg)

*Beginners There is nothing conventional about Beginners, a film that starts off with the funeral arrangements for one of its central characters. That man is Hal (Christopher Plummer), who came out to his son Oliver (Ewan McGregor) at the ripe age of 75. Through flashbacks, we see the relationship play out — Oliver’s inability to commit tempered by his father’s tremendous late-stage passion for life. Hal himself is a rare character: an elderly gay man, secure in his sexuality and, by his own admission, horny. He even has a much younger boyfriend, played by the handsome Goran Visnjic. While the father-son bond is the heart of Beginners, we also see the charming development of a relationship between Oliver and French actor Anna (Mélanie Laurent). It all comes together beautifully in a film that is bittersweet but ultimately satisfying. Beginners deserves praise not only for telling a story too often left untold, but for doing so with grace and a refreshing sense of whimsy. (1:44) Lumiere. (Peitzman)

*Between Two Worlds In 1981 Deborah Kaufman founded the nation’s first Jewish Film Festival in San Francisco. Thirteen years later, with similar festivals burgeoning in the wake of SFJFF’s success — there are now over a hundred around the globe — she left the festival to make documentaries of her own with life partner and veteran local TV producer Alan Snitow. Their latest, Between Two Worlds, could hardly be a more personal project for the duo. Both longtime activists in various Jewish, political, and media spheres, Snitow and Kaufman were struck — as were plenty of others — by the rancor that erupted over the SFJFF’s 2009 screening of Simone Bitton’s Rachel. That doc was about Rachel Corrie, a young American International Solidarity Movement member killed in 2003 by an Israeli Defense Forces bulldozer while standing between it and a Palestinian home on the Gaza Strip. As different sides argued whether Corrie’s death was accidental or deliberate, she became a lightning rod for ever-escalating tensions between positions within and without the U.S. Jewish populace on Israeli policy, settlements, Palestinian rights, and more. Seeing the festival being used by extremists on both sides became a natural starting point for Between Two Worlds, which takes a many-sided, questioning, sometimes humorous look at culture wars in today’s American Jewish population. The fundamental question here, as Kaufman puts it, is “Who is entitled to speak for the tribe?” For the first time, the filmmakers have made themselves part of the subject matter, exploring their own very different personal and familial experiences to illustrate the diversity of the U.S. Jewish experience. (1:10) Roxie. (Harvey)

Bride Flight Who doesn’t love a sweeping Dutch period piece? Ben Sombogaart’s Bride Flight is pure melodrama soup, enough to give even the most devout arthouse-goer the bloats. Emigrating from post-World War II Holland to New Zealand with two gal pals, the sweetly staid Ada (Karina Smulders) falls for smarm-ball Frank (Waldemar Torenstra, the Dutchman’s James Franco) and kind of joins the mile high club to the behest of her conscience. The women arrive with emotional baggage and carry-ons of the uterine kind. As the harem adjusts to the country mores of the Highlands, Frank tries a poke at all of them in a series of sex scenes more moldy than smoldery. This Flight, set to a plodding score and stuffy mise-en-scene, never quite leaves the runway. Not to mention the whole picture, pale as a corpse, resembles one of those old-timey photographs of your great grandma’s wedding. These kinds of pastoral romances ought to be put out to, well, pasture. (2:10) Opera Plaza. (Lattanzio)

*Bridesmaids For anyone burned out on bad romantic comedies, Bridesmaids can teach you how to love again. This film is an answer to those who have lamented the lack of strong female roles in comedy, of good vehicles for Saturday Night Live cast members, of an appropriate showcase for Melissa McCarthy. The hilarious but grounded Kristen Wiig stars as Annie, whose best friend Lillian (Maya Rudolph) is getting hitched. Financially and romantically unstable, Annie tries to throw herself into her maid of honor duties — all while competing with the far more refined Helen (Rose Byrne). Bridesmaids is one of the best comedies in recent memory, treating its relatable female characters with sympathy. It’s also damn funny from start to finish, which is more than can be said for most of the comedies Hollywood continues to churn out. Here’s your choice: let Bridesmaids work its charm on you, or never allow yourself to complain about an Adam Sandler flick again. (2:04) Shattuck. (Peitzman)

Buck This documentary paints a portrait of horse trainer Buck Brannaman as a sort of modern-day sage, a sentimental cowboy who helps “horses with people problems.” Brannaman has transcended a background of hardship and abuse to become a happy family man who makes a difference for horses and their owners all over the country with his unconventional, humane colt-starting clinics. Though he doesn’t actually whisper to horses, he served as an advisor and inspiration for Robert Redford’s The Horse Whisperer (1998). Director Cindy Meehl focuses generously on her saintly subject’s bits of wisdom in and out of a horse-training setting — e.g. “Everything you do with a horse is a dance” — as well as heartfelt commentary from friends and colleagues. In the harrowing final act of the film, Brannaman deals with a particularly unruly horse and his troubled owner, highlighting the dire and disturbing consequences of improper horse rearing. (1:28) Opera Plaza, Shattuck. (Sam Stander)

Captain America: The First Avenger OK, Marvel. I could get behind 2008’s Iron Man (last year’s Iron Man 2, not so much), but after Thor and now Captain America, I’m starting to get cynical about this multi-year build-up to the full-on Avengers movie, due in May 2012. Can even a superhero-stuffed movie directed by Joss Whedon live up to all this hype? There’s plenty of time to ponder, and maybe worry a little, with Captain America’s backstory-explaining picture now in theaters. Chris Evans stars as the 90-pound weakling who morphs into a supersoldier, thanks to the World War II-era tinkerings of a scientist (Stanley Tucci) and an inventor (Dominic Cooper as Howard Stark, a.k.a. Iron Man’s dad). The original plan for the musclebound shield-bearer (fighting Nazis, natch) gets waylaid a bit when the newly famous Captain America becomes a PR prop for the U.S. government; it’s abandoned entirely when a worse-than-Hitler foe, in the guise of power-obsessed Red Skull (Hugo Weaving), threatens the world. Directed by Spielberg cohort Joe Johnston, Captain America is gee-whiz enjoyable enough, but it’s very nearly the same movie as Thor, which no amount of Tommy Lee Jones (as a sarcastic army colonel) wisecracks can conceal. And here’s an anti-spoiler: there’s no post-credits surprise in this one, so you can bolt as soon as they start to roll. (2:09) Empire, 1000 Van Ness, SF Center, Shattuck, Sundance Kabuki. (Eddy)

The Change-Up This brom-com just might go down as the one where Ryan Reynolds proves his acting chops by playing a creepy Peter Pan and an upstanding family man with Jason Bateman’s physical tics. And it’s almost good enough to wipe out those terrible memories of Reynolds’ dances with CGI in Green Lantern. Yet 2011 summer movies’ MVP Bateman still manages to steal all the best scenes as both the straight man and the kidult-in-a-grown-up’s-body: namely those R-pushing moments he’s changing diapers and taking a face full of baby poo, coming on like a pink-Polo’d jackass at a big-money meeting, and watching the woman of his dreams saunter into the can to cope with backfiring Thai grub. It’s the stuff of fantasy — as well as some clever writing and considerable buddy-buddy chemistry — when career-climbing, do-right lawyer Dave (Bateman) and perpetual playa Mitch (Reynolds) voice envy for each other’s lives while pissing into a magical fountain. The old switcheroo inexplicably occurs the next morning when each chum find himself in the other’s body. Fortunately the Freaky Friday (1976) kookiness that ensues rises a bit above the safe norm by plunging headlong into all the cringey discomfort that comes with watching babies toy with cleavers and electrical outlets. The Change-Up is completely ludicrous, fo’ sho’, and never really strays from the reassuring confines of its story arc, but the laughs accompanying its morning-afters will satisfy more than any new Hangover. (1:52) Four Star, Marina, 1000 Van Ness, Shattuck. (Chun)

Cowboys and Aliens Here ’tis in a nutshell: the movie’s called Cowboys and Aliens — and that’s exactly, entirely what you’ll get. Director Jon Favreau may never best 2008’s Iron Man (actor Jon Favreau will prob never top 1996’s Swingers, but that’s a debate for another time), but that doesn’t mean he won’t have a good time trying. Cowboys is a genre mash-up in the most literal sense; as the title suggests, it pits Wild West gunslingers (Harrison Ford as a crabby cattleman, Daniel Craig as an amnesiac outlaw) against gold-seeking space invaders who also delight in kidnapping and torturing humans. As stupidly entertaining as it is, this is a textbook example of a pretty OK movie that could have been so much better … if only. If only the alien characters had a little bit more District 9-style personality. If only the story had a shred of suspense — look ye not here for “spooky” and “mysterious;” this shit is 100 percent full-on explosions. If only Craig’s comically fine-tooled physique didn’t outshine his wooden acting. And so forth. (1:58) Balboa, 1000 Van Ness, Presidio, SF Center. (Eddy)

Crazy, Stupid, Love Keep the poster’s allusion to 1967’s The Graduate to one side: there aren’t many revelations about midlife crises in this cleverly penned yet strangely flat ensemble rom-com, awkwardly pitched at almost every demographic at the cineplex. There’s the middle-aged romance that’s withered at the vine: nice but boring family man Cal (Steve Carell) finds himself at a hopeless loss when wife and onetime teenage sweetheart Emily (Julianne Moore) tells him she wants a divorce and she’s slept with a coworker (Kevin Bacon). He ends up waxing pathetic at a slick nightclub where he catches the eye of the well-dressed, spray-tanned smoothie Jacob (Ryan Gosling), who appears to have taken his ladies man stance from the Clooney playbook. It’s manly makeover time: GQ meets Pretty Woman (1990)! Cut to Cal and Emily’s babysitter Jessica (Analeigh Tipton), who is crushing out on Cal, while the separated couple’s tween Robbie (Jonah Bobo) hankers for Jessica. Somehow Josh Groban worms his way into the mix as the dullard suitor of Hannah (Emma Stone) in a hanging chad of a storyline that must somehow be resolved in this mad, mad, mad, mad — actually, the problem with Crazy, Stupid, Love is that it isn’t really that crazy. It tries far too hard to please everybody in the theater to its detriment, reminding the viewer of a tidy, episodic TV series (albeit a quality effort) like Modern Family more than an actual film. Likewise I yearned for a way to fast-forward through the too-cute Jessica-Robbie scenes in order to get back to the sleazy-smart, punchy complexity of Gosling, playing adeptly off both Carrell and Stone. (1:58) Marina, 1000 Van Ness, SF Center, Shattuck, Sundance Kabuki. (Chun)

*Crime After Crime In 1983, Deborah Peagler was sentenced to 25 years to life for first-degree murder in the death of her former boyfriend Oliver Wilson, whom two local L.A. gang members had strangled — supposedly at her behest. Encouraged to plead guilty to avoid the death penalty, Peagler had a juryless trial and was quickly shunted off to prison. There she was repeatedly turned down for parole despite spending the years of her incarceration as a church leader, mentor, and tutor to other inmates; a highly skilled electronics-assembly supervisor; earning two degrees; and sustaining good long-distance relationships with her two daughters. Even most of the victim’s surviving relatives had come to believe she should have been released years earlier. For her part, Peagler always claimed she intended Wilson to be beaten, but had not asked for or condoned his murder. What was missing (or suppressed) from the original trial were the myriad reasons she’d wanted to frighten him away from herself and her family, including the fact that he’d frequently beaten her. Walnut Creek attorneys Nadia Costa and Joshua Safran agreed to take on Peagler’s case pro bono, and they launched what turned into years of effort during which her cause becomes a public cause célèbre, and indications emerge of some very ugly misconduct by the District Attorney’s office. This battle is chronicled in Bay Area filmmaker Yoav Potash’s documentary Crime After Crime. It’s a story with plenty of lurid and tragic revelations, ranging from child sexual abuse to terminal illness to hidden evidence of perjury. The film won’t exactly stoke your faith in the justice system, but this thoroughly engrossing document does affirm that there is hope good people can and will fight the system. (1:33) Roxie, Smith Rafael. (Harvey)

The Devil’s Double Say hello to my little friend, again— and rest assured, it’s not a dream and you’re seeing double. New Zealand filmmaker Lee Tamahori gets back to his potboiler roots with this campy, claustrophobic look back at the House of Saddam Hussein, based on a true story and designed to win over fans of Scarface (1983) with its portrait of mad excess and deca-dancey ’80s-ish soundtrack. The craziest poseur of all is Hussein’s son Uday (Dominic Cooper), a petty dictator-in-the-making — and, according to this film, a full-fledged murderous pedophile — who chomps cigars and wraps his jaws around schoolgirls while Cooper happily chews scenery. Uday needs a double to sidestep all those troublesome assassination attempts, so he enlists look-alike childhood friend Latif (also Cooper) to get the surgery, pop in the overbite, bray like a madman, make appearances in his stead, and function as a kind of pet human. Never mind Ludivine Sagnier, glassy-eyed and absurd in the role of Uday’s favorite sex kitten Sarrab — Double is completely Cooper’s, who seizes the moment, investing the morally upstanding Latif with a serious sincerity with just his eyes and body language and infusing evil odd job Uday with a dangerous, comic-book unpredictability. To his credit, Cooper imbues such cult-ready, blow-the-doors-off lines as “I love cunt! I love cunt more than god!” with, erm, believability, even as the denouement rings somewhat false. (1:48) California, SF Center, Sundance Kabuki. (Chun)

*Friends With Benefits If you see only one romantic comedy this summer about a sex-sans-pair-bonding pact between a girl and a guy saddled with intimacy issues — well, chances are, if you tend to see movies with premises like this, you probably already saw No Strings Attached. In which case, poor unlucky Friends with Benefits may be filed away in your brain as that other movie about fuckbuddies, the one in which Ashton Kutcher is played by Justin Timberlake and Natalie Portman (in a slightly eerie cosmic echo of last year’s Black Swan) is played by Mila Kunis. But if you see two such movies this summer, and admit it, you probably might, you’ll likely agree that FWB kicks NSA‘s booty call, particularly in the areas of scriptwriting ingenuity, pacing, and the casting subcategory of basic chemistry between romantic leads, with points possibly taken off for shark-jumping use of flash mobs and the fact that the maddeningly sticky song “Closing Time” will now be with you from closing credits ’til doomsday. This is not a searing, psychologically nuanced portrayal of two young people’s struggles to grapple with modern-day sexual mores and their own crippling pathologies — rather, the pair’s emotional baggage mostly seems to be stuffed with packing peanuts, and scenes in which they catalog their sexual proclivities in a humorously businesslike, gently raunchy fashion reveal them to be hearteningly adept at the art of communication. But such moments keep us entertained as the film, salted with light jabs at the genre’s worn-down touchstones yet utterly complicit, depicts the inevitable stages of a non-relationship relationship. (1:44) 1000 Van Ness, Sundance Kabuki. (Rapoport)

The Guard Irish police sergeant Gerry Boyle (Brendan Gleeson) is used to running his small town on his own terms — not in a completely Bad Lieutenant (1992) kind of way, though he’s not afraid to sample drugs and hang with hookers. More like, he’s been running the show for years, and would prefer that big-city cops stay the hell out of his village. Alas, a gang of drug smugglers is doing business in the area, so an officious group of investigators from Dublin (horrors!) and America (in the form of an FBI agent played by Don Cheadle) soon descend. His mother’s dying, his brand-new partner’s missing, and between all the interlopers on both sides of the law, Boyle’s having a hard time having a pint in peace. Good thing he’s not as simple-minded as all who surround him think he is. Writer-director John Michael McDonagh (brother of playwright Martin, who directed 2008’s In Bruges — also starring Gleeson) puts an affable Irish spin on what’s essentially a pretty typical indie comedy, with some pretty typical crime-drama elements layered atop. Boyle’s character is memorably clever, but the film that contains him never quite elevates to his level. (1:36) Embarcadero, Shattuck, Sundance Kabuki. (Eddy)

*Harry Potter and the Deathly Hallows Part 2 Chances are you aren’t going to jump into the Harry Potter series with Harry Potter and the Deathly Hallows Part 2. So while the movie is probably the best Harry Potter film yet, it’s more a fitting conclusion than a standalone film. For fans of the books, there are no real surprises — this is a close adaptation. And for those Harry Potter movie fans who haven’t read the books, shame on you, and kudos if you managed to not get spoiled. It’s hard for me to offer a serious critical analysis of Part 2, because it represents the end of a long and very emotional journey. (Everyone in that audience was crying. Everyone.) I will say that, as was the case in the book, there are a few overdone, schmaltzy moments that aren’t really necessary. But in the context of the series, they’re forgivable — this may not be the great cinematic event of our generation, but Harry Potter as a whole is sure to be one of our most enduring cultural icons. (2:10) Empire, Sundance Kabuki. (Peitzman)

Horrible Bosses Lead by a clearly talented ensemble of comic actors, Horrible Bosses is yet another example of a big-budget summer comedy with a promising conceit (see Bad Teacher) that fails to deliver anything but crude alms to the lowest common denominator. Seth Gordon directs Jason Bateman, Jason Sudeikis, and Charlie Day as three pals fed up with their evil employers (Kevin Spacey, Colin Farrell and Jennifer Aniston, respectively) so they hatch a plan to have them killed. Because the answer to their problem obviously lies in a dive bar in the “bad part of town,” Jamie Foxx plays Motherfucker Jones, their murder consultant and the film’s most likable character-stereotype. In the tradition of The Hangover (2009) and its ilk of beer-guzzling, frat-boy cousins, Horrible Bosses is a disastrous pile-up of idiocy that’s more vapid than vulgar despite a few amusing performances. See it for no other reason than Michael Bluth and Charlie Kelly on coke. (1:33) 1000 Van Ness. (Lattanzio)

Life in a Day (1:30) Balboa.

*Magic Trip How to bottle the lysergic thrills and chills of a monumental road trip that marked the close of the Beat Generation era and the dawn of the hippie years? Remarkably, Ken Kesey and his Merry Pranksters did just that — and with the help of directors-writers Alison Ellwood and Alex Gibney, their efforts have been retrieved from the swamps of yesterday. You don’t have to be a Summer of Love easy rider, Kesey reader, Deadhead, or acid gobbler to appreciate the freewheeling energy and epoch-making antics of Magic Trip, which arrives well-outfitted in much invaluable, real-deal-y footage and audio of Kesey, driver Neal Cassady, and the proto-Merry Pranksters, shot during their 1964 trip from La Honda to the World’s Fair in NYC, off, on, and hovering 10 miles above the paint-strewn school bus named Further. Already viewed through the lens of Tom Wolfe’s The Electric Kool-Aid Acid Test, the trip unfolds in all its truly weird, silly, LSD-laden, improvised, awkward, flailing, freeing glory, as the filmmakers gracefully sidestep the audio sync problems that drove Kesey to give up on assembling the film himself. Instead Ellwood and Gibney contextualize the hijinks with voice-over interviews from Pranksters prepped to look back on the journey’s consciousness-expanding trips, both good and bad, and imaginatively animate memorable asides, including a tape recording of Kesey’s first LSD experiments as a Stanford student. “What long, strange trip,” indeed — and this affectionate document viscerally, wonderfully conveys why it changed lives as well. (1:47) Lumiere. (Chun)

Midnight in Paris Owen Wilson plays Gil, a self-confessed “Hollywood hack” visiting the City of Light with his conservative future in-laws and crassly materialistic fiancée Inez (Rachel McAdams). A romantic obviously at odds with their selfish pragmatism (somehow he hasn’t realized that yet), he’s in love with Paris and particularly its fabled artistic past. Walking back to his hotel alone one night, he’s beckoned into an antique vehicle and finds himself transported to the 1920s, at every turn meeting the Fitzgeralds, Gertrude Stein (Kathy Bates), Dali (Adrien Brody), etc. He also meets Adriana (Marion Cotillard), a woman alluring enough to be fought over by Hemingway (Corey Stoll) and Picasso (Marcial di Fonzo Bo) — though she fancies aspiring literary novelist Gil. Woody Allen’s latest is a pleasant trifle, no more, no less. Its toying with a form of magical escapism from the dreary present recalls The Purple Rose of Cairo (1985), albeit without that film’s greater structural ingeniousness and considerable heart. None of the actors are at their best, though Cotillard is indeed beguiling and Wilson dithers charmingly as usual. Still — it’s pleasant. (1:34) Albany, Embarcadero, 1000 Van Ness, Piedmont, Sundance Kabuki. (Harvey)

*My Perestroika Robin Hessman’s very engaging documentary takes one very relatable look at how changes since glasnost have affected some average Russians. The subjects here are five thirtysomethings who, growing up in Moscow in the 70s and 80s, were the last generation to experience full-on Communist Party indoctrination. But just as they reached adulthood, the whole system dissolved, confusing long-held beliefs and variably impacting their futures. Andrei has ridden the capitalist choo-choo to considerable enrichment as the proprietor of luxury Western menswear shops. But single mother Olga, unlucky in love, just scrapes by, while married schoolteachers Lyuba and Boris are lucky to have inherited an apartment (cramped as it is) they could otherwise ill afford. Meanwhile Ruslan, once member of a famous punk band (which he abandoned on principal because it was getting “too commercial”), both disdains and resents the new order just as he did the old one. Home movies and old footage of pageantry celebrating Soviet socialist glory make a whole ‘nother era come to life in this intimate, unexpectedly charming portrait of its long-term aftermath. (1:27) Balboa. (Harvey)

*The Names of Love Arthur (Jacques Gamblin) is a 40-ish scientist being interviewed about the threat of a bird flu epidemic when his radio broadcast is interrupted by 20-something Baya (Sara Forestier), who denounces him on-air as a “fascist” for frightening the public. But then, Baya tends to use that label rather indiscriminately, applying it to anyone who might conceivably have views to the right of the dial — and Arthur is in fact a solid liberal, which means she can bed him for love. As opposed to the many, many other men she beds as a self-described “political whore,” seeking out conservative types in order to seduce them and hopefully induce an idealogical shift by whispering sweet nothings (“Not all Arabs are thieves,” etc.) as they orgasm. Raised by parents whose emotions are so tightly wound his mother won’t acknowledge her parents were Jews killed at Auschwitz, Arthur has a hard time adjusting to a relationship with a lover who is faithful emotionally but sees promiscuity as her propagandic gift to the world. Meanwhile Baya’s largely Algerian family treats garrulous political argument as the very air they breathe. This odd-couple story written by Baya Kasmi and director Michel Leclerc deals with serious issues in both humorous and respectful fashion, making for one of the more novel, delightful and depthed French romantic comedies in a long time. Added plus: lots of antic gratuitous nudity. (1:42) Clay, Piedmont, Shattuck, Smith Rafael. (Harvey)

*Rise of the Planet of the Apes “You gotta love a movie where the animals beat up on the humans,” declared my Rise of the Planet of the Apes companion. Indeed, ape must not kill ape, and this Planet of the Apes prequel-cum-remake of Conquest of the Planet of the Apes (1972) takes the long view, back to the days when ape-human relations were still high-minded enough to forbid smart apes from killing those well-armed, not-so-bright humanoids. I was a fan of the original series, but honestly, I approached Rise with trepidation: I dreaded the inevitable scenes of human cruelty meted out to exploited primates — the current wave of chimp-driven films seems focused on holding a scary, shaming mirror up to the two-legged mammalian violence toward their closest living genetic relatives. It’s a contrast to the original series, which provided prisms with which to peer at race relations and generational conflict. But I needn’t have feared this PG-13 “reboot.” There’s little CGI-driven gore, apart from the visceral opening and the showdown, though the heartbreak remains. Scientist Will (James Franco, brow perpetually furrowed with worry) is working to find a medicine designed to supercharge the brain in the wake of Alzheimer’s — a disease that has struck down his father (John Lithgow). When the experimental chimp that responds to his serum becomes violently aggressive, the project is shut down, although the primate leaves behind a surprise: a baby chimp that Will and his father name Caesar and raise like a beloved child in their idyllic Bay Area Victorian. Growing in intelligence as he matures, Caesar finds himself torn by an existential dilemma: is he a pet or a mammal with rights that must be respected? Rise becomes Caesar’s story, rendered in heart-wrenching, exhilarating ways — to director Rupert Wyatt and his team’s credit you don’t miss the performance finesse of Roddy McDowell and Kim Hunter in groundbreaking prosthetic ape face in the original movies — while resolving at least one question about why humans gave up the globe to the primates. One can only imagine the next edition will take care of the lingering question about how even the cleverest of apes will feed themselves in Muir Woods. (1:50) Empire, 1000 Van Ness, Presidio, SF Center, Sundance Kabuki. (Chun)

Sarah’s Key (1:42) Albany, Embarcadero, Piedmont.

The Smurfs in 3D (1:43) 1000 Van Ness.

The Tree of Life Mainstream American films are so rarely adventuresome that overreactive gratitude frequently greets those rare, self-conscious, usually Oscar-baiting stabs at profundity. Terrence Malick has made those gestures so sparingly over four decades that his scarcity is widely taken for genius. Now there’s The Tree of Life, at once astonishingly ambitious — insofar as general addressing the origin/meaning of life goes — and a small domestic narrative artificially inflated to a maximally pretentious pressure-point. The thesis here is a conflict between “nature” (the way of striving, dissatisfied, angry humanity) and “grace” (the way of love, femininity, and God). After a while Tree settles into a fairly conventional narrative groove, dissecting — albeit in meandering fashion — the travails of a middle-class Texas household whose patriarch (a solid Brad Pitt) is sternly demanding of his three young sons. As a modern-day survivor of that household, Malick’s career-reviving ally Sean Penn has little to do but look angst-ridden while wandering about various alien landscapes. Set in Waco but also shot in Rome, at Versailles, and in Saturn’s orbit (trust me), The Tree of Life is so astonishingly self-important while so undernourished on some basic levels that it would be easy to dismiss as lofty bullshit. Its Cannes premiere audience booed and cheered — both factions right, to an extent. (2:18) California, Lumiere. (Harvey)

*The Trip Eclectic British director Michael Winterbottom rebounds from sexually humiliating Jessica Alba in last year’s flop The Killer Inside Me to humiliating Steve Coogan in all number of ways (this time to positive effect) in this largely improvised comic romp through England’s Lake District. Well, romp might be the wrong descriptive — dubbed a “foodie Sideways” but more plaintive and less formulaic than that sun-dappled California affair, this TV-to-film adaptation displays a characteristic English glumness to surprisingly keen emotional effect. Playing himself, Coogan displays all the carefree joie de vivre of a colonoscopy patient with hemorrhoids as he sloshes through the gray northern landscape trying to get cell reception when not dining on haute cuisine or being wracked with self-doubt over his stalled movie career and love life. Throw in a happily married, happy-go-lucky frenemy (comic actor Rob Brydon) and Coogan (TV’s I’m Alan Partridge), can’t help but seem like a pathetic middle-aged prick in a puffy coat. Somehow, though, his confused narcissism is a perverse panacea. Come for the dueling Michael Caine impressions and snot martinis, stay for the scallops and Brydon’s “small man in a box” routine. (1:52) Bridge, Shattuck. (Devereaux)

 

Film listings are edited by Cheryl Eddy. Reviewers are Kimberly Chun, Michelle Devereaux, Max Goldberg, Dennis Harvey, Louis Peitzman, Lynn Rapoport, Ben Richardson, and Matt Sussman. For rep house showtimes, see Rep Clock.

Obama, Lee, Avalos, and the arc of history

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People need to hear compelling stories, particularly from those who aspire to lead them, a point that author and psychologist Drew Westen nailed in his incisive think-piece in Sunday’s New York Times, “What Happened to Obama?” His conclusions also apply in San Francisco, where progressives have lost control of the narrative to the tax-cutting centrists, who are telling stories that serve mainly to enfeeble the people and prop up powerful interests.

“The stories our leaders tell us matter, probably almost as much as the stories our parents tell us as children, because they orient us to what is, what could be, and what should be; to the worldviews they hold and to the values they hold sacred. Our brains evolved to ‘expect’ stories with a particular structure, with protagonists and villains, a hill to be climbed or a battle to be fought,” Westen writes.

Contrast that with the guiding narrative in San Francisco politics right now, put forth by Mayor Ed Lee, his supporters, and the crew of mostly bland centrists who aspire to replace him, all of whom cast conflict itself as the villain. Much like Obama, they all style themselves as the administrators-in-chief, conflict-averse protagonists content to compromise away what little wealth and power the average citizen still possesses. Not only does that narrative guarantee that Lee will be elected, but it’s a false and short-sighted narrative that does a profound disservice to this city.

The one candidate in the mayor’s race who understands that class matters, that conflict is a necessary part of politics, and that we’re all getting screwed over by the rich and powerful is John Avalos. But despite some flashes of progressive populism on the stump, he hasn’t really been consistently and boldly telling San Francisco the story of itself that it really needs to hear right now, which is the same story that Obama should be telling the American people.

“I know you’re scared and angry. Many of you have lost your jobs, your homes, your hope. This was a disaster, but it was not a natural disaster. It was made by Wall Street gamblers who speculated with your lives and futures. It was made by conservative extremists who told us that if we just eliminated regulations and rewarded greed and recklessness, it would all work out. But it didn’t work out,” begins the story that Westen said Obama should have told during his inaugural address.

And that’s the story that Avalos should be telling right now, combating the myths that have been put out there by Lee, David Chiu, Bevan Dufty, Dennis Herrera, and the other centrists in the race, that if we just give Twitter, Zynga, Oracle, Sutter Health, Willie Brown’s clients, and every other corporation and developer who promises to create jobs everything they want, then we’ll all be okay.

But on some level, we all know that just isn’t true, and it hasn’t been true for a long time. Only a fool would trust them to take care of us at this point. The greed and self-interest of rich individuals and corporations – which has gone unchecked for far too long, at least partly because of the political corruption they’ve sponsored – is reaching epidemic proportions. It is the villain that needs to be fought, it is the hill that needs to be climbed.

“When faced with the greatest economic crisis, the greatest levels of economic inequality, and the greatest levels of corporate influence on politics since the Depression, Barack Obama stared into the eyes of history and chose to avert his gaze. Instead of indicting the people whose recklessness wrecked the economy, he put them in charge of it. He never explained that decision to the public — a failure in storytelling as extraordinary as the failure in judgment behind it. Had the president chosen to bend the arc of history, he would have told the public the story of the destruction wrought by the dismantling of the New Deal regulations that had protected them for more than half a century. He would have offered them a counternarrative of how to fix the problem other than the politics of appeasement, one that emphasized creating economic demand and consumer confidence by putting consumers back to work. He would have had to stare down those who had wrecked the economy, and he would have had to tolerate their hatred if not welcome it. But the arc of his temperament just didn’t bend that far,” Westen wrote.

He was riffing off Obama’s penchant for quoting the MLK line, “The arc of the moral universe is long, but it bends toward justice,” which he returned to again with his devastating conclusion: “But the arc of history does not bend toward justice through capitulation cast as compromise. It does not bend when 400 people control more of the wealth than 150 million of their fellow Americans. It does not bend when the average middle-class family has seen its income stagnate over the last 30 years while the richest 1 percent has seen its income rise astronomically. It does not bend when we cut the fixed incomes of our parents and grandparents so hedge fund managers can keep their 15 percent tax rates. It does not bend when only one side in negotiations between workers and their bosses is allowed representation. And it does not bend when, as political scientists have shown, it is not public opinion but the opinions of the wealthy that predict the votes of the Senate. The arc of history can bend only so far before it breaks.”

That is the moment we find ourselves in, both as a country and as a city. And it is a story that we’re still waiting for a future leader to tell us with enough power and passion that we all begin to believe it.

Complete interview: “Between Two Worlds” directors Deborah Kaufman and Alan Snitow

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In 1981 Deborah Kaufman founded the nation’s first Jewish Film Festival in San Francisco. Thirteen years later, with similar festivals burgeoning in the wake of SFJFF‘s success — there are now over a hundred around the globe — she left the festival to make documentaries of her own with life partner and veteran local TV producer Alan Snitow.

Their latest, Between Two Worlds, which opens at the Roxie Fri/5 while playing festival dates, could hardly be a more personal project for the duo. Both longtime activists in various Jewish, political, and media spheres, Snitow and Kaufman were struck — as were plenty of others — by the rancor that erupted over the SFJFF’s 2009 screening of Simone Bitton’s Rachel. That doc was about Rachel Corrie, a young American International Solidarity Movement member killed in 2003 by an Israeli Defense Forces bulldozer while standing between it and a Palestinian home on the Gaza Strip.

As different sides argued whether Corrie’s death was accidental or deliberate, she became a lightning rod for ever-escalating tensions between positions within and without the U.S. Jewish populace on Israeli policy, settlements, Palestinian rights, and more — with not a few commentators amplifying the conservative notion that any criticism of Israel is anti-Semitic, even (or especially) when it comes from Jews themselves.

People who hadn’t seen (and boasted they wouldn’t see) the strenuously even-handed Rachel called the documentary an “anti-Israeli hate fest” akin to “Holocaust denial,” its SFJFF inclusion “symptomatic of a demonic strategy” by “anti-Semites on the left.” KGO radio’s John Rothmann opined on air that the festival had “crossed the line” and “sympathized with those who participate in terror.”

Stunned SFJFF executive director Peter Stein (who’s leaving the festival after its current edition) decried Jewish community “thought police” who pressured the institution and those connected to it with defunding and boycotting threats. The festival attempted damage control by inviting a public foe of the screening (Dr. Michael Harris of StandWithUs/Voice for Israel) to speak before it, which only amplified the hostile rhetoric.

Seeing the festival being used by extremists on both sides became a natural starting point for Between Two Worlds, which takes a many-sided, questioning, sometimes humorous look at culture wars in today’s American Jewish population. It touches on everything from divestment debates at UC Berkeley to the disputed site of a Museum of Tolerance in Jerusalem (atop a 600-year-old Muslim cemetery), from the tradition of progressive liberalism
among U.S. Jews to rising ethnic-identity worries spawned by intermarriage and declining birth rates.

The fundamental question here, as Kaufman puts it, is “Who is entitled to speak for the tribe?” For the first time, the filmmakers have made themselves part of the subject matter, exploring their own very different personal and familial experiences to illustrate the diversity of the U.S. Jewish experience. Snitow’s mother had to hide her prior Communist Party membership to remain active in social-justice movements after the 1940s, while Kaufman’s father was a devoted Zionist from his Viennese childhood who had to adjust to offspring like “Tevye’s daughters gone wild,” including one who converted to Islam.

They’re clearly in sympathy with other documentary interviewees insisting that one core of Jewish identity has been, and should remain, a stance against absolutism and injustice towards any peoples. Between their SFJFF screenings the filmmakers chatted with the Guardian.

SFBG: Is the Bay Area still a bastion of Jewish liberalism, relatively speaking? Watching your movie I wondered how many other places there are where a Jewish film festival audience would boo and heckle a conservative pro-Israeli speaker like Dr. Michael Harris.

Deborah Kaufman: What we saw at the festival during the Rachel uproar was a collapse of the center. It was really a moment when the extremes were at battle and the center simply disappeared. That’s what was and is so disturbing. A kind of apathy where the moderates just throw up their hands and walk away from what’s become a very toxic debate.

Alan Snitow: It’s not that the Bay Area is unique to boo a so-called “pro-Israel” speaker. It’s that the Bay Area has maintained an open debate about Israeli policies when other Jewish communities never countenanced such debate from the get-go. Rachel was not shown in other Jewish film festivals around the country because they are already creatures of conservative donors. The aim in this power grab by the right in San Francisco was and is to silence people and institutions like the festival that oppose a McCarthyite crackdown in a remaining bastion of free speech. And this is being mirrored in Israel itself where the Knesset recently passed a law punishing anyone who publicly supports the idea of a boycott of the West Bank settlements.

I think we also have to question this claim of “pro-Israel.” All criticism of Israel’s occupation is now being branded as “anti-Israel.” Theodore Bikel — a lifelong Zionist activist who went to jail with my mother at the Soviet consulate in Washington DC — was recently called an “anti-Zionist” because he supported an actors’ boycott of performing in the settlements. J Street — an explicitly and consistently pro-Israel voice that is critical of Israeli policies — is regularly attacked as not really pro-Israel for that very reason. “Pro-Israel” has come to mean pro the policies of the current, most right-wing government in Israeli history — a government that is now advocating the truly Orwellian position that there is no occupation at all! That’s not what pro-Israel or Zionist ever meant except to some ideologues on the far right.

DK: The Bay Area has had a history of passionate political commitment — to both the Zionist and anti-Zionist causes. But today the right wing is certainly louder and aside from what we saw at the theater that day, there has been a significant silencing of voices critical of Israel’s occupation policies.

SFBG: Conversely, have you perceived the local Jewish community as growing more conservative in recent years? In particular, more inclined to treat criticism of Israeli government policies as inherently anti-Semitic, even when voiced by fellow Jews?

DK: We were interested in the notion of excommunication — going back to Spinoza — and to the accusation “self-hating Jew” that some people used to attack Hannah Arendt when she wrote Eichmann in Jerusalem. Today, right-wing Jews are leveling charges of treason against Jewish academics, rabbis, and community members whose positions on israel aren’t as rabidly right wing as theirs. We didn’t have to look very far to find dramatic stories for our film on these themes. Censorship and the stifling of dissent are happening right in our home town.

AS: There’s conservative and there’s conservative. The Jewish community hasn’t become more conservative in terms of voting patterns or support for civil rights or the welfare state, but the establishment has become more and more dependent on an ever smaller number of big conservative donors who have bought out these institutions and compromised their independence and legitimacy as representing the whole Jewish community. This is a major reason for the crisis. More and more young Jews are finding the community’s institutions do not reflect their liberal beliefs and upbringing, particularly when it comes to Israel. The result is that many young people are not identifying with Israel because its actions are not consistent with their ideals as American Jews.

SFBG: Had you already been thinking about somehow addressing political rifts in the Jewish community before the SFJFF fracas?

DK: We began the film over a year before the JFF fracas. We were focusing more on Jewish identity than politics — looking at intermarriage, hybrid identities, a new generation of American Jews — we wanted to re-tell the Biblical story of Ruth, and we were following a fantastic feminist-queer internet discussion called “Rabbis: Out Of My Uterus!” that we thought would be fun to film — but we kept getting swept into the Israel vortex and realized we had to address the question of dissent and who speaks for the Jewish community at this historical moment for the film to be relevant.

SFBG: The festival had shown other movies relating to different aspects of the Palestinian conflict before, and Rachel does make an effort to represent all the different sides of its story. What do you think particularly ticked people off about that film?

DK: Over the years the festival had shown many films that were more controversial than Rachel. In fact, that same summer the festival showed a film called Defamation that we felt was far more critical of the Jewish establishment, but it went right under everybody’s radar. It was the Tea Party summer — almost anything could have been the spark that ignited a controversy. But the tragic death of Rachel Corrie had already made her an internationally famous symbol of opposition to Israel’s occupation, so the anger was focused on the program with her name.

AS: Rachel was just a pretext. In the months before the film festival, think tanks in Israel had declared the Bay Area a node of “delegitimization” of Israel (along with Toronto and London). The right was looking for a test case to make an example of Jewish institutions that step out of line. The San Francisco Jewish Film Festival was founded as a transgression right from the start — a place where unpopular and counter-cultural and diverse views could engage. It was a perfect target to attack.

One other item: when the festival allowed [Harris] on the podium to attack one of its own films and filmmakers it was a bad precedent, and the right smelled blood in the water. The festival’s good faith effort was viewed as a sign of weakness and the attacks only intensified. The people who wrote the attacking emails are people who think that any criticism of Israel is tantamount to anti-Semitism. They are not to be appeased by any symbolic action. They want control and silence.

SFBG: Deborah, since you left the festival it’s seen several well-regarded executive and programming directors depart, seemingly burnt out. Do you think the effort it takes to represent and placate the festival audience has gotten harder?

DK: I’m not sure things have changed so much. There has always been pressure on festival directors to do what major donors demand. I got a lot of that during my tenure but resisted the pressure. The difference is the political atmosphere which is more polarized and shrill, especially since the new, ultra-right government in Israel has come to power. It’s hard to withstand the bullying and accusations of treason and self-hate.

AS: I think it’s also important to add that Deborah and Janis [Plotkin] — who was director for many years — also had a lot of fun with the festival. This is a very hard job, but it’s a creative and fascinating one, and these attacks may come with the territory, but they don’t dominate it.

DK: In terms of the audience it’s always been a diverse group. I have fond memories of the midnight screening of the silent version of The Golem (1920) we did at the Roxie in our second year — where people in the audience were literally screaming at each other and at the projectionist during the whole screening about whether we should turn the volume up or down on the rock music sound track we had commissioned.

SFBG: You’ve shown Between Two Worlds to a variety of Jewish audiences so far, in Toronto, New York, and Jerusalem as well as SF. What have been some of the responses?

DK: The response has been great and sometimes surprising — we’ve had people from the left and right of the political spectrum both say the film has made them reconsider their own stridency. Non-Jews have said it mirrors what they felt they could not say out loud. Young people have told us it’s affirming of their perceptions and reveals a history they didn’t know existed. In Jerusalem one person felt the film was overly optimistic because it didn’t examine the support of right-wing Christian fundamentalists for the settlements!

AS: I think the personal stories we tell of our own families ring true to many people. Most Jews know deep down that if you look at the family histories of American Jews, you will find intense long term debates between those people at the Passover seder table who were Communists, Socialists, and Zionists. Often, the only way to sit down together was to maintain silence, but we wanted to bring those utopian hopes and ideals back into focus, and people across the political spectrum seem to take that as an opportunity to think about and question their own families and their own positions.

SFBG: How did the decision come about to put yourselves in the film? As filmmakers, was it awkward to become subjects?

DK: We’ve never been in our own films so it was something of a challenge for us. We don’t feel relaxed in front of the camera, but early in the production we realized we had to be in the film so that people would know where we were coming from, and also because our family histories shed a lot of light on debates inside the Jewish community today. We watched a lot of work by other documentary filmmakers who put themselves in their films like Marlon Riggs, Alan Berliner, and Ross McElwee, and decided we’d give it a try. We also felt this film was really about the intersection of the personal and the political, so the structure that moves back and forth between the two made sense to us.

AS: My daughter, Tania, is an actor, and I kept thinking that we needed to consult with her about being on camera. It’s not just something that you do. You have to work at it and learn how to do it. After we did it a couple of times, we realized that we weren’t dressing right, that the hair was wrong, that I was scratching my head, that we should have shot ourselves from above and not below. Rather than being an on camera ego-trip, it was a humbling experience.

Between Two Worlds opens Fri/5 at the Roxie.

Whose voice?

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arts@sfbg.com

FILM In 1981 Deborah Kaufman founded the nation’s first Jewish Film Festival in San Francisco. Thirteen years later, with similar festivals burgeoning in the wake of SFJFF’s success — there are now over a hundred around the globe — she left the festival to make documentaries of her own with life partner and veteran local TV producer Alan Snitow.

Their latest, Between Two Worlds, which opens at the Roxie this Friday while playing festival dates, could hardly be a more personal project for the duo. Both longtime activists in various Jewish, political, and media spheres, Snitow and Kaufman were struck — as were plenty of others — by the rancor that erupted over the SFJFF’s 2009 screening of Simone Bitton’s Rachel. That doc was about Rachel Corrie, a young American International Solidarity Movement member killed in 2003 by an Israeli Defense Forces bulldozer while standing between it and a Palestinian home on the Gaza Strip.

As different sides argued whether Corrie’s death was accidental or deliberate, she became a lightning rod for ever-escalating tensions between positions within and without the U.S. Jewish populace on Israeli policy, settlements, Palestinian rights, and more — with not a few commentators amplifying the conservative notion that any criticism of Israel is anti-Semitic, even (or especially) when it comes from Jews themselves.

People who hadn’t seen (and boasted they wouldn’t see) the strenuously even-handed Rachel called the documentary an “anti-Israeli hate fest” akin to “Holocaust denial,” its SFJFF inclusion “symptomatic of a demonic strategy” by “anti-Semites on the left.”

Stunned SFJFF executive director Peter Stein (who’s leaving the festival after its current edition) decried Jewish community “thought police” who pressured the institution and those connected to it with defunding and boycotting threats. The festival attempted damage control by inviting a public foe of the screening (Dr. Michael Harris of StandWithUs/Voice for Israel) to speak before it, which only amplified the hostile rhetoric.

Seeing the festival being used by extremists on both sides became a natural starting point for Between Two Worlds, which takes a many-sided, questioning, sometimes humorous look at culture wars in today’s American Jewish population. It touches on everything from divestment debates at UC Berkeley to the disputed site of a Museum of Tolerance in Jerusalem (atop a 600-year-old Muslim cemetery), from the tradition of progressive liberalism among U.S. Jews to rising ethnic-identity worries spawned by intermarriage and declining birth rates.

The fundamental question here, as Kaufman puts it, is “Who is entitled to speak for the tribe?” For the first time, the filmmakers have made themselves part of the subject matter, exploring their own very different personal and familial experiences to illustrate the diversity of the U.S. Jewish experience. Snitow’s mother had to hide her prior Communist Party membership to remain active in social-justice movements after the 1940s, while Kaufman’s father was a devoted Zionist from his Viennese childhood who had to adjust to offspring like “Tevye’s daughters gone wild,” including one who converted to Islam.

They’re clearly in sympathy with other documentary interviewees insisting that one core of Jewish identity has been, and should remain, a stance against absolutism and injustice towards any peoples. Between their SFJFF screenings the filmmakers chatted with the Guardian.

 

SFBG Is the Bay Area still a bastion of Jewish liberalism, relatively speaking?

Deborah Kaufman What we saw at the festival during the Rachel uproar was a collapse of the center. It was really a moment when the extremes were at battle and the center simply disappeared. That’s what was and is so disturbing. A kind of apathy where the moderates just throw up their hands and walk away from what’s become a very toxic debate.

Alan Snitow It’s not that the Bay Area is unique to boo a so-called “pro-Israel” speaker [like Harris]. It’s that the Bay Area has maintained an open debate about Israeli policies when other Jewish communities never countenanced such debate from the get-go. Rachel was not shown in other Jewish film festivals around the country because they are already creatures of conservative donors. The aim in this power grab by the right in San Francisco was and is to silence people and institutions like the festival that oppose a McCarthyite crackdown in a remaining bastion of free speech. And this is being mirrored in Israel itself where the Knesset recently passed a law punishing anyone who publicly supports the idea of a boycott of the West Bank settlements.

I think we also have to question this claim of “pro-Israel.” All criticism of Israel’s occupation is now being branded as “anti-Israel.” “Pro-Israel” has come to mean pro the policies of the current, most right-wing government in Israeli history — a government that is now advocating the truly Orwellian position that there is no occupation at all! That’s not what pro-Israel or Zionist ever meant except to some ideologues on the far right.

 

SFBG Had you already been thinking about somehow addressing political rifts in the Jewish community before the SFJFF fracas?  

DK We began the film over a year before the SFJFF fracas. We were focusing more on Jewish identity than politics — looking at intermarriage, hybrid identities, a new generation of American Jews — we wanted to re-tell the Biblical story of Ruth, and we were following a fantastic feminist-queer internet discussion called “Rabbis: Out Of My Uterus!” that we thought would be fun to film. But we kept getting swept into the Israel vortex and realized we had to address the question of dissent and who speaks for the Jewish community at this historical moment for the film to be relevant.

Between Two Worlds opens Fri/5 at the Roxie.

Film Listings

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Film listings are edited by Cheryl Eddy. Reviewers are Kimberly Chun, Michelle Devereaux, Max Goldberg, Dennis Harvey, Louis Peitzman, Lynn Rapoport, Ben Richardson, and Matt Sussman. For rep house showtimes, see Rep Clock.

SAN FRANCISCO JEWISH FILM FESTIVAL

The 31st San Francisco Jewish Film Festival runs through August 8 at the Christopher B. Smith Rafael Film Center, 1119 Fourth St., San Rafael; Oshman Jewish Community Center, 3921 Fabian Way, Palo Alto; and Roda Theatre at Berkeley Rep, 2025 Addison, Berk. For tickets (most shows $12) and a full schedule, visit www.sfjff.org.

OPENING

*Between Two Worlds See “Whose Voice?” (1:10) Roxie.

The Change-Up This brom-com just might go down as the one where Ryan Reynolds proves his acting chops by playing a creepy Peter Pan and an upstanding family man with Jason Bateman’s physical tics. And it’s almost good enough to wipe out those terrible memories of Reynolds’ dances with CGI in Green Lantern. Yet 2011 summer movies’ MVP Bateman still manages to steal all the best scenes as both the straight man and the kidult-in-a-grown-up’s-body: namely those R-pushing moments he’s changing diapers and taking a face full of baby poo, coming on like a pink-Polo’d jackass at a big-money meeting, and watching the woman of his dreams saunter into the can to cope with backfiring Thai grub. It’s the stuff of fantasy — as well as some clever writing and considerable buddy-buddy chemistry — when career-climbing, do-right lawyer Dave (Bateman) and perpetual playa Mitch (Reynolds) voice envy for each other’s lives while pissing into a magical fountain. The old switcheroo inexplicably occurs the next morning when each chum find himself in the other’s body. Fortunately the Freaky Friday (1976) kookiness that ensues rises a bit above the safe norm by plunging headlong into all the cringey discomfort that comes with watching babies toy with cleavers and electrical outlets. The Change-Up is completely ludicrous, fo’ sho’, and never really strays from the reassuring confines of its story arc, but the laughs accompanying its morning-afters will satisfy more than any new Hangover. (1:52) (Chun)

*Crime After Crime See “Time Served.” (1:33) Elmwood, Roxie, Smith Rafael.

The Devil’s Double Lee Tamahori directs Dominic Cooper in this 80s-set drama about Saddam Hussein’s sinister son Uday and his reluctant body double. (1:48)

The Guard Irish police sergeant Gerry Boyle (Brendan Gleeson) is used to running his small town on his own terms — not in a completely Bad Lieutenant (1992) kind of way, though he’s not afraid to sample drugs and hang with hookers. More like, he’s been running the show for years, and would prefer that big-city cops stay the hell out of his village. Alas, a gang of drug smugglers is doing business in the area, so an officious group of investigators from Dublin (horrors!) and America (in the form of an FBI agent played by Don Cheadle) soon descend. His mother’s dying, his brand-new partner’s missing, and between all the interlopers on both sides of the law, Boyle’s having a hard time having a pint in peace. Good thing he’s not as simple-minded as all who surround him think he is. Writer-director John Michael McDonagh (brother of playwright Martin, who directed 2008’s In Bruges — also starring Gleeson) puts an affable Irish spin on what’s essentially a pretty typical indie comedy, with some pretty typical crime-drama elements layered atop. Boyle’s character is memorably clever, but the film that contains him never quite elevates to his level. (1:36) Embarcadero. (Eddy)

*Magic Trip How to bottle the lysergic thrills and chills of a monumental road trip that marked the close of the Beat Generation era and the dawn of the hippie years? Remarkably, Ken Kesey and his Merry Pranksters did just that — and with the help of directors-writers Alison Ellwood and Alex Gibney, their efforts have been retrieved from the swamps of yesterday. You don’t have to be a Summer of Love easy rider, Kesey reader, Deadhead, or acid gobbler to appreciate the freewheeling energy and epoch-making antics of Magic Trip, which arrives well-outfitted in much invaluable, real-deal-y footage and audio of Kesey, driver Neal Cassady, and the proto-Merry Pranksters, shot during their 1964 trip from La Honda to the World’s Fair in NYC, off, on, and hovering 10 miles above the paint-strewn school bus named Further. Already viewed through the lens of Tom Wolfe’s The Electric Kool-Aid Acid Test, the trip unfolds in all its truly weird, silly, LSD-laden, improvised, awkward, flailing, freeing glory, as the filmmakers gracefully sidestep the audio sync problems that drove Kesey to give up on assembling the film himself. Instead Ellwood and Gibney contextualize the hijinks with voice-over interviews from Pranksters prepped to look back on the journey’s consciousness-expanding trips, both good and bad, and imaginatively animate memorable asides, including a tape recording of Kesey’s first LSD experiments as a Stanford student. “What long, strange trip,” indeed — and this affectionate document viscerally, wonderfully conveys why it changed lives as well. (1:47) Embarcadero. (Chun)

*Pianomania You think your job is detail-oriented, your bosses fussy? Walk a mile in the shoes of Stefan Knupfer, a Steinway technician — i.e. “piano tuner” — who must attend every minute aspect of each instrument’s inner workings, surrounding physical spaces, and their temperature fluctuations, idiosyncratically demanding players, etc. when preparing for either a live performance or studio session. “When I see the kind of life pianists have, I am very happy I can get off the stage when the public comes,” Knupfer explains. Nonetheless, he’s so dedicated to his job he has regular nightmares about strings breaking. His good-humored expertise and ingenuity make for engaging company on a multi-city itinerary, during which we meet a roll call of world-class virtuosi. Following this affable, unflappable protagonist over a year’s course, with an important Bach recording project at its end, this beautifully assembled documentary (a rare one these days shot on 35mm) by Lilian Franck and Robert Cibis should fascinate even those not especially attuned to classical music. (1:33) Opera Plaza. (Harvey)

Rise of the Planet of the Apes Fun fact: according to this origin story starring James Franco, the first supersmart apes were bred right here in San Francisco. (1:50)

Sarah’s Key Kristen Scott Thomas stars as a journalist in France who becomes deeply involved in a story she’s researching about the Jewish family forced by Nazis to vacate the home she now lives in. (1:42) Embarcadero.

ONGOING

Another Earth After serving a prison sentence for a youthful drunk-driving incident that killed two passengers in another car, Rhoda (Brit Marling) emerges no longer a blithe party girl but a haunted loner who prefers working as a high school janitor. Obsessed by her crime, she starts spying on the man it had left widowed and childless, a onetime composer (William Mapother) who like her has retreated into a solitary shell of depression. She finds a way to integrate herself (without revealing her identity) into his threadbare current existence, the two of them bonding over fascination with a newly discovered planet that appears the exact duplicate of Earth — complete with the possibility of our doubles living a parallel existence there. You can take Mike Cahill’s modestly scaled U.S. indie feature (cowritten with actor Marling) as a familiar drama about grief and repentance with a novel gloss of sci-fi, or as a sci-fi story with unusual attention to character emotions and almost no need of fantasy FX. Either way, it’s earnest, well-acted and interesting if not quite memorable; as has been noted elsewhere, the material could have fit just as effectively into a half-hour Twilight Zone episode. (1:32) Embarcadero, Sundance Kabuki. (Harvey)

*Attack the Block The Goonies go to a South London projects, with more gore, guts, and gumption? With good reason, writer, director, and Edgar Wright/Simon Pegg cohort Joe Cornish’s own project, Attack the Block, has been getting raves at fests for its effortless, energetic originality, discernible through its thick, glottal stop-chomping, Jafaican-draped local brogue. The question posed, ever so entertainingly: what happens when you pit the toughest kids on the block against a ferocious pack of outer-space critters — not quite out to serve man but rather sever him limb from limb? We start out seeing this gang of at-risk, risk-taking youth through the peepers of a vulnerable female mugging victim and neighbor, Sam (Jodie Whittaker)—they seem as scary as any alien invader and she wants to bring down the full force of the law on them. But the pack, led by Moses (John Boyega, who charismatically scowls like a young 50 Cent), has more pressing matters at hand: a mysterious creature has come crashing down from out of the sky, and naturally, being nasty terrors, they kill it, bringing down a intergalactic shit storm of trouble. Their favorite refuge: the top-floor weed room overseen by Ron (Pegg sidekick Nick Frost), where they attempt to suss out why they’ve become the prime prey for wolfish aliens out for blood. Throw in chills, bike chases, a resourceful use of elevators and dumpsters, and an epic, eerie dubstep theme by Basement Jaxx, and you have a very fun horror-thriller that declines to preach but manages to bring home a message reminiscent of Night of the Living Dead (1968). Consider this a whole-hearted, double-fisted antidote to the fearful vigilantism of films like 2009’s Harry Brown. (1:28) Metreon. (Chun)

*Beginners There is nothing conventional about Beginners, a film that starts off with the funeral arrangements for one of its central characters. That man is Hal (Christopher Plummer), who came out to his son Oliver (Ewan McGregor) at the ripe age of 75. Through flashbacks, we see the relationship play out — Oliver’s inability to commit tempered by his father’s tremendous late-stage passion for life. Hal himself is a rare character: an elderly gay man, secure in his sexuality and, by his own admission, horny. He even has a much younger boyfriend, played by the handsome Goran Visnjic. While the father-son bond is the heart of Beginners, we also see the charming development of a relationship between Oliver and French actor Anna (Mélanie Laurent). It all comes together beautifully in a film that is bittersweet but ultimately satisfying. Beginners deserves praise not only for telling a story too often left untold, but for doing so with grace and a refreshing sense of whimsy. (1:44) Elmwood, Lumiere. (Peitzman)

Bride Flight Who doesn’t love a sweeping Dutch period piece? Ben Sombogaart’s Bride Flight is pure melodrama soup, enough to give even the most devout arthouse-goer the bloats. Emigrating from post-World War II Holland to New Zealand with two gal pals, the sweetly staid Ada (Karina Smulders) falls for smarm-ball Frank (Waldemar Torenstra, the Dutchman’s James Franco) and kind of joins the mile high club to the behest of her conscience. The women arrive with emotional baggage and carry-ons of the uterine kind. As the harem adjusts to the country mores of the Highlands, Frank tries a poke at all of them in a series of sex scenes more moldy than smoldery. This Flight, set to a plodding score and stuffy mise-en-scene, never quite leaves the runway. Not to mention the whole picture, pale as a corpse, resembles one of those old-timey photographs of your great grandma’s wedding. These kinds of pastoral romances ought to be put out to, well, pasture. (2:10) Opera Plaza. (Ryan Lattanzio)

Buck This documentary paints a portrait of horse trainer Buck Brannaman as a sort of modern-day sage, a sentimental cowboy who helps “horses with people problems.” Brannaman has transcended a background of hardship and abuse to become a happy family man who makes a difference for horses and their owners all over the country with his unconventional, humane colt-starting clinics. Though he doesn’t actually whisper to horses, he served as an advisor and inspiration for Robert Redford’s The Horse Whisperer (1998). Director Cindy Meehl focuses generously on her saintly subject’s bits of wisdom in and out of a horse-training setting — e.g. “Everything you do with a horse is a dance” — as well as heartfelt commentary from friends and colleagues. In the harrowing final act of the film, Brannaman deals with a particularly unruly horse and his troubled owner, highlighting the dire and disturbing consequences of improper horse rearing. (1:28) Opera Plaza. (Sam Stander)

*Cameraman: The Life and Work of Jack Cardiff Cameraman: The Life and Work of Jack Cardiff is to a large extent exactly what is sounds like: a well-made documentary on one of cinema’s most prolific and well-regarded cinematographers. Featuring interviews with the elderly Cardiff himself as well as with Martin Scorsese, Kirk Douglas, Lauren Bacall, and others, Cameraman examines Cardiff’s career, from his beginnings in 1918 as a child actor through his early innovations with color film, his mastery of lighting, and his brief transition into directing. As much as this is a film about Cardiff, though, it’s also about the collaborative process of filmmaking and the artistry of cinematography. With big-name directors and actors soaking up the headlines, it’s easy to forget the talent behind the camerawork. Cardiff, who passed away in 2009 at the age of 94, was a true artist, as at ease with a lens as with a paintbrush. (1:30) Balboa, Smith Rafael. (Cooper Berkmoyer)

Captain America: The First Avenger OK, Marvel. I could get behind 2008’s Iron Man (last year’s Iron Man 2, not so much), but after Thor and now Captain America, I’m starting to get cynical about this multi-year build-up to the full-on Avengers movie, due in May 2012. Can even a superhero-stuffed movie directed by Joss Whedon live up to all this hype? There’s plenty of time to ponder, and maybe worry a little, with Captain America’s backstory-explaining picture now in theaters. Chris Evans stars as the 90-pound weakling who morphs into a supersoldier, thanks to the World War II-era tinkerings of a scientist (Stanley Tucci) and an inventor (Dominic Cooper as Howard Stark, a.k.a. Iron Man’s dad). The original plan for the musclebound shield-bearer (fighting Nazis, natch) gets waylaid a bit when the newly famous Captain America becomes a PR prop for the U.S. government; it’s abandoned entirely when a worse-than-Hitler foe, in the guise of power-obsessed Red Skull (Hugo Weaving), threatens the world. Directed by Spielberg cohort Joe Johnston, Captain America is gee-whiz enjoyable enough, but it’s very nearly the same movie as Thor, which no amount of Tommy Lee Jones (as a sarcastic army colonel) wisecracks can conceal. And here’s an anti-spoiler: there’s no post-credits surprise in this one, so you can bolt as soon as they start to roll. (2:09) Cerrito, Empire, 1000 Van Ness, SF Center, Sundance Kabuki. (Eddy)

Cars 2 You pretty much can’t say a bad thing about a Pixar film. Cars 2 is by no means Ratatouille (2007) or Wall-E (2008), but the sequel to the 2006 hit Cars offers plenty of sleek visuals and one-note gags under its hollow hood. If nothing else, Pixar seems to have overcome the dingy, dark glaze that plagues 3-D films. Directors John Lasseter and Joe Ranft return to beloved autos Lightning McQueen (Owen Wilson) and the “extremely American” Mater (Larry the Cable Guy). This time around, secret agents Finn McMissile (Michael Caine) and Holley Shiftwell (Emily Mortimer) come along for the ride while working to expose sabotage in the alternative fuel industry. Compelling chase sequences, explosions and more than a few jabs at cultural stereotypes follow suit. This is the lightest, silliest Pixar film to date, but you probably don’t have any business seeing it unless you’ve got a kid in tow. (1:52) SF Center. (Lattanzio)

Cowboys and Aliens Here ’tis in a nutshell: the movie’s called Cowboys and Aliens — and that’s exactly, entirely what you’ll get. Director Jon Favreau may never best 2008’s Iron Man (actor Jon Favreau will prob never top 1996’s Swingers, but that’s a debate for another time), but that doesn’t mean he won’t have a good time trying. Cowboys is a genre mash-up in the most literal sense; as the title suggests, it pits Wild West gunslingers (Harrison Ford as a crabby cattleman, Daniel Craig as an amnesiac outlaw) against gold-seeking space invaders who also delight in kidnapping and torturing humans. As stupidly entertaining as it is, this is a textbook example of a pretty OK movie that could have been so much better … if only. If only the alien characters had a little bit more District 9-style personality. If only the story had a shred of suspense — look ye not here for “spooky” and “mysterious;” this shit is 100 percent full-on explosions. If only Craig’s comically fine-tooled physique didn’t outshine his wooden acting. And so forth. (1:58) Balboa, 1000 Van Ness, SF Center. (Eddy)

Crazy, Stupid, Love Keep the poster’s allusion to 1967’s The Graduate to one side: there aren’t many revelations about midlife crises in this cleverly penned yet strangely flat ensemble rom-com, awkwardly pitched at almost every demographic at the cineplex. There’s the middle-aged romance that’s withered at the vine: nice but boring family man Cal (Steve Carell) finds himself at a hopeless loss when wife and onetime teenage sweetheart Emily (Julianne Moore) tells him she wants a divorce and she’s slept with a coworker (Kevin Bacon). He ends up waxing pathetic at a slick nightclub where he catches the eye of the well-dressed, spray-tanned smoothie Jacob (Ryan Gosling), who appears to have taken his ladies man stance from the Clooney playbook. It’s manly makeover time: GQ meets Pretty Woman (1990)! Cut to Cal and Emily’s babysitter Jessica (Analeigh Tipton), who is crushing out on Cal, while the separated couple’s tween Robbie (Jonah Bobo) hankers for Jessica. Somehow Josh Groban worms his way into the mix as the dullard suitor of Hannah (Emma Stone) in a hanging chad of a storyline that must somehow be resolved in this mad, mad, mad, mad — actually, the problem with Crazy, Stupid, Love is that it isn’t really that mad or crazy. It tries far too hard to please everybody in the theater to its detriment, reminding the viewer of a tidy, episodic TV series (albeit a quality effort) like Modern Family more than an actual film. Likewise I yearned for a way to fast-forward through the too-cute Jessica-Robbie scenes in order to get back to the sleazy-smart, punchy complexity of Gosling, playing adeptly off both Carrell and Stone. (1:58) 1000 Van Ness, SF Center, Sundance Kabuki. (Chun)

*Friends With Benefits If you see only one romantic comedy this summer about a sex-sans-pair-bonding pact between a girl and a guy saddled with intimacy issues — well, chances are, if you tend to see movies with premises like this, you probably already saw No Strings Attached. In which case, poor unlucky Friends with Benefits may be filed away in your brain as that other movie about fuckbuddies, the one in which Ashton Kutcher is played by Justin Timberlake and Natalie Portman (in a slightly eerie cosmic echo of last year’s Black Swan) is played by Mila Kunis. But if you see two such movies this summer, and admit it, you probably might, you’ll likely agree that FWB kicks NSA‘s booty call, particularly in the areas of scriptwriting ingenuity, pacing, and the casting subcategory of basic chemistry between romantic leads, with points possibly taken off for shark-jumping use of flash mobs and the fact that the maddeningly sticky song “Closing Time” will now be with you from closing credits ’til doomsday. This is not a searing, psychologically nuanced portrayal of two young people’s struggles to grapple with modern-day sexual mores and their own crippling pathologies — rather, the pair’s emotional baggage mostly seems to be stuffed with packing peanuts, and scenes in which they catalog their sexual proclivities in a humorously businesslike, gently raunchy fashion reveal them to be hearteningly adept at the art of communication. But such moments keep us entertained as the film, salted with light jabs at the genre’s worn-down touchstones yet utterly complicit, depicts the inevitable stages of a non-relationship relationship. (1:44) 1000 Van Ness, Sundance Kabuki. (Rapoport)

*Harry Potter and the Deathly Hallows Part 2 Chances are you aren’t going to jump into the Harry Potter series with Harry Potter and the Deathly Hallows Part 2. So while the movie is probably the best Harry Potter film yet, it’s more a fitting conclusion than a standalone film. For fans of the books, there are no real surprises — this is a close adaptation. And for those Harry Potter movie fans who haven’t read the books, shame on you, and kudos if you managed to not get spoiled. It’s hard for me to offer a serious critical analysis of Part 2, because it represents the end of a long and very emotional journey. (Everyone in that audience was crying. Everyone.) I will say that, as was the case in the book, there are a few overdone, schmaltzy moments that aren’t really necessary. But in the context of the series, they’re forgivable — this may not be the great cinematic event of our generation, but Harry Potter as a whole is sure to be one of our most enduring cultural icons. (2:10) Cerrito, Empire, 1000 Van Ness, Sundance Kabuki. (Peitzman)

Horrible Bosses Lead by a clearly talented ensemble of comic actors, Horrible Bosses is yet another example of a big-budget summer comedy with a promising conceit (see: Bad Teacher) that fails to deliver anything but crude alms to the lowest common denominator. Seth Gordon directs Jason Bateman, Jason Sudeikis, and Charlie Day as three pals fed up with their evil employers (Kevin Spacey, Colin Farrell and Jennifer Aniston, respectively) so they hatch a plan to have them killed. Because the answer to their problem obviously lies in a dive bar in the “bad part of town,” Jamie Foxx plays Motherfucker Jones, their murder consultant and the film’s most likable character-stereotype. In the tradition of The Hangover (2009) and its ilk of beer-guzzling, frat-boy cousins, Horrible Bosses is a disastrous pile-up of idiocy that’s more vapid than vulgar despite a few amusing performances. See it for no other reason than Michael Bluth and Charlie Kelly on coke. (1:33) Elmwood, 1000 Van Ness, Sundance Kabuki. (Lattanzio)

Life, Above All It’s tough enough to simply grow up, let alone care for a parent with AIDS and deal with the suspicions and fears of the no-nothing adults all around you. Rising above easy preaching and hand-wringing didacticism, Life, Above All takes as its blueprint the 2004 best-seller by Allan Stratton, Chandra’s Secrets, and makes compelling work of the story of 12-year-old Chandra (Khomotso Manyaka) and her unfortunate family, unable to get effective help amid the thicket of ignorance regarding AIDS in Africa. After her newborn sister dies, Chandra finds her loyalty torn between her bright-eyed best friend Esther (Keaobaka Makanyane), who’s rumored to hooking among the truck drivers in their dusty, sun-scorched rural South African hometown, and her mother (Lerato Mvelase), who listens far too closely to her bourgie friend Mrs. Tafa (an OTT Harriet Manamela), for her own good. Cape Town native director Oliver Schmitz sticks close to the action playing across his actors’ faces, and he’s rewarded, particularly by the graceful Manyaka, in this life-affirmer about little girls forced to shoulder heart-breaking responsibility far too soon. (1:46) Sundance Kabuki. (Chun)

Life in a Day (1:30) Balboa.

Midnight in Paris Owen Wilson plays Gil, a self-confessed “Hollywood hack” visiting the City of Light with his conservative future in-laws and crassly materialistic fiancée Inez (Rachel McAdams). A romantic obviously at odds with their selfish pragmatism (somehow he hasn’t realized that yet), he’s in love with Paris and particularly its fabled artistic past. Walking back to his hotel alone one night, he’s beckoned into an antique vehicle and finds himself transported to the 1920s, at every turn meeting the Fitzgeralds, Gertrude Stein (Kathy Bates), Dali (Adrien Brody), etc. He also meets Adriana (Marion Cotillard), a woman alluring enough to be fought over by Hemingway (Corey Stoll) and Picasso (Marcial di Fonzo Bo) — though she fancies aspiring literary novelist Gil. Woody Allen’s latest is a pleasant trifle, no more, no less. Its toying with a form of magical escapism from the dreary present recalls The Purple Rose of Cairo (1985), albeit without that film’s greater structural ingeniousness and considerable heart. None of the actors are at their best, though Cotillard is indeed beguiling and Wilson dithers charmingly as usual. Still — it’s pleasant. (1:34) Embarcadero, 1000 Van Ness, Sundance Kabuki. (Harvey)

*The Names of Love Arthur (Jacques Gamblin) is a 40-ish scientist being interviewed about the threat of a bird flu epidemic when his radio broadcast is interrupted by 20-something Baya (Sara Forestier), who denounces him on-air as a “fascist” for frightening the public. But then, Baya tends to use that label rather indiscriminately, applying it to anyone who might conceivably have views to the right of the dial — and Arthur is in fact a solid liberal, which means she can bed him for love. As opposed to the many, many other men she beds as a self-described “political whore,” seeking out conservative types in order to seduce them and hopefully induce an idealogical shift by whispering sweet nothings (“Not all Arabs are thieves,” etc.) as they orgasm. Raised by parents whose emotions are so tightly wound his mother won’t acknowledge her parents were Jews killed at Auschwitz, Arthur has a hard time adjusting to a relationship with a lover who is faithful emotionally but sees promiscuity as her propagandic gift to the world. Meanwhile Baya’s largely Algerian family treats garrulous political argument as the very air they breathe. This odd-couple story written by Baya Kasmi and director Michel Leclerc deals with serious issues in both humorous and respectful fashion, making for one of the more novel, delightful and depthed French romantic comedies in a long time. Added plus: lots of antic gratuitous nudity. (1:42) Clay, Smith Rafael. (Harvey)

*NEDs There is bleak, and there is Scottish bleak. Weighed down by class and roundly ignored by apathetic institutions, the non-educated delinquent is the star of writer-director Peter Mullan’s wrenching but delightful NEDS (2010), a dark and curiously fanciful tale of youth in the housing estates of 1970s Glasgow. John McGill (Conor McCarron) is a bright and talented student with high hopes for a future at university until abuse by peers and teachers alike leads him down the well worn path of drinking, fighting, and gang life with the Young Car-Ds, his older brother Benny’s (Joe Szula) crew. The quiet John can’t escape the tide of history that society has set him upon and soon he’s joined the fray, abandoning his academic promise for a life of Doc Martens and concealed blades. As J. McGill so eloquently explains: “Youse want a NED? I’ll gie youse a fucking NED!” (2:03) Balboa. (Berkmoyer)

*Page One: Inside the New York Times When Andrew Rossi’s documentary premiered at Sundance this January, word of mouth on it was respectable but qualified, with nearly everyone opining that it was good … just not what they’d been led to expect. What they expected was (in line with the original subtitle A Year Inside the New York Times) a top-to-bottom overview of how the nation’s most respected — and in some circles resented — arbiter of news, “style,” and culture is created on a day-to-day as well as longer term basis. That’s something that would doubtless fascinate anyone still interested in print media, or even that realm of web media not catering to the ADD nation. But that big picture and the wealth of minute cogs within isn’t Page One‘s subject. Instead, Rossi focuses on the Gray Lady’s wrestling with admittedly fast-changing times in which newspapers and any other information source on paper seem to constitute an endangered species. This particular Times, however, is such a special case that that crisis might better have been explored by training a camera on a less fabled publication, perhaps one of the many that have succumbed to a once unthinkable, market-shrunk mortality in recent years. The film finds its colorful protagonist in David Carr, an ex-crack addict turned media columnist who retains his cranky, nonconformist edge even as he defends the Times itself from the same out-with-the-old cheerleaders who 15 years ago were inflating the dot-com boom till it burst. Facing one particularly smug champion of the blogosphere at a forum, Carr notes that without a few remaining outlets — like the Times — doing the hard work of serious research and reportage, the web would have nothing to purloin or offer but its own unending trivia and gossip. Page One does what it does entertainingly well, but if you’re looking for insight toward this not-dead-yet U.S. institution as a whole, you’d be better off simply picking up this week’s Sunday edition and reading every last word. (1:28) Opera Plaza. (Harvey)

The Smurfs in 3D (1:43) 1000 Van Ness.

*Tabloid Taking a break from loftier subjects, Errol Morris’ latest documentary simply finds a whopper of a story and lets the principal participant tell her side of it — one we gradually realize may be very far from the real truth. In 1978 former Miss Wyoming Joyce McKinney flew to England, where the Mormon boy she’d grown infatuated with had been posted for missionary work by his church. What ensued became a U.K. tabloid sensation, as the glamorous, not at all publicity-shy Yankee attracted accusations of kidnapping, imprisonment, attempted rape and more. Her victim of love, one Kirk Anderson, is not heard from here — presumably he’s been trying to live down an embarrassing life chapter ever since. But we do hear from others who shed considerable light on the now middle-aged McKinney’s continued protestations that it was all just one big misunderstanding. Most importantly, we hear from the lady herself — and she is colorful, unflappable, unapologetic, and quite possibly stone-cold nuts. (1:28) Lumiere. (Harvey)

Transformers: Dark of the Moon I’ll never understand the wisdom behind epic-length children’s movies. What child — or adult, for that matter — wants to sit through 154 minutes of assaultive popcorn entertainment? It’s an especially confounding decision for this third installment in the Transformers franchise because there’s a fantastic 90-minute movie in there, undone at every turn by some of the worst jokes, most pointless characters, and most hateful cultural politics you’re likely to see this summer. But when I say a fantastic movie, I mean a fantastic movie. It took two very expensive earlier attempts before director Michael Bay figured out that big things require a big canvas. Every shot of Dark of the Moon‘s predecessors seemed designed to hide their effects by crowding the screen. Finally we get the full view — the scale is now rightly calibrated to operatic and ridiculous. The marquee set pieces are inspired and terrifying, eliciting a sense of vertigo that’s earned for once, not imposed by the editing. The human hijinks are less consistent but ingratiatingly batshit, and without resorting to preening self-awareness and elaborately contrived mea culpas. But unfortunately Bay is too unapologetic even to walk back the ethnic buffoonery that not only upsets hippies like me but also seems defiantly disharmonious with the movie he’s trying to make. Bay is like that guy at the party who thinks amping up the racism will prove he’s not a racist. It’s that kind of garbage (plus, I guess, some universal primal hatred of Shia LaBeouf that I don’t really get) that makes people dismiss these movies wholesale. This time it’s just not deserved. I wouldn’t want to meet the asshole who made this thing, but credit where credit is due. It’s a visual marvel with perfectly integrated, utterly tactile, brilliantly choreographed CG robotics — a point that’ll no doubt be conceded in passing as if it’s not the very reason the movie exists. As if it’s not a feat of mastery to make a megaton changeling truck look graceful. (2:34) 1000 Van Ness. (Jason Shamai)

The Tree of Life Mainstream American films are so rarely adventuresome that overreactive gratitude frequently greets those rare, self-conscious, usually Oscar-baiting stabs at profundity. Terrence Malick has made those gestures so sparingly over four decades that his scarcity is widely taken for genius. Now there’s The Tree of Life, at once astonishingly ambitious — insofar as general addressing the origin/meaning of life goes — and a small domestic narrative artificially inflated to a maximally pretentious pressure-point. The thesis here is a conflict between “nature” (the way of striving, dissatisfied, angry humanity) and “grace” (the way of love, femininity, and God). After a while Tree settles into a fairly conventional narrative groove, dissecting — albeit in meandering fashion — the travails of a middle-class Texas household whose patriarch (a solid Brad Pitt) is sternly demanding of his three young sons. As a modern-day survivor of that household, Malick’s career-reviving ally Sean Penn has little to do but look angst-ridden while wandering about various alien landscapes. Set in Waco but also shot in Rome, at Versailles, and in Saturn’s orbit (trust me), The Tree of Life is so astonishingly self-important while so undernourished on some basic levels that it would be easy to dismiss as lofty bullshit. Its Cannes premiere audience booed and cheered — both factions right, to an extent. (2:18) Empire, Lumiere. (Harvey)

*The Trip Eclectic British director Michael Winterbottom rebounds from sexually humiliating Jessica Alba in last year’s flop The Killer Inside Me to humiliating Steve Coogan in all number of ways (this time to positive effect) in this largely improvised comic romp through England’s Lake District. Well, romp might be the wrong descriptive — dubbed a “foodie Sideways” but more plaintive and less formulaic than that sun-dappled California affair, this TV-to-film adaptation displays a characteristic English glumness to surprisingly keen emotional effect. Playing himself, Coogan displays all the carefree joie de vivre of a colonoscopy patient with hemorrhoids as he sloshes through the gray northern landscape trying to get cell reception when not dining on haute cuisine or being wracked with self-doubt over his stalled movie career and love life. Throw in a happily married, happy-go-lucky frenemy (comic actor Rob Brydon) and Coogan (TV’s I’m Alan Partridge), can’t help but seem like a pathetic middle-aged prick in a puffy coat. Somehow, though, his confused narcissism is a perverse panacea. Come for the dueling Michael Caine impressions and snot martinis, stay for the scallops and Brydon’s “small man in a box” routine. (1:52) Bridge. (Devereaux)

Winnie the Pooh (1:09) Elmwood, 1000 Van Ness.

*World on a Wire The words “Rainer Werner Fasbinder” and “science fiction film” are enough to get certain film buffs salivating, but the Euro-trashy interior décor is almost reason enough to see this restored print of the New German Cinema master’s cyber thriller. Originally a two-part TV miniseries, World on a Wire is set in an alternate present (then 1973) in which everything seems to be made of concrete, mirror, Lucite, or orange plastic. When the inventor of a supercomputer responsible for generating an artificial world mysteriously disappears, his handsome predecessor must fight against his corporate bosses to find out what really happened, and in the process, stumbles upon a far more shattering secret about the nature of reality itself. Riffing off the understated cool of Godard’s Alphaville (1965) while beating 1999’s The Matrix to the punch by some 25 years, World on a Wire is a stylistically singular entry in Fassbinder’s prolific filmography. (3:32) Roxie. (Sussman)

 

Mayor’s race a tight pack, but Gascón lags in DA’s contest

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Despite the hype and spin from various mayoral campaigns and newspapers, the big story in yesterday’s release of semi-annual campaign finance reports is that there isn’t much of a story: It’s pretty much what everyone has been expecting, a tight field of qualified mayoral candidates with comparable financial resources.

It was also no surprise that Progress for All, the deceptive committee behind the effort to draft Mayor Ed Lee into breaking his word and running to keep his job, was funded mostly by a narrow group of business interests connected to longtime power brokers Rose Pak and Willie Brown, mostly with $5,000 contributions, or 10 times the contribution limit for legitimate mayoral campaigns.

The real story in yesterday’s numbers was in the district attorney’s race where the conventional wisdom that incumbent George Gascón is the clear frontrunner (“wisdom” that we’ve always questioned given his lack of local roots) was cast into doubt by his lackluster fundraising, big spending for small results, and the fact that each of his two major challengers have twice as much money in the bank.

Alameda County prosecutor Sharmin Bock led the fundraising race this year with $240,337, about $6,000 more than Gascón. And after spending $156,916 in just six months, Gascón has just $77,570 in the bank. David Onek, who has been getting progressive support and retail campaigning up a storm, raised $126,386 this year, but his early start and frugal spending leaves him with $153,474 in the bank.

In the mayor’s race, while both the Chronicle and Examiner led with David Chiu’s impressive fundraising this year, leading the pack with almost $400,000, all that really did was put him into financial contention with the top-tier candidates who have been raising money since last year: Leland Yee, Dennis Herrera, Bevan Dufty, Joanna Rees, and Michela Alioto-Pier.

As of last month, their campaigns’ cash-on-hand was Herrera at $586,294, Dufty at $493,372, Yee at $444,820, Ress at $441,168, Alioto-Pier at $406,574, and Chiu at $396,754. On the next tier down, Phil Ting appears dead in the water, raising just $67,526 and having more debt than money in the bank, although his campaign consultant Eric Jaye said public funds are just starting to come in and the campaign is on track to meet its $300,000 fundraising goal.

Two other major candidates were also well behind the pack, but both are running with an outsiders’ appeal that should keep them in the running throughout the race. Tony Hall, a conservative with a strong independent appeal, raised $102,612, has $173,368, and will likely continue nipping at the heels of the mainstream pack.

And then there’s progressive favorite John Avalos, who has been running a visible, enthusiastic campaign with lots of volunteer support, although he raised just $86,882 this period and has about $100,000 in the bank (contrary the erroneous report in today’s Chronicle that he only had $500, apparently because the reporter looked at his supervisorial campaign report instead of his mayoral – whoops).

But Avalos supporter Chris Daly said the campaign has recently raised another $32,000 and is due to soon receive about $120,000 in matching funds, bringing them up to around $250,000. “That’s what [then-mayoral candidate Tom] Ammiano had in his entirety in ’99,” Daly said, noting that progressive mayoral favorites always get outspent and usually by margins greater than what Avalos now faces. “Our people don’t have as much money or city contracts.”

By contrast, Chiu has been raking in the dough this year, with lots of $500 contributions mostly from lawyers, bankers, developers, people with Chinese surnames, and employees of Google and other tech firms, with almost half of the contributions from out of town.

“We raised almost a hundred grand more than the closest competitor,” said Chiu campaign manager Nicole Derse. “We’re in a super strong position.”

In addition to the big money sources that usually gravitate to strong moderate candidates, Chiu also had some notable financial support from some progressive constituencies, including bicyclist activists (such as Gary Fisher, Dan Nguyen-Tan, Jason Henderson, architect David Baker, and MTA member Cheryl Brinkman), progressive activists Susan King and Amy Laitenen (Matt Gonzalez’s former board aide), and medical marijuana advocate Kevin Reed from Green Cross.

Jim Stearns, who is running the Yee and Bock campaigns, said the funding picture is about what he and others predicted would be the case given public financing (and its $1.475 million spending cap) and the large field of qualified candidates. “That’s the interesting thing about this race, it’s like the World Series of Poker with everyone getting the same stake,” he said. “This is unlike every other mayor’s race where there have been huge disparities in funding.”

Many political analysts privately fear that this dynamic, with nobody really pulling away from the pack of candidates, could encourage Lee to get into the race. But Stearns notes that Lee, despite the power of incumbency, will have a hard time catching up in fundraising and a huge target on his back because of breaking his word, the sleazy “Run Ed Run” campaign tactics, and just the fact that he would become the instant frontrunner.

“In the ranked choice voting scenario, if there’s someone who looks like he’s going to come in first, you don’t lose anything by attacking him because his second place votes aren’t going anywhere,” said Stearns, who said the current mayor’s race appears to be a game of inches. “It’s an infantry game rather than an air game, where the gains are slow and people are proceeding carefully.”

 

 

Taking out the trash

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sarah@sfbg.com

A controversial city waste disposal contract appeared primed for final approval by the Board of Supervisors on July 26 (after Guardian press time) — despite being challenged by a lawsuit and initiative campaign — after two progressive supervisors rescinded their initial vote in a July 20 committee hearing and supported awarding the contract to Recology.

City staff had recommended awarding the 10-year, $112-million landfill disposal and facilitation agreement to Recology (formerly NorCal Waste Systems, Inc.), which has grown from a locally based company to the 10th largest waste management firm in the US, with $652 million in annual revenue, according to Waste Age magazine.

If the full board follows the unanimous recommendation of its Budget & Finance Committee, the vote will authorize Recology to transport and dispose up to 5 million tons of the city’s solid waste at the company’s Ostrom Road landfill in Wheatland, Yuba County. The contract will take effect when San Francisco’s disposal agreement at Waste Management Inc.’s Altamont landfill in Livermore expires — estimated to occur in 2015.

The deal will cement Recology’s control, at least for a 10-year period, over all aspects of the city’s solid waste stream, at a cost of about $225 million per year, even as the company faces significant challenges, many related to the city’s 1932 refuse collection and disposal ordinance.

That law, approved during the Great Depression to prevent conflict between competing garbage haulers, has resulted in Recology’s exercising complete control over trash collection and transportation in San Francisco, without having to bid on those contracts or pay the city franchise fees.

During the negotiations over the city’s next landfill contract — the only aspect of San Francisco’s waste stream put out to bid — this 79-year-old law was invoked to explain why Recology has the sole authority to transport trash and compostables to Wheatland, which is 130 miles from San Francisco.

The move also comes as Yuba County is contemplating significantly increasing dumping fees at the landfill — from $4.40 per ton to $20 or $30 per ton — a hike that could erase the $100 million that the Department of the Environment (DoE) claims the Recology deal would save over a competing bid by Waste Management Inc. WM is the largest waste firm in the U.S., according to Waste Age, with about $12.5 billion in annual revenues.

On July 18, WM filed a lawsuit in San Francisco Superior Court to prevent the city from approving the agreements with Recology on the grounds that they violate the city’s competitive bid laws.

“The Department of the Environment inappropriately and unlawfully expanded the scope of its 2009 ‘request for proposal for landfill disposal capacity’ and, therefore, violated the city’s competitive procurement laws,” WM alleges in the suit.

WM has long held that DoE inappropriately issued a tentative contract award for both the transportation and disposal of solid waste to Recology without soliciting any other transportation bids. But DoE, which gleans $7 million annually (to operate recycling, green building, and environmental justice programs and long-term planning for waste disposal) from rates that Recology’s customers pay, ruled last year that WM’s objections are “without merit.”

Now WM is asking the court to require DoE to scrap its award to Recology and issue a new request for proposals to comply with competitive bidding requirements.

“There is ample time for the department to issue a new RFP,” WM stated July 18, noting that there is plenty of room at its Altamont landfill to accommodate the city’s waste after the contract expires.

That same week, a coalition led by retired Judge Quentin Kopp, community activist Tony Kelly, and Waste Solutions CEO David Gavrich announced that it had submitted enough signatures to qualify an initiative on the June 2012 ballot requiring competitive bidding and franchise fees from any company that seeks to win any aspect of the city’s solid waste business.

Kelly says his group was unable to collect enough signatures in time for the November election because Recology hired the city’s two biggest signature-gathering firms to circulate what he calls a “phony petition” in support of Recology’s performance in San Francisco. And signature gatherers say they were harassed by Recology boosters while trying to petition citywide.

“But I believe the question of whether candidates support competitive bidding will continue to be a defining issue this fall,” Kelly said.

The board’s decision on the landfill agreements has already been delayed several months, following a February 2011 Budget and Legislative Analyst report recommending that the board consider submitting a proposition to the voters to repeal the 1932 refuse ordinance so that future collection and transportation services be put to bid. The report also recommended that future residential and commercial refuse collection rates be subject to board approval.

But with two progressive supervisors running in citywide elections this fall, and with Recology exerting massive pressure on elected officials, the Kelly coalition could not find four supervisors to place such a charter amendment on the November ballot, forcing them to launch their own initiative.

And at the July 20 meeting of the board’s Budget and Finance Committee, Sup. Ross Mirkarimi, who is running for sheriff, and Sup. Jane Kim rescinded their initial decision to send the agreements to the full Board without recommendation. Instead, after the committee had moved on to other business, they joined Chair Carmen Chu, one of the most conservative supervisors, in forwarding the Recology agreements to the full board with unanimous support.

Mirkarimi interrupted the committee’s next discussion to rescind the landfill vote. “I think there was some misunderstanding a little bit in wrapping up the landfill agreements with Recology, ” Mirkarimi said. He said that he asked for the vote to be rescinded, “so we can accurately reflect some of the sentiments being articulated here. I think we just learned some things on the fly.”

In many respects, the switch by Kim and Mirkarimi made sense: prior to their initial vote, they made positive statements about the proposed agreements, but also stated an interest in exploring the appropriateness of the city’s 1932 law.

“Overall, I think this was a good contract,” Kim said. But she noted that, thanks to the 1932 ordinance, the city doesn’t get franchise fees. And she claimed that it only gets half of what other Bay Area cities get from their waste contractors. “So, I’m really interested in continuing that conversation, but I think it’s a separate conversation,” she said.

Mirkarimi said it was his concerns that led the committee to “put a pause” on the Recology agreements until it could “undertake more homework.” He also noted that his office “held a number of meetings” and he tried to “leverage this opportunity to reanimate activity at the Port.”

“I was hoping that we might be able to arrive at something much more deliverable,” Mirkarimi said, presumably referring to the fact that these efforts resulted in DoE unveiling an amendment to include two “possible changes” to operations and facilities at the Port of San Francisco in the agreements.

These changes involve utilizing other modes of transportation, including barges, as alternatives to the rail-haul plan proposed in the agreement. They also call for developing new facilities at the Port for handling waste, recyclables, organics, and other refuse. The cost of such alternatives would be passed onto the rate payers.

“I think that, cost-effectively, we may be able to insert the Port into this equation, but it’s not ready for prime-time yet,” Mirkarimi said. He concluded by saying that Recology has been innovative in reducing the city’s waste stream.

“This should be a front-burner conversation,” Mirkarimi said, noting that former Mayor Gavin Newsom focused on making San Francisco “the greenest city” in the United States. He added that San Francisco claims to have a 77 percent diversion rate, the highest in the U.S., and said, “That comes at a cost, it doesn’t come for free.”

After the meeting, DoE deputy director David Assmann said that the City Attorney’s Office is reviewing WM’s filing. “But it’s too soon to comment,” Assmann said.

He also claimed that, thanks to the 1932 ordinance, “there was no practical way” for another company to transport San Francisco’s waste to its designated landfill, “other than building a second transfer station outside the city.”

But Kelly continued to express concerns that the agreements are not competitive, and that the city lacks a contract and ensuing franchise fees. “They are running this as if it’s still the 1950s,” he said.

Kelly claimed that Recology Vice President John Legnitto, who is the 2011 chair of the SF Chamber of Commerce’s Board of Directors, recently told him that Recology has been in negotiations with City Hall around a $4 million franchise fee, but that the money would now be spent opposing Kelly’s competitive bidding initiative.

Film Listings

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Film listings are edited by Cheryl Eddy. Reviewers are Kimberly Chun, Michelle Devereaux, Peter Galvin, Max Goldberg, Dennis Harvey, Johnny Ray Huston, Louis Peitzman, Lynn Rapoport, Ben Richardson, and Matt Sussman. For rep house showtimes, see Rep Clock. Due to early Best of the Bay issue deadlines, theater information was incomplete at presstime.

SAN FRANCISCO JEWISH FILM FESTIVAL

The 31st San Francisco Jewish Film Festival runs through August 8 at the Castro, 429 Castro, SF; Christopher B. Smith Rafael Film Center, 1119 Fourth St., San Rafael; Jewish Community Center of San Francisco, 3200 California, SF; Oshman Jewish Community Center, 3921 Fabian Way, Palo Alto; and Roda Theatre at Berkeley Rep, 2025 Addison, Berk. For tickets (most shows $12) and a full schedule, visit www.sfjff.org.

OPENING

Another Earth After serving a prison sentence for a youthful drunk-driving incident that killed two passengers in another car, Rhoda (Brit Marling) emerges no longer a blithe party girl but a haunted loner who prefers working as a high school janitor. Obsessed by her crime, she starts spying on the man it had left widowed and childless, a onetime composer (William Mapother) who like her has retreated into a solitary shell of depression. She finds a way to integrate herself (without revealing her identity) into his threadbare current existence, the two of them bonding over fascination with a newly discovered planet that appears the exact duplicate of Earth — complete with the possibility of our doubles living a parallel existence there. You can take Mike Cahill’s modestly scaled U.S. indie feature (cowritten with actor Marling) as a familiar drama about grief and repentance with a novel gloss of sci-fi, or as a sci-fi story with unusual attention to character emotions and almost no need of fantasy FX. Either way, it’s earnest, well-acted and interesting if not quite memorable; as has been noted elsewhere, the material could have fit just as effectively into a half-hour Twilight Zone episode. (1:32) (Harvey)

*Attack the Block The Goonies go to a South London projects, with more gore, guts, and gumption? With good reason, writer, director, and Edgar Wright/Simon Pegg cohort Joe Cornish’s own project, Attack the Block, has been getting raves at fests for its effortless, energetic originality, discernible through its thick, glottal stop-chomping, Jafaican-draped local brogue. The question posed, ever so entertainingly: what happens when you pit the toughest kids on the block against a ferocious pack of outer-space critters — not quite out to serve man but rather sever him limb from limb? We start out seeing this gang of at-risk, risk-taking youth through the peepers of a vulnerable female mugging victim and neighbor, Sam (Jodie Whittaker)—they seem as scary as any alien invader and she wants to bring down the full force of the law on them. But the pack, led by Moses (John Boyega, who charismatically scowls like a young 50 Cent), has more pressing matters at hand: a mysterious creature has come crashing down from out of the sky, and naturally, being nasty terrors, they kill it, bringing down a intergalactic shit storm of trouble. Their favorite refuge: the top-floor weed room overseen by Ron (Pegg sidekick Nick Frost), where they attempt to suss out why they’ve become the prime prey for wolfish aliens out for blood. Throw in chills, bike chases, a resourceful use of elevators and dumpsters, and an epic, eerie dubstep theme by Basement Jaxx, and you have a very fun horror-thriller that declines to preach but manages to bring home a message reminiscent of Night of the Living Dead (1968). Consider this a whole-hearted, double-fisted antidote to the fearful vigilantism of films like 2009’s Harry Brown. (1:28) (Chun)

Cameraman: The Life and Work of Jack Cardiff See review at www.sfbg.com. (1:30) Balboa.

Cowboys and Aliens Daniel Craig and Harrison Ford star in Jon Favreau’s sci-fi Western. (runtime not available)

Crazy, Stupid, Love Keep the poster’s allusion to 1967’s The Graduate to one side: there aren’t many revelations about midlife crises in this cleverly penned yet strangely flat ensemble rom-com, awkwardly pitched at almost every demographic at the cineplex. There’s the middle-aged romance that’s withered at the vine: nice but boring family man Cal (Steve Carell) finds himself at a hopeless loss when wife and onetime teenage sweetheart Emily (Julianne Moore) tells him she wants a divorce and she’s slept with a coworker (Kevin Bacon). He ends up waxing pathetic at a slick nightclub where he catches the eye of the well-dressed, spray-tanned smoothie Jacob (Ryan Gosling), who appears to have taken his ladies man stance from the Clooney playbook. It’s manly makeover time: GQ meets Pretty Woman (1990)! Cut to Cal and Emily’s babysitter Jessica (Analeigh Tipton), who is crushing out on Cal, while the separated couple’s tween Robbie (Jonah Bobo) hankers for Jessica. Somehow Josh Groban worms his way into the mix as the dullard suitor of Hannah (Emma Stone) in a hanging chad of a storyline that must somehow be resolved in this mad, mad, mad, mad — actually, the problem with Crazy Stupid Love is that it isn’t really that mad or crazy. It tries far too hard to please everybody in the theater to its detriment, reminding the viewer of a tidy, episodic TV series (albeit a quality effort) like Modern Family more than an actual film. Likewise I yearned for a way to fast-forward through the too-cute Jessica-Robbie scenes in order to get back to the sleazy-smart, punchy complexity of Gosling, playing adeptly off both Carrell and Stone. (1:58) (Chun)

Gunless Action comedy about an American cowboy flummoxed by the ways of the Canadian frontier. (1:29)

A Little Help Jenna Fischer stars as a frazzled single mom in this indie comedy. (1:48)

*The Names of Love Arthur (Jacques Gamblin) is a 40-ish scientist being interviewed about the threat of a bird flu epidemic when his radio broadcast is interrupted by 20-something Baya (Sara Forestier), who denounces him on-air as a “fascist” for frightening the public. But then, Baya tends to use that label rather indiscriminately, applying it to anyone who might conceivably have views to the right of the dial — and Arthur is in fact a solid liberal, which means she can bed him for love. As opposed to the many, many other men she beds as a self-described “political whore,” seeking out conservative types in order to seduce them and hopefully induce an idealogical shift by whispering sweet nothings (“Not all Arabs are thieves,” etc.) as they orgasm. Raised by parents whose emotions are so tightly wound his mother won’t acknowledge her parents were Jews killed at Auschwitz, Arthur has a hard time adjusting to a relationship with a lover who is faithful emotionally but sees promiscuity as her propagandic gift to the world. Meanwhile Baya’s largely Algerian family treats garrulous political argument as the very air they breathe. This odd-couple story written by Baya Kasmi and director Michel Leclerc deals with serious issues in both humorous and respectful fashion, making for one of the more novel, delightful and depthed French romantic comedies in a long time. Added plus: lots of antic gratuitous nudity. (1:42) Smith Rafael. (Harvey)

*NEDs There is bleak, and there is Scottish bleak. Weighed down by class and roundly ignored by apathetic institutions, the non-educated delinquent is the star of writer-director Peter Mullan’s wrenching but delightful NEDS (2010), a dark and curiously fanciful tale of youth in the housing estates of 1970s Glasgow. John McGill (Conor McCarron) is a bright and talented student with high hopes for a future at university until abuse by peers and teachers alike leads him down the well worn path of drinking, fighting, and gang life with the Young Car-Ds, his older brother Benny’s (Joe Szula) crew. The quiet John can’t escape the tide of history that society has set him upon and soon he’s joined the fray, abandoning his academic promise for a life of Doc Martens and concealed blades. As J. McGill so eloquently explains: “Youse want a NED? I’ll gie youse a fucking NED!” (2:03) Balboa. (Cooper Berkmoyer)

The Smurfs in 3D You’re welcome, world! Love, America. (1:43)

The Tree A dead man talks to his bereaved family through a fig tree in French director Julie Bertuccelli’s The Tree. In spite of this heavy-handed premise, the film never does what you expect it to. Amid the stark, savage countryside of Australia, Dawn (Charlotte Gainsbourg) and her four kids try to live life without their husband and father. But this proves an especially thorny endeavor since the tree in question seems to be a stubborn, invasive version of him. As in Lars von Trier’s Antichrist (2009), Gainsbourg embodies the role of grieving woman in another overflowingly open performance. Thankfully for us, this time she stays away from the scissors. The sweeping cinematography by Nigel Bluck is lovely to look at, and the young Morgana Davies is inspiring as Dawn’s 8-year-old daughter, Simone. Unlike that other magical realist Tree movie this summer, Bertuccelli’s film can at least be credited for being entirely unpretentious and kind of sweet. (1:40) (Ryan Lattanzio)

*World on a Wire The words “Rainer Werner Fasbinder” and “science fiction film” are enough to get certain film buffs salivating, but the Euro-trashy interior décor is almost reason enough to see this restored print of the New German Cinema master’s cyber thriller. Originally a two-part TV miniseries, World on a Wire is set in an alternate present (then 1973) in which everything seems to be made of concrete, mirror, Lucite, or orange plastic. When the inventor of a supercomputer responsible for generating an artificial world mysteriously disappears, his handsome predecessor must fight against his corporate bosses to find out what really happened, and in the process, stumbles upon a far more shattering secret about the nature of reality itself. Riffing off the understated cool of Godard’s Alphaville (1965) while beating 1999’s The Matrix to the punch by some 25 years, World on a Wire is a stylistically singular entry in Fassbinder’s prolific filmography. (3:32) Roxie. (Sussman)

ONGOING

Bad Teacher Jake Kasdan, the once-talented director of a few Freaks and Geeks episodes and 2002’s underrated Orange County, seems hell-bent on humiliating everyone in the cast of Bad Teacher. Cameron Diaz is Elizabeth, the title’s criminally bad pedagogue who prefers the Jack Daniels method to the Socratic. Her impetus for pounding Harper Lee into her middle school students’ bug-eyed little heads is to cash in on a bonus check to fund her breast-y ambitions and woo Justin Timberlake and his baby voice. The only likable onscreen presence is Jason Segal as a sad sack gym teacher in love with Elizabeth. But he could do so much better. There’s no shortage of racist jokes and potty humor in this R-rated comedy pandering to those 17 and below. When asked if she wants to go out with her coworkers, Elizabeth ripostes, “I’d rather get shot in the face!” That scenario is likely a better alternative than suffering this steaming pile of cash cow carcass. (1:29) (Lattanzio)

Beats, Rhymes & Life Actor Michael Rapaport probably didn’t set out to make a hip-hop Metallica: Some Kind of Monster (2004), but that’s pretty much where his portrait of A Tribe Called Quest ends up. The first half of Beats, Rhymes & Life: The Travels of A Tribe Called Quest is predictably worshipful, slathering on low angles and slow motion to cover mediocre live shows. More effectively, Rapaport traces the Queens group’s brief incubation period and subsequent breakthroughs in what would later be called alternative or, more obnoxiously, conscious hip-hop. A slew of notable followers and contemporaries toast Tribe’s first three albums, but by the time Rapaport catches up to the group’s 2008 reunion even their longtime friends De La Soul are wishing they’d call the whole thing off. The documentary slides into the Monster zone of hurt feelings and passive aggressive behavior in accounting for the group’s split after their inappropriately named 1998 album, The Love Movement. Phife Dawg and Q-Tip are the warring egos, though perennially slighted Phife is really no match for the imperially cool Tip. DJ Ali Shaheed Muhammad is the Kirk Hammett of the outfit, looking on helplessly as the two bigger personalities make a mess of things. There’s still novelty in a story about aging in hip-hop, but Rapaport’s portrait is utterly conventional. He also doesn’t pursue more interesting questions of race and politics that naturally follow the band’s crossover appeal. (1:38) (Goldberg)

*Beginners There is nothing conventional about Beginners, a film that starts off with the funeral arrangements for one of its central characters. That man is Hal (Christopher Plummer), who came out to his son Oliver (Ewan McGregor) at the ripe age of 75. Through flashbacks, we see the relationship play out — Oliver’s inability to commit tempered by his father’s tremendous late-stage passion for life. Hal himself is a rare character: an elderly gay man, secure in his sexuality and, by his own admission, horny. He even has a much younger boyfriend, played by the handsome Goran Visnjic. While the father-son bond is the heart of Beginners, we also see the charming development of a relationship between Oliver and French actor Anna (Mélanie Laurent). It all comes together beautifully in a film that is bittersweet but ultimately satisfying. Beginners deserves praise not only for telling a story too often left untold, but for doing so with grace and a refreshing sense of whimsy. (1:44) (Peitzman)

A Better Life (1:38)

*Bill Cunningham New York To say that Bill Cunningham, the 82-year old New York Times photographer, has made documenting how New Yorkers dress his life’s work would be an understatement. To be sure, Cunningham’s two decades-old Sunday Times columns — “On the Street,” which tracks street-fashion, and “Evening Hours,” which covers the charity gala circuit — are about the clothes. And, my, what clothes they are. But Cunningham is a sartorial anthropologist, and his pictures always tell the bigger story behind the changing hemlines, which socialite wore what designer, or the latest trend in footwear. Whether tracking the near-infinite variations of a particular hue, a sudden bumper-crop of cropped blazers, or the fanciful leaps of well-heeled pedestrians dodging February slush puddles, Cunningham’s talent lies in his ability to recognize fleeting moments of beauty, creativity, humor, and joy. That last quality courses through Bill Cunningham New York, Richard Press’ captivating and moving portrait of a man whose reticence and personal asceticism are proportional to his total devotion to documenting what Harold Koda, chief curator at the Costume Institute at the Metropolitan Museum of Art, describes in the film as “ordinary people going about their lives, dressed in fascinating ways.” (1:24) (Sussman)

Bride Flight Who doesn’t love a sweeping Dutch period piece? Ben Sombogaart’s Bride Flight is pure melodrama soup, enough to give even the most devout arthouse-goer the bloats. Emigrating from post-World War II Holland to New Zealand with two gal pals, the sweetly staid Ada (Karina Smulders) falls for smarm-ball Frank (Waldemar Torenstra, the Dutchman’s James Franco) and kind of joins the mile high club to the behest of her conscience. The women arrive with emotional baggage and carry-ons of the uterine kind. As the harem adjusts to the country mores of the Highlands, Frank tries a poke at all of them in a series of sex scenes more moldy than smoldery. This Flight, set to a plodding score and stuffy mise-en-scene, never quite leaves the runway. Not to mention the whole picture, pale as a corpse, resembles one of those old-timey photographs of your great grandma’s wedding. These kinds of pastoral romances ought to be put out to, well, pasture. (2:10) (Lattanzio)

*Bridesmaids For anyone burned out on bad romantic comedies, Bridesmaids can teach you how to love again. This film is an answer to those who have lamented the lack of strong female roles in comedy, of good vehicles for Saturday Night Live cast members, of an appropriate showcase for Melissa McCarthy. The hilarious but grounded Kristen Wiig stars as Annie, whose best friend Lillian (Maya Rudolph) is getting hitched. Financially and romantically unstable, Annie tries to throw herself into her maid of honor duties — all while competing with the far more refined Helen (Rose Byrne). Bridesmaids is one of the best comedies in recent memory, treating its relatable female characters with sympathy. It’s also damn funny from start to finish, which is more than can be said for most of the comedies Hollywood continues to churn out. Here’s your choice: let Bridesmaids work its charm on you, or never allow yourself to complain about an Adam Sandler flick again. (2:04) (Peitzman)

Buck This documentary paints a portrait of horse trainer Buck Brannaman as a sort of modern-day sage, a sentimental cowboy who helps “horses with people problems.” Brannaman has transcended a background of hardship and abuse to become a happy family man who makes a difference for horses and their owners all over the country with his unconventional, humane colt-starting clinics. Though he doesn’t actually whisper to horses, he served as an advisor and inspiration for Robert Redford’s The Horse Whisperer (1998). Director Cindy Meehl focuses generously on her saintly subject’s bits of wisdom in and out of a horse-training setting — e.g. “Everything you do with a horse is a dance” — as well as heartfelt commentary from friends and colleagues. In the harrowing final act of the film, Brannaman deals with a particularly unruly horse and his troubled owner, highlighting the dire and disturbing consequences of improper horse rearing. (1:28) Smith Rafael. (Sam Stander)

Captain America: The First Avenger OK, Marvel. I could get behind 2008’s Iron Man (last year’s Iron Man 2, not so much), but after Thor and now Captain America, I’m starting to get cynical about this multi-year build-up to the full-on Avengers movie, due in May 2012. Can even a superhero-stuffed movie directed by Joss Whedon live up to all this hype? There’s plenty of time to ponder, and maybe worry a little, with Captain America’s backstory-explaining picture now in theaters. Chris Evans stars as the 90-pound weakling who morphs into a supersoldier, thanks to the World War II-era tinkerings of a scientist (Stanley Tucci) and an inventor (Dominic Cooper as Howard Stark, a.k.a. Iron Man’s dad). The original plan for the musclebound shield-bearer (fighting Nazis, natch) gets waylaid a bit when the newly famous Captain America becomes a PR prop for the U.S. government; it’s abandoned entirely when a worse-than-Hitler foe, in the guise of power-obsessed Red Skull (Hugo Weaving), threatens the world. Directed by Spielberg cohort Joe Johnston, Captain America is gee-whiz enjoyable enough, but it’s very nearly the same movie as Thor, which no amount of Tommy Lee Jones (as a sarcastic army colonel) wisecracks can conceal. And here’s an anti-spoiler: there’s no post-credits surprise in this one, so you can bolt as soon as they start to roll. (2:09) (Eddy)

Cars 2 You pretty much can’t say a bad thing about a Pixar film. Cars 2 is by no means Ratatouille (2007) or Wall-E (2008), but the sequel to the 2006 hit Cars offers plenty of sleek visuals and one-note gags under its hollow hood. If nothing else, Pixar seems to have overcome the dingy, dark glaze that plagues 3-D films. Directors John Lasseter and Joe Ranft return to beloved autos Lightning McQueen (Owen Wilson) and the “extremely American” Mater (Larry the Cable Guy). This time around, secret agents Finn McMissile (Michael Caine) and Holley Shiftwell (Emily Mortimer) come along for the ride while working to expose sabotage in the alternative fuel industry. Compelling chase sequences, explosions and more than a few jabs at cultural stereotypes follow suit. This is the lightest, silliest Pixar film to date, but you probably don’t have any business seeing it unless you’ve got a kid in tow. (1:52) (Lattanzio)

*Cave of Forgotten Dreams The latest documentary from Werner Herzog once again goes where no filmmaker — or many human beings, for that matter — has gone before: the Chauvet-Pont-d’Arc Cave, a heavily-guarded cavern in Southern France containing the oldest prehistoric artwork on record. Access is highly restricted, but Herzog’s 3D study is surely the next best thing to an in-person visit. The eerie beauty of the works leads to a typically Herzog-ian quest to learn more about the primitive culture that produced the paintings; as usual, Herzog’s experts have their own quirks (like a circus performer-turned-scientist), and the director’s own wry narration is peppered with random pop culture references and existential ponderings. It’s all interwoven with footage of crude yet beautiful renderings of horses and rhinos, calcified cave-bear skulls, and other time-capsule peeks at life tens of thousands of years ago. The end result is awe-inspiring. (1:35) (Eddy)

Empire of Silver Love, not money, is at the core of Empire of Silver — that’s the M.O. of a Shanxi banking family’s libertine third son, or “Third Master” (Aaron Kwok) in this epic tug-of-war between Confucian duty and free will. The Third Master pines for his true love, his stepmother (Hao Lei), yet change is going off all around the star-crossed couple in China at the end of the 19th century and the start of the 20th, and the youthful scion ends up pouring his passion into the family business, attempting to tread his own path, apart from his Machiavellian father (Tielin Zhang). Much like her protagonist, however, director (and Stanford alum) Christina Yao seems more besotted with romance than finance, bathing those scenes with the love light and sensual hues reminiscent of Zhang Yimou’s early movies. Though Yao handles the widescreen crowd scenes with aplomb, her chosen focus on money, rather than honey, leaches the action of its emotional charge. It doesn’t help that, on the heels of the Great Recession, it’s unlikely that anyone buys the idea of a financial industry with ironclad integrity — or gives a flying yuan about the lives of bankers. (1:52) (Chun)

*Friends With Benefits If you see only one romantic comedy this summer about a sex-sans-pair-bonding pact between a girl and a guy saddled with intimacy issues — well, chances are, if you tend to see movies with premises like this, you probably already saw No Strings Attached. In which case, poor unlucky Friends with Benefits may be filed away in your brain as that other movie about fuckbuddies, the one in which Ashton Kutcher is played by Justin Timberlake and Natalie Portman (in a slightly eerie cosmic echo of last year’s Black Swan) is played by Mila Kunis. But if you see two such movies this summer, and admit it, you probably might, you’ll likely agree that FWB kicks NSA‘s booty call, particularly in the areas of scriptwriting ingenuity, pacing, and the casting subcategory of basic chemistry between romantic leads, with points possibly taken off for shark-jumping use of flash mobs and the fact that the maddeningly sticky song “Closing Time” will now be with you from closing credits ’til doomsday. This is not a searing, psychologically nuanced portrayal of two young people’s struggles to grapple with modern-day sexual mores and their own crippling pathologies — rather, the pair’s emotional baggage mostly seems to be stuffed with packing peanuts, and scenes in which they catalog their sexual proclivities in a humorously businesslike, gently raunchy fashion reveal them to be hearteningly adept at the art of communication. But such moments keep us entertained as the film, salted with light jabs at the genre’s worn-down touchstones yet utterly complicit, depicts the inevitable stages of a non-relationship relationship. (1:44) (Rapoport)

The Hangover Part II What do you do with a problematic mess like Hangover Part II? I was a fan of The Hangover (2009), as well as director-cowriter Todd Phillips’ 1994 GG Allin doc, Hated, so I was rooting for II, this time set in the East’s Sin City of Bangkok, while simultaneously dreading the inevitable Asian/”ching-chang-chong” jokes. Would this would-be hit sequel be funnier if they packed in more of those? Doubtful. The problem is that most of II‘s so-called humor, Asian or no, falls completely flat — and any gross-out yuks regarding wicked, wicked Bangkok are fairly old hat at this point, long after Shocking Asia (1976) and innumerable episodes of No Reservations and other extreme travel offerings. This Hangover around, mild-ish dentist Stu (Ed Helms) is heading to the altar with Lauren (The Real World: San Diego‘s Jamie Chung), with buds Phil (Bradley Cooper) and Doug (Justin Bartha) in tow. Alan (Zach Galifianakis) has completely broken with reality — he’s the pity invite who somehow ropes in the gangster wild-card Mr. Chow (Ken Jeong). Blackouts, natch, and not-very-funny high jinks ensue, with Jeong, surprisingly, pulling small sections of II out of the crapper. Phillips obviously specializes in men-behaving-badly, but II‘s most recent character tweaks, turning Phil into an arrogant, delusional creep and Alan into an arrogant, delusional kook, seem beside the point. Because almost none of the jokes work, and that includes the tired jabs at tranny strippers because we all know how supposedly straight white guys get hella grossed out by brown chicks with dicks. Lame. (1:42) (Chun)

*Harry Potter and the Deathly Hallows Part 2 Chances are you aren’t going to jump into the Harry Potter series with Harry Potter and the Deathly Hallows Part 2. So while the movie is probably the best Harry Potter film yet, it’s more a fitting conclusion than a standalone film. For fans of the books, there are no real surprises — this is a close adaptation. And for those Harry Potter movie fans who haven’t read the books, shame on you, and kudos if you managed to not get spoiled. It’s hard for me to offer a serious critical analysis of Part 2, because it represents the end of a long and very emotional journey. (Everyone in that audience was crying. Everyone.) I will say that, as was the case in the book, there are a few overdone, schmaltzy moments that aren’t really necessary. But in the context of the series, they’re forgivable — this may not be the great cinematic event of our generation, but Harry Potter as a whole is sure to be one of our most enduring cultural icons. (2:10) (Peitzman)

Horrible Bosses Lead by a clearly talented ensemble of comic actors, Horrible Bosses is yet another example of a big-budget summer comedy with a promising conceit (see Bad Teacher) that fails to deliver anything but crude alms to the lowest common denominator. Seth Gordon directs Jason Bateman, Jason Sudeikis, and Charlie Day as three pals fed up with their evil employers (Kevin Spacey, Colin Farrell and Jennifer Aniston, respectively) so they hatch a plan to have them killed. Because the answer to their problem obviously lies in a dive bar in the “bad part of town,” Jamie Foxx plays Motherfucker Jones, their murder consultant and the film’s most likable character-stereotype. In the tradition of The Hangover (2009) and its ilk of beer-guzzling, frat-boy cousins, Horrible Bosses is a disastrous pile-up of idiocy that’s more vapid than vulgar despite a few amusing performances. See it for no other reason than Michael Bluth and Charlie Kelly on coke. (1:33) (Lattanzio)

Larry Crowne While Transformers: Dark of the Moon may be getting all the attention for being the most terrible summer movie, I’d like to propose Larry Crowne as the bigger offender. No, it doesn’t have the abrasive effects of a Michael Bay blockbuster, but it’s surely just as incompetent. And coming from an actor as talented as Tom Hanks — who co-wrote, directed, produced, and stars in the film —Larry Crowne is insulting. The plot, insofar as there is one, centers around the titular Larry (Hanks), a man who goes to community college, joins a scooter gang led by Wilmer Valderrama, and ends up falling for his cranky, alcoholic teacher Mercedes (Julia Roberts). The scenes are thrown together hapharzadly, with no real sense of character development or continuity. Larry Crowne doesn’t even feel like a romantic comedy until a drunk Mercedes begins kissing and dry humping her student. But hey, who can resist a shot of Larry’s middle-aged bottom as he tries to wriggle into jeans that are just too small? (1:39) (Peitzman)

Life, Above All It’s tough enough to simply grow up, let alone care for a parent with AIDS and deal with the suspicions and fears of the no-nothing adults all around you. Rising above easy preaching and hand-wringing didacticism, Life, Above All takes as its blueprint the 2004 best-seller by Allan Stratton, Chandra’s Secrets, and makes compelling work of the story of 12-year-old Chandra (Khomotso Manyaka) and her unfortunate family, unable to get effective help amid the thicket of ignorance regarding AIDS in Africa. After her newborn sister dies, Chandra finds her loyalty torn between her bright-eyed best friend Esther (Keaobaka Makanyane), who’s rumored to hooking among the truck drivers in their dusty, sun-scorched rural South African hometown, and her mother (Lerato Mvelase), who listens far too closely to her bourgie friend Mrs. Tafa (an OTT Harriet Manamela), for her own good. Cape Town native director Oliver Schmitz sticks close to the action playing across his actors’ faces, and he’s rewarded, particularly by the graceful Manyaka, in this life-affirmer about little girls forced to shoulder heart-breaking responsibility far too soon. (1:46) (Chun)

Midnight in Paris Owen Wilson plays Gil, a self-confessed “Hollywood hack” visiting the City of Light with his conservative future in-laws and crassly materialistic fiancée Inez (Rachel McAdams). A romantic obviously at odds with their selfish pragmatism (somehow he hasn’t realized that yet), he’s in love with Paris and particularly its fabled artistic past. Walking back to his hotel alone one night, he’s beckoned into an antique vehicle and finds himself transported to the 1920s, at every turn meeting the Fitzgeralds, Gertrude Stein (Kathy Bates), Dali (Adrien Brody), etc. He also meets Adriana (Marion Cotillard), a woman alluring enough to be fought over by Hemingway (Corey Stoll) and Picasso (Marcial di Fonzo Bo) — though she fancies aspiring literary novelist Gil. Woody Allen’s latest is a pleasant trifle, no more, no less. Its toying with a form of magical escapism from the dreary present recalls The Purple Rose of Cairo (1985), albeit without that film’s greater structural ingeniousness and considerable heart. None of the actors are at their best, though Cotillard is indeed beguiling and Wilson dithers charmingly as usual. Still — it’s pleasant. (1:34) (Harvey)

*Page One: Inside the New York Times When Andrew Rossi’s documentary premiered at Sundance this January, word of mouth on it was respectable but qualified, with nearly everyone opining that it was good … just not what they’d been led to expect. What they expected was (in line with the original subtitle A Year Inside the New York Times) a top-to-bottom overview of how the nation’s most respected — and in some circles resented — arbiter of news, “style,” and culture is created on a day-to-day as well as longer term basis. That’s something that would doubtless fascinate anyone still interested in print media, or even that realm of web media not catering to the ADD nation. But that big picture and the wealth of minute cogs within isn’t Page One‘s subject. Instead, Rossi focuses on the Gray Lady’s wrestling with admittedly fast-changing times in which newspapers and any other information source on paper seem to constitute an endangered species. This particular Times, however, is such a special case that that crisis might better have been explored by training a camera on a less fabled publication, perhaps one of the many that have succumbed to a once unthinkable, market-shrunk mortality in recent years. The film finds its colorful protagonist in David Carr, an ex-crack addict turned media columnist who retains his cranky, nonconformist edge even as he defends the Times itself from the same out-with-the-old cheerleaders who 15 years ago were inflating the dot-com boom till it burst. Facing one particularly smug champion of the blogosphere at a forum, Carr notes that without a few remaining outlets — like the Times — doing the hard work of serious research and reportage, the web would have nothing to purloin or offer but its own unending trivia and gossip. Page One does what it does entertainingly well, but if you’re looking for insight toward this not-dead-yet U.S. institution as a whole, you’d be better off simply picking up this week’s Sunday edition and reading every last word. (1:28) Smith Rafael. (Harvey)

Pirates of the Caribbean: On Stranger Tides The last time we saw rascally Captain Jack Sparrow (Johnny Depp), he was fighting his most formidable enemy yet: the potentially franchise-ending Pirates of the Caribbean: At World’s End (2007). The first Pirates movie (2003) was a surprise critical success, earning Depp his first-ever Oscar nomination; subsequent entries, though no less moneymaking, suffered from a detectable case of sequel-itis. Overseeing this reboot of sorts is director Rob Marshall (2002’s Chicago), who keeps the World’s End notion of sending Jack to find the Fountain of Youth, but adds in a raft of new faces, including Deadwood‘s Ian McShane (as Blackbeard) and lady pirate Penélope Cruz. The story is predictably over-the-top, with the expected supernatural elements mingling with sparring both sword-driven and verbal — as well as an underlying theme about faith that’s nowhere near as fun as the film’s lesser motifs (revenge, for one). It’s basically a big swirl of silly swashbuckling, nothing more or less. And speaking of Depp, the fact that the oft-ridiculous Sparrow is still an amusing character can only be chalked up to the actor’s own brand of untouchable cool. If it was anyone else, Sparrow’d be in Austin Powers territory by now. (2:05) (Eddy)

*Project Nim This is the story of an individual plucked from their native culture even before birth, separated from parents shortly after, handed over to a chaotic if loving urban foster family, yanked from them to a lavish, isolated country estate, then shipped off to a medical experimentation lab, “rescued” only to be placed in prison like solitary confinement, and … well, things finally get a little better, but isn’t this enough abuse for several lifetimes? Before you call Child Services or the ACLU, be informed that this is not the saga of a human being, but one Nim Chimpsky, a chimpanzee born in U.S. captivity, then set on a highly unusual life course as the subject of a study in animal language acquisition by Columbia University linguist Herbert S. Terrace. Nim did indeed prove remarkably adept at learning sign language to communicate with his teachers/minders — even if Terrace finally belittled that as no more than imitation performed to beg food and other favor. Nim was a prodigy, and for a while a media sensation. He was also a temperamental, physically powerful wild beast who could (and sometimes did) cause considerable harm to those around him. Regardless, both his adaptation to human habitats and animal instincts should have been deal with a great deal more care and consistency — there was no overall plan for his well-being beyond serving (or being abandoned by) whoever his keepers were at any given moment. This latest documentary by James Marsh (2008’s Man on Wire, 1999’s Wisconsin Death Trip) is an involving story whose latter-day interviewees — tumbling rather easily into hero and villain categories, with Prof. Terrance not in the first camp — annotate an enormous amount of archival footage shot throughout Nim’s life. (1:33) (Harvey)

*Rapt Colder than cool — and pokerfaced in its perusal of all the angles — this hostage thriller takes as its starting point the real-life 1978 kidnapping of Belgian aristo Baron Edouard-Jean Empain. Slick industrialist Stanislas Graff (Yvan Attal) is smoothly going through the motions of life — preparing for a sojourn to China alongside heads of state, swinging through his gambling den, indulging in an afternoon tryst with a mistress, then heading home to make fatherly noises for the family. Graff’s seamless, impressively precise kidnapping effectively cock-blocks the routine. Fifty million euros is the ransom, and the kidnappers quickly, brutally demonstrate that they mean bidness. Filmmaker Lucas Belvaux tests the tension at home, in the boardroom, among law enforcement, while the ugly details of Graff’s day-to-day life are laid bare by the French tabloids, much like dismembered body parts — and giving off a whiff of the hypocrisies surrounding ex-IMF chief Dominique Strauss-Kahn. More often behind the camera than before it, Attal offers what might be his best performance as the entitled scion reduced to a cowering bag of bones and scar tissue. He’s well-matched by Anne Consigny as his shell-shocked spouse and Alex Descas as his lawyer, as Belvaux efficiently delivers his core query with almost zero melodrama: who’s the more brutal player in this high-stakes game — the so-called terrorists or the cutthroat captains of industry? (2:05) (Chun)

*Road to Nowhere “Legendary” is a term often applied to artists distinguished by either ubiquity or scarcity. Monte Hellman (1971’s Two-Lane Blacktop) definitely falls in the second camp — nearly 80, he’s just made his first feature in 22 years, causing a flurry of interest in the sparse 10 he made during the prior three decades he was, relatively speaking, active — movies hardly anyone saw when they came out since none were more than a blip on the commercial radar. Hellman’s career has largely been off the map — as a director and editor for hire, often fixing problems (like directors who die mid-production) without screen credit. Whether Road to Nowhere qualifies as summary statement or aberration has already divided viewers since its Venice premiere last fall. It’s a hall of mirrors in which a hotshot filmmaker (Tygh Runyan) making a movie about a woman’s apparent real-life murder casts an alluring non-actress (Shannyn Sossamon) whom an insurance investigator (Waylon Payne) and reporter (Dominique Swain) come to suspect might be playing herself — having faked her own death and adopted a new identity. The mix of noir, reality-illusion puzzle, industry in-jokes, film history name-dropping (as well as archival clips), uneven performances, sometimes stilted dialogue, brief startling violence, and handsome compositions (shot without permits on a hand-held digital camera) can be taken as two hours of delicious gamesmanship or exasperating self-indulgence. But no one can argue that by now Hellman hasn’t earned his right to be difficult. (2:02) Roxie, Smith Rafael. (Harvey)

*Snow Flower and the Secret Fan Working with Lisa See’s novel, director Wayne Wang returns to the crowd-pleasing territory of his wildly popular Joy Luck Club (1993) — fortunately it’s also material that feels intensely personal, even transposed in 21st century China (one of those modern Chinese women, Rupert Murdoch’s wife Wendi bought the rights to the book and provides a financial boost here). Modern-day Nina (Bingbing Li) is about to leave her native Shanghai for NYC and certain success in the banking world when she learns that her best friend, her laotong or sworn sister, Sophia (Gianna Jun), is in a coma. She must piece together the mystery of her friend’s life since they last parted, studying the book written about her 19th century forbearer Snow Flower (also Jun) and her own laotong Lily (Li). An uncredited turn by Hugh Jackman as a caddish boyfriend is beside the point here; Wang’s take on the bond of friendship that ties two women together, beyond the pain of foot-binding, marriage, class, and adversity is tremulously sentimental, in way that will have many would-be Joy Luck Club-ers happily identifying with these sisters from other mothers — and leave everyone else sobbing in the darkness. (1:40) (Chun)

*Super 8 The latest from J.J. Abrams is very conspicuously produced by Steven Spielberg; it evokes 1982’s E.T.: The Extra-Terrestrial as well as 1985’s The Goonies and 1982’s Poltergeist (so Spielbergian in nature you’d be forgiven for assuming he directed, rather than simply produced, the pair). But having Grandpa Stevie blessing your flick is surely a good thing, especially when you’re already as capable as Abrams. Super 8 is set in 1979, high time for its titular medium, used by a group of horror movie-loving kids to film their backyard zombie epic; later in the film, old-school celluloid reveals the mystery behind exactly what escaped following a spectacular train wreck on the edge of their small Ohio town. The PG-13 Super 8 aims to frighten, albeit gently; there’s a lot of nostalgia afoot, and things do veer into sappiness at the end (that, plus the band of kids at its center, evoke the trademarks of another Grandpa Stevie: Stephen King). But the kid actors (especially the much-vaunted Elle Fanning) are great, and there’s palpable imagination and atmosphere afoot, rare qualities in blockbusters today. Super 8 tries, and mostly succeeds, in progressing the fears and themes addressed by E.T. (divorce, loneliness, growing up) into century 21, making the unknowns darker and the consequences more dire. (1:52) (Eddy)

*Tabloid Taking a break from loftier subjects, Errol Morris’ latest documentary simply finds a whopper of a story and lets the principal participant tell her side of it — one we gradually realize may be very far from the real truth. In 1978 former Miss Wyoming Joyce McKinney flew to England, where the Mormon boy she’d grown infatuated with had been posted for missionary work by his church. What ensued became a U.K. tabloid sensation, as the glamorous, not at all publicity-shy Yankee attracted accusations of kidnapping, imprisonment, attempted rape and more. Her victim of love, one Kirk Anderson, is not heard from here — presumably he’s been trying to live down an embarrassing life chapter ever since. But we do hear from others who shed considerable light on the now middle-aged McKinney’s continued protestations that it was all just one big misunderstanding. Most importantly, we hear from the lady herself — and she is colorful, unflappable, unapologetic, and quite possibly stone-cold nuts. (1:28) (Harvey)

*Terri What happens when the camera stops on the quiet, shy and heavy 15-year-old in the corner of the classroom? Terri might be his story — if he cut class regularly to avoid being teased about his man-breasts, wore PJs to school, and befriended an affable, straight-talking Shrek of a teacher. Painfully awkward Terri (Jacob Wysocki) is ignored or mocked by most, left to feed the mice he catches in traps to passing raptors, care for his ailing uncle, and avoid the school bullies as best he can. But assistant principal Mr. Fitzgerald (John C. Reilly), who has a habit of nurturing the school’s misfits, recognizes Terri’s tender heart and takes him under his wing. It’s catching, apparently, as Terri first befriends the hair-pulling Chad (Bridger Zadina) and then Heather, the girl who allows herself be fingered in home ec (Olivia Crocicchia). What transpires among these school outcasts, shaped by director-writer Azazel Jacobs, subtly subverts your conventional teen identity story arc —Terri isn’t the only one here that’s good-hearted. (1:45) (Chun)

*13 Assassins 13 Assassins is clearly destined to be prolific director Takashi Miike’s greatest success outside Japan yet. It’s another departure for the multi-genre-conquering Miike, doubtless one of the most conventional movies he’s made in theme and execution. That’s key to its appeal — rigorously traditional, taking its sweet time getting to samurai action that is pointedly not heightened by wire work or CGI, it arrives at the kind of slam-dunk prolonged battle climax that only a measured buildup can let you properly appreciate. In the 1840s, samurai are in decline but feudalism is still hale. It’s a time of peace, though not for the unfortunates who live under regional tyrant Lord Naritsugu (Goro Inagaki), a li’l Nippon Caligula who taxes and oppresses his people to the point of starvation. Alas, the current Shogun is his sibling, and plans to make little bro his chief adviser — so a concerned Shogun official secretly hires veteran samurai Shinzaemon (Koji Yakusho) to assassinate the Lord. Fully an hour is spent on our hero doing “assembling the team” stuff, recruiting other unemployed, retired, or wannabe samurai. When the protagonists finally commence their mission, their target is already aware he’s being pursued, and he’s surrounded by some 200 soldiers by the time Miike arrives at the film’s sustained, spectacular climax: a small village which Shinzaemon and co. have turned into a giant boobytrap so that 13 men can divide and destroy an ogre-guarding army. A major reason why mainstream Hollywood fantasy and straight action movies have gotten so depressingly interchangeable is that digital FX and stunt work can (and does) visualize any stupid idea — heroes who get thrown 200 feet into walls by monsters then getting up to fight some more, etc. 13 Assassins is thrilling because its action, while sporting against-the-odds ingeniousness and sheer luck by our heroes as in any trad genre film, is still vividly, bloodily, credibly physical. (2:06) (Harvey)

Transformers: Dark of the Moon I’ll never understand the wisdom behind epic-length children’s movies. What child — or adult, for that matter — wants to sit through 154 minutes of assaultive popcorn entertainment? It’s an especially confounding decision for this third installment in the Transformers franchise because there’s a fantastic 90-minute movie in there, undone at every turn by some of the worst jokes, most pointless characters, and most hateful cultural politics you’re likely to see this summer. But when I say a fantastic movie, I mean a fantastic movie. It took two very expensive earlier attempts before director Michael Bay figured out that big things require a big canvas. Every shot of Dark of the Moon‘s predecessors seemed designed to hide their effects by crowding the screen. Finally we get the full view — the scale is now rightly calibrated to operatic and ridiculous. The marquee set pieces are inspired and terrifying, eliciting a sense of vertigo that’s earned for once, not imposed by the editing. The human hijinks are less consistent but ingratiatingly batshit, and without resorting to preening self-awareness and elaborately contrived mea culpas. But unfortunately Bay is too unapologetic even to walk back the ethnic buffoonery that not only upsets hippies like me but also seems defiantly disharmonious with the movie he’s trying to make. Bay is like that guy at the party who thinks amping up the racism will prove he’s not a racist. It’s that kind of garbage (plus, I guess, some universal primal hatred of Shia LaBeouf that I don’t really get) that makes people dismiss these movies wholesale. This time it’s just not deserved. I wouldn’t want to meet the asshole who made this thing, but credit where credit is due. It’s a visual marvel with perfectly integrated, utterly tactile, brilliantly choreographed CG robotics — a point that’ll no doubt be conceded in passing as if it’s not the very reason the movie exists. As if it’s not a feat of mastery to make a megaton changeling truck look graceful. (2:34) (Jason Shamai)

The Tree of Life Mainstream American films are so rarely adventuresome that overreactive gratitude frequently greets those rare, self-conscious, usually Oscar-baiting stabs at profundity. Terrence Malick has made those gestures so sparingly over four decades that his scarcity is widely taken for genius. Now there’s The Tree of Life, at once astonishingly ambitious — insofar as general addressing the origin/meaning of life goes — and a small domestic narrative artificially inflated to a maximally pretentious pressure-point. The thesis here is a conflict between “nature” (the way of striving, dissatisfied, angry humanity) and “grace” (the way of love, femininity, and God). After a while Tree settles into a fairly conventional narrative groove, dissecting — albeit in meandering fashion — the travails of a middle-class Texas household whose patriarch (a solid Brad Pitt) is sternly demanding of his three young sons. As a modern-day survivor of that household, Malick’s career-reviving ally Sean Penn has little to do but look angst-ridden while wandering about various alien landscapes. Set in Waco but also shot in Rome, at Versailles, and in Saturn’s orbit (trust me), The Tree of Life is so astonishingly self-important while so undernourished on some basic levels that it would be easy to dismiss as lofty bullshit. Its Cannes premiere audience booed and cheered — both factions right, to an extent. (2:18) Smith Rafael (Harvey)

*The Trip Eclectic British director Michael Winterbottom rebounds from sexually humiliating Jessica Alba in last year’s flop The Killer Inside Me to humiliating Steve Coogan in all number of ways (this time to positive effect) in this largely improvised comic romp through England’s Lake District. Well, romp might be the wrong descriptive — dubbed a “foodie Sideways” but more plaintive and less formulaic than that sun-dappled California affair, this TV-to-film adaptation displays a characteristic English glumness to surprisingly keen emotional effect. Playing himself, Coogan displays all the carefree joie de vivre of a colonoscopy patient with hemorrhoids as he sloshes through the gray northern landscape trying to get cell reception when not dining on haute cuisine or being wracked with self-doubt over his stalled movie career and love life. Throw in a happily married, happy-go-lucky frenemy (comic actor Rob Brydon) and Coogan (TV’s I’m Alan Partridge), can’t help but seem like a pathetic middle-aged prick in a puffy coat. Somehow, though, his confused narcissism is a perverse panacea. Come for the dueling Michael Caine impressions and snot martinis, stay for the scallops and Brydon’s “small man in a box” routine. (1:52) Smith Rafael. (Devereaux)

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Sk8 or die! “Tessa & Scott:” a sartorial appreciation

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Taken as a sports glory confessional, Tessa & Scott: Our Journey from Childhood Dream to Gold (Anansi, 192 pages, $19.95) is pretty standard. It has more than its fair share of inspirational sound bites (“The young couple faced difficult challenges, but they were sustained by their love for skating and the knowledge that they could be champions.”). It’s also packed with glossy photographs and mildly amusing anecdotes. Yet, taken as a study in the evolution of dancing facial expressions, body chemistry, and ice dancing fashion choices, the book becomes exponentially more interesting. 

In terms of facial features, Tessa Virtue and Scott Moir (Canada’s 2010 Olympic ice-dancing champs, among their many accolades) were born to dance to together. They’ve got the distinctive “Are we siblings or are we lovers?” look that’s become a prerequisite for the sport. The fuzzier the line, the better. Ambiguous sexual preference is suggested, but not mandatory. Both Scott and Tessa have creamy skin and thick – slightly wavy – chocolate brown hair. It’s versatile enough to be tightly wound back, gelled, and hair-sprayed into oblivion, pre-show. Yet, they can also rock the slightly mussed-up, sweaty, post-dance routine look. Tessa is a huge fan of ponytails, though her go-to look for the ice is an intricate top bun. She’s got a strict anti-bangs policy. Scott has a fantastic variety of smiles (including a grimace that strikes a fine balance between warm and fierce), though he’s lacking a bit in the upper-lip department.

Tessa & Scott: Our Journey from Childhood Dream to Gold, or TSOJCDG, has about four major categories of photographs. The majority are mid-performance drama shots. The rest are the post-dance glory moments, cutesy childhood pics, and special nature photography shoots with Myra Klarman. Along the way, a few hybrids crop up. For example, take the classic moment when a pre-pubescent Tessa and Scott chomped on their medals to test the veracity of the gold.

The earliest evidence of Scott and Tessa’s signature pose is a photograph from early 2000. It’s an icy and intense glare at the cameras, complimented by the arched scowl of Scott’s eyebrows and a passionate clutching of his partner’s lower thigh or shoulder. Scott has a tendency to shut his eyes in passion, Tessa’s tend to widen for the crowd.

TSOJCDG is peppered with shots from a rustic shoot the couple commissioned from photog Klarman. For some reason, Klarman thought it would be a good idea for the couple to wade knee-deep into a lake, and pose crouched in the water. Tessa and Scott seem oblivious to their soaked clothing, and it’s one of those shots where you think more about what happened before and after than the actual image you’re looking at.

Back on the ice, I’d say Tessa has a great fashion sense, especially considering the track record her peers. She favors shades of pink, crystals, velvet, lace, fringe, pearls, and sheer fabric; usually all of the above at once. Scott tends to go for a more conservative image, with a classic tuxedo or suit. Tessa’s fashion climax probably arrived at the 2010 Olympics during a compulsory Tango Romantica. With her usual dark red lipstick and pulled back hair, Tessa wore a one-shouldered burgundy gown with a black tulle overlay, her bodice decked out in ruffles and intricately webbed pearls, jewels, and floral patterns. Underneath, she went for classic leggings and not much else: it seems the publishers didn’t catch an unfortunate nip-slip captured in some of the images.

Tessa only missteps when she ventures too far deep into Dancing with the Stars territory, as she did when competing earlier in her career in Andorra. She wore a magenta strappy dress, exposing lots of skin and bedazzled within an inch of her life. Not long after, Tessa took a risk with a three tiered, sparkling number – plus fringe and a diamond choker – for the 2009 Nationals, but it looks like one that paid off, landing the jump from tacky sad to tacky fun. 

Tessa & Scott: Our Journey From Childhood Dream to Gold is an enchanting look at the lives of two artistic and athletic champions. It may not be worth reading the 184 pages of copy and biographical detail, but it’s certainly worth a bookstore browse to check out over 171 shiny photographs of “big dreamers” and ice dancers Tessa Virtue and Scott Moir.

Will Kopp’s competitive bidding initiative derail Recology’s train to Yuba?

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Sponsors of an initiative to require competitive bidding on all aspects of the city’s multi-million-dollar garbage services say they plan to deliver their initiative petitions to the Department of Elections this afternoon. The petitions contain 12,000 signatures, far more than the 7,000-8,000 required, effectively signalling that, even after the city weeds out non-valid signatures, the initiative will qualify for the June 2012 election.

The move threatens to give the Board a political migraine, since the Board is set to vote July 26 on a Department of Environment resolution to expand Recology (formerly Norcal Waste System, Inc)’s monopoly on San Francisco’s garbage and recycling services.

In fact, the DoE resolution contains two separate agreements: a $112 million long-term landfill disposal agreement that was competitively bid, and a facilitation agreement that governs how waste is transported to the landfill and that was not competitively bid. As such, the city’s facilitation agreement is already the subject of a lawsuit that Waste Management Inc. filed in San Francisco Superior Court last week.

Sponsors of the competitive bidding ordinance, which include retired judge Quentin Kopp, community activist Tony Kelly and Waste Solutions CEO David Gavrich,believe the Board should delay voting on the landfill disposal and facilititation agreements until next summer, after voters have had a chance to weigh in on the bigger question of whether folks want competitive bidding on all the city’s garbage-related services, which are worth a quarter of a billion, each year. “

“It would be disrespectful to voters to accept a resolution while an initiative is pending,” Kopp stated.

“It would make sense if they severe the landfill disposal and facilitation agreements into two files,” Kelly added, referring to how the two separate agreements are currently lumped into one item on the Board’s July 26 agenda, under the section titled “recommendations of the Budget and Finance sub-committee.”

How the deal got filed in the B&F sub-committee’s recommended section is another story unto itself: Last Wednesday, after Sups. Ross Mirkarimi and Jane Kim, who sit on the Board’s Budget and Finance sub-committee, voted to send the deal to the Board with no recommendation, (a vote that suggested that they had some concerns with the deal) and after members of the public who came to testify about the item had left,  Mirkarimi asked to rescind the landfill vote.

“I think there was some misunderstanding a little bit in wrapping up the landfill agreements with Recology, “ Mirkarimi said, as he asked for the vote to be rescinded, “so we can accurately reflect some of the sentiments being articulated here.”
“I think we just learned some things on the fly,” Mirkarimi stated, as he and Kim joined committee chair Sup. Carmen Chu, one of the Board’s more conservative members, in sending the deal to the full Board “with recommendation.”

The Guardian learned of the vote switcheroo, after the DoE, which is apparently anxious to see the Recology agreements move forward, contacted us to say that our blog post about the Budget and Finance sub-committee, incorrectly stated that Mirkarimi and Kim had not given the deal their unmitigated thumbs-up. (The Guardian has since amended its blog post to accurately reflect what happened at the meeting, after this reporter and most members of the public, except the Chamber of Commerce’s Jim Lazarus, who supports the Recology agreements, had left the Board’s Chambers.)

Asked about the last-minute move to amend the vote Kelly said, “It was Ross at his Rossest.”

And in many ways, Mirkarimi’s move to rescind made sense: neither he nor Kim had registered any problems with the landfill disposal and facilitation agreements during the committee hearing, though a number of seemingly valid concerns were raised, including the observation by Yuba County supervisor Roger Abe that Yuba County is considering raising its host fees at Recology’’s Ostrom Road landfill in Wheatland from $4.40 a ton to $20- $30 a ton. If Yuba County does raise itsw fees, the move could wipe out the estimated $100 million in savings that DoE claims Recology’s proposal represents for San Francisco ratepayers. According to Abe, Yuba’s fees have not been raised for 14 years, and his county, which is one of the poorest in California, could use the additional income, especially if it is going to see its local landfill fill up faster than anticipated, thanks to San Francisco sending up to 5 million tons of trash over a 10-year period.

To be fair, Mirkarimi did warn that it would be unwise to dismiss Yuba County’s concerns , but he countered that any county can raise its fees. And DoE suggested that it was unlikely that Yuba County can raise its fees excessively, because those same fees would have to be paid by the other municipalities that use the Ostrom ROad dump, most of which are small towns that can’t afford to pay as much as relatively prosperous Bay Area cities like San Francicso.

Instead, Mirkarimi and Kim reserved most of their concerns for the bigger question of whether San Francisco ratepayers are best served by the city’s continuing lack of competitive bidding and franchise fee requirements on San Francisco’s remaining $225-million-a-year garbage collection related services–concerns that seem to bring us back full circle to Kopp and Kelly’s competitive bidding ordinance, which they had hoped to qualifty for

Asked how many supervisors he thought will stand up tomorrow and dig into the details of the DoE agreements and how they contradict with the requirements of the Kopp-Kelly-Gavrich competing bidding initiative, Kelly said, “Two.”

If so, that’s not likely to derail Recology’s train to Yuba, especially given that Mayor Ed Lee, who holds veto power over any item that less than eight supervisors support or oppose, told the Guardian in February that he believes Recology had earned its privilege.

But so far the City Attorney’s Office is remaining mum about the potential impact of WM’s lawsuit on Recology’s train to Yuba County, a silence that will give the Board the political cover they apparently so desperately need, if they vote tomorrow to haul San Francisco’s trash to Yuba County by rail, an arrangement that won’t start until after the city’s current contract at Waste Management’s Altamont landfill expires, something that is not anticipated to happen until 2015, based on the city’s current diversion rates.

 

“Contrary to common sense”

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It’s been my observation over 20 years in journalism that the politicians who most often refer to “common sense” tend not to possess it. And that was reinforced this morning when I got an email for Republican presidential candidate Michelle Bachman plugging a new television commercial opposing raising the nation debt ceiling.

“Dear Fellow Conservative,” it began, misreading her audience by a big way in my case, “I will not vote to increase the debt limit. Period.” And in the commercial, she follows this opening line with, “It goes completely contrary to common sense.”

With six words, she tortures not just grammar, but also the very notion of common sense. Because it make not one iota of sense to let the U.S. default on its debts, lower its credit rating and artificially jack up interest rates, simply because these ignorant Tea Party fools don’t like the size and scope of the federal government.

If the people really agreed with the right-wingers’ plans to gut government, Bachman would have the votes in Congress and the White House to make deep cuts during the normal budget process, which common sense should indicate is the proper time to make budget cuts. But instead, she and other conservatives are pandering to ignorant yahoos who think greatly reducing government will somehow help the economy, when actually it would kill economic growth.

“When times are tight for your family or mine, we know that’s not the time to call the credit card company and ask for a higher credit limit. But that’s what many elected officials in Washington are suggesting we do for our nation, right in the midst of an economic crisis!” Bachman argues.

Clearly, Bachman has never actually been in the position of having to make the tough decisions between buying groceries for your kids and refusing to take on more debt, because many families often do choose the former. And no matter what cash-strapped families decide, they also usually look at ways to increase their revenue, something Bachman and the conservative refuse to do, for ideological reasons that make no sense.

But that’s really beside the point, because there is no equivalency between family and federal budgets. While it is certainly true that Congress and President Obama should take steps to reduce the budget deficit – hopefully addressing the ridiculously high and growing wage and wealth gaps in the process, problems directly connected to the ballooning federal debt – no reputable economist would support the deep cuts Bachman advocates while the unemployment rates are as high as they are.

And when the time comes to start making deep cuts in government spending, we should start with the military budget, because it’s the lion’s share of the budget and ultimately an investment that harms our species. It’s just common sense.

Film Listings

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SAN FRANCISCO JEWISH FILM FESTIVAL

The 31st San Francisco Jewish Film Festival runs July 21-Aug 8 at the Castro, 429 Castro, SF; Christopher B. Smith Rafael Film Center, 1119 Fourth St., San Rafael; Jewish Community Center of San Francisco, 3200 California, SF; Oshman Jewish Community Center, 3921 Fabian Way, Palo Alto; and Roda Theatre at Berkeley Rep, 2025 Addison, Berk. For tickets (most shows $12) and a full schedule, visit www.sfjff.org.

OPENING

Captain America: The First Avenger Chris Evans trades in his Human Torch togs to play the patriotic Marvel superhero. (2:09) Marina, Shattuck.

*Enforcing the Silence With a taut running time of 59 minutes, Tony Nguyen’s debut doc delves into the mysterious 1981 murder of Lam Duong, a Vietnamese journalist and social activist who lived and worked in the Tenderloin. He’d come to Oberlin, Ohio in the early 1970s as part of a high school exchange program, and ended up staying for college and beyond as war raged in his homeland. Though the program Duong founded after moving to San Francisco, the Vietnamese Youth Development Center, was an asset to the community (providing a place for kids to hang out after school, assisting non-English speakers with complicated social-services forms, etc.), his political views made him a polarizing figure, and may have cost him his life. Was being seen as pro-communist (and speaking out about it, per his first amendment rights) the motive for Duong’s murder? What about the other Vietnamese American journalists also killed in the early 80s? The crimes remain unsolved, but as Nguyen’s film finds through interviews with investigators and people who knew Duong during his short life, the controversy lingers. Enforcing the Silence has its local debut Thurs/21 at 7 p.m., the 30th anniversary of Duong’s murder; half of the proceeds (tickets $5-25) will go to the VYDC. (:59) Roxie. (Eddy)

Friends With Benefits Mila Kunis and Justin Timberlake star in an apparent remake of the Natalie Portman-Ashton Kutcher rom-com No Strings Attached. (1:44) Four Star, Presidio.

Life, Above All It’s tough enough to simply grow up, let alone care for a parent with AIDS and deal with the suspicions and fears of the no-nothing adults all around you. Rising above easy preaching and hand-wringing didacticism, Life, Above All takes as its blueprint the 2004 best-seller by Allan Stratton, Chandra’s Secrets, and makes compelling work of the story of 12-year-old Chandra (Khomotso Manyaka) and her unfortunate family, unable to get effective help amid the thicket of ignorance regarding AIDS in Africa. After her newborn sister dies, Chandra finds her loyalty torn between her bright-eyed best friend Esther (Keaobaka Makanyane), who’s rumored to hooking among the truck drivers in their dusty, sun-scorched rural South African hometown, and her mother (Lerato Mvelase), who listens far too closely to her bourgie friend Mrs. Tafa (an OTT Harriet Manamela), for her own good. Cape Town native director Oliver Schmitz sticks close to the action playing across his actors’ faces, and he’s rewarded, particularly by the graceful Manyaka, in this life-affirmer about little girls forced to shoulder heart-breaking responsibility far too soon. (1:46) Embarcadero. (Chun)

*Rapt Colder than cool — and pokerfaced in its perusal of all the angles — this hostage thriller takes as its starting point the real-life 1978 kidnapping of Belgian aristo Baron Edouard-Jean Empain. Slick industrialist Stanislas Graff (Yvan Attal) is smoothly going through the motions of life — preparing for a sojourn to China alongside heads of state, swinging through his gambling den, indulging in an afternoon tryst with a mistress, then heading home to make fatherly noises for the family. Graff’s seamless, impressively precise kidnapping effectively cock-blocks the routine. Fifty million euros is the ransom, and the kidnappers quickly, brutally demonstrate that they mean bidness. Filmmaker Lucas Belvaux tests the tension at home, in the boardroom, among law enforcement, while the ugly details of Graff’s day-to-day life are laid bare by the French tabloids, much like dismembered body parts — and giving off a whiff of the hypocrisies surrounding ex-IMF chief Dominique Strauss-Kahn. More often behind the camera than before it, Attal offers what might be his best performance as the entitled scion reduced to a cowering bag of bones and scar tissue. He’s well-matched by Anne Consigny as his shell-shocked spouse and Alex Descas as his lawyer, as Belvaux efficiently delivers his core query with almost zero melodrama: who’s the more brutal player in this high-stakes game — the so-called terrorists or the cutthroat captains of industry? (2:05) Lumiere, Shattuck. (Chun)

*Road to Nowhere See “To Hellman and Back.” (2:02) Roxie, Smith Rafael.

ONGOING

Bad Teacher Jake Kasdan, the once-talented director of a few Freaks and Geeks episodes and 2002’s underrated Orange County, seems hell-bent on humiliating everyone in the cast of Bad Teacher. Cameron Diaz is Elizabeth, the title’s criminally bad pedagogue who prefers the Jack Daniels method to the Socratic. Her impetus for pounding Harper Lee into her middle school students’ bug-eyed little heads is to cash in on a bonus check to fund her breast-y ambitions and woo Justin Timberlake and his baby voice. The only likable onscreen presence is Jason Segal as a sad sack gym teacher in love with Elizabeth. But he could do so much better. There’s no shortage of racist jokes and potty humor in this R-rated comedy pandering to those 17 and below. When asked if she wants to go out with her coworkers, Elizabeth ripostes, “I’d rather get shot in the face!” That scenario is likely a better alternative than suffering this steaming pile of cash cow carcass. (1:29) SF Center, Shattuck. (Lattanzio)

Beats, Rhymes & Life Actor Michael Rapaport probably didn’t set out to make a hip-hop Metallica: Some Kind of Monster (2004), but that’s pretty much where his portrait of A Tribe Called Quest ends up. The first half of Beats, Rhymes & Life: The Travels of A Tribe Called Quest is predictably worshipful, slathering on low angles and slow motion to cover mediocre live shows. More effectively, Rapaport traces the Queens group’s brief incubation period and subsequent breakthroughs in what would later be called alternative or, more obnoxiously, conscious hip-hop. A slew of notable followers and contemporaries toast Tribe’s first three albums, but by the time Rapaport catches up to the group’s 2008 reunion even their longtime friends De La Soul are wishing they’d call the whole thing off. The documentary slides into the Monster zone of hurt feelings and passive aggressive behavior in accounting for the group’s split after their inappropriately named 1998 album, The Love Movement. Phife Dawg and Q-Tip are the warring egos, though perennially slighted Phife is really no match for the imperially cool Tip. DJ Ali Shaheed Muhammad is the Kirk Hammett of the outfit, looking on helplessly as the two bigger personalities make a mess of things. There’s still novelty in a story about aging in hip-hop, but Rapaport’s portrait is utterly conventional. He also doesn’t pursue more interesting questions of race and politics that naturally follow the band’s crossover appeal. (1:38) Shattuck, Sundance Kabuki. (Goldberg)

*Beginners There is nothing conventional about Beginners, a film that starts off with the funeral arrangements for one of its central characters. That man is Hal (Christopher Plummer), who came out to his son Oliver (Ewan McGregor) at the ripe age of 75. Through flashbacks, we see the relationship play out — Oliver’s inability to commit tempered by his father’s tremendous late-stage passion for life. Hal himself is a rare character: an elderly gay man, secure in his sexuality and, by his own admission, horny. He even has a much younger boyfriend, played by the handsome Goran Visnjic. While the father-son bond is the heart of Beginners, we also see the charming development of a relationship between Oliver and French actor Anna (Mélanie Laurent). It all comes together beautifully in a film that is bittersweet but ultimately satisfying. Beginners deserves praise not only for telling a story too often left untold, but for doing so with grace and a refreshing sense of whimsy. (1:44) Embarcadero, Piedmont. (Peitzman)

A Better Life (1:38) Opera Plaza, Shattuck.

*Bill Cunningham New York To say that Bill Cunningham, the 82-year old New York Times photographer, has made documenting how New Yorkers dress his life’s work would be an understatement. To be sure, Cunningham’s two decades-old Sunday Times columns — “On the Street,” which tracks street-fashion, and “Evening Hours,” which covers the charity gala circuit — are about the clothes. And, my, what clothes they are. But Cunningham is a sartorial anthropologist, and his pictures always tell the bigger story behind the changing hemlines, which socialite wore what designer, or the latest trend in footwear. Whether tracking the near-infinite variations of a particular hue, a sudden bumper-crop of cropped blazers, or the fanciful leaps of well-heeled pedestrians dodging February slush puddles, Cunningham’s talent lies in his ability to recognize fleeting moments of beauty, creativity, humor, and joy. That last quality courses through Bill Cunningham New York, Richard Press’ captivating and moving portrait of a man whose reticence and personal asceticism are proportional to his total devotion to documenting what Harold Koda, chief curator at the Costume Institute at the Metropolitan Museum of Art, describes in the film as “ordinary people going about their lives, dressed in fascinating ways.” (1:24) Opera Plaza. (Sussman)

Bride Flight Who doesn’t love a sweeping Dutch period piece? Ben Sombogaart’s Bride Flight is pure melodrama soup, enough to give even the most devout arthouse-goer the bloats. Emigrating from post-World War II Holland to New Zealand with two gal pals, the sweetly staid Ada (Karina Smulders) falls for smarm-ball Frank (Waldemar Torenstra, the Dutchman’s James Franco) and kind of joins the mile high club to the behest of her conscience. The women arrive with emotional baggage and carry-ons of the uterine kind. As the harem adjusts to the country mores of the Highlands, Frank tries a poke at all of them in a series of sex scenes more moldy than smoldery. This Flight, set to a plodding score and stuffy mise-en-scene, never quite leaves the runway. Not to mention the whole picture, pale as a corpse, resembles one of those old-timey photographs of your great grandma’s wedding. These kinds of pastoral romances ought to be put out to, well, pasture. (2:10) Opera Plaza. (Lattanzio)

*Bridesmaids For anyone burned out on bad romantic comedies, Bridesmaids can teach you how to love again. This film is an answer to those who have lamented the lack of strong female roles in comedy, of good vehicles for Saturday Night Live cast members, of an appropriate showcase for Melissa McCarthy. The hilarious but grounded Kristen Wiig stars as Annie, whose best friend Lillian (Maya Rudolph) is getting hitched. Financially and romantically unstable, Annie tries to throw herself into her maid of honor duties — all while competing with the far more refined Helen (Rose Byrne). Bridesmaids is one of the best comedies in recent memory, treating its relatable female characters with sympathy. It’s also damn funny from start to finish, which is more than can be said for most of the comedies Hollywood continues to churn out. Here’s your choice: let Bridesmaids work its charm on you, or never allow yourself to complain about an Adam Sandler flick again. (2:04) 1000 Van Ness, Presidio, Shattuck, Sundance Kabuki. (Peitzman)

Buck This documentary paints a portrait of horse trainer Buck Brannaman as a sort of modern-day sage, a sentimental cowboy who helps “horses with people problems.” Brannaman has transcended a background of hardship and abuse to become a happy family man who makes a difference for horses and their owners all over the country with his unconventional, humane colt-starting clinics. Though he doesn’t actually whisper to horses, he served as an advisor and inspiration for Robert Redford’s The Horse Whisperer (1998). Director Cindy Meehl focuses generously on her saintly subject’s bits of wisdom in and out of a horse-training setting — e.g. “Everything you do with a horse is a dance” — as well as heartfelt commentary from friends and colleagues. In the harrowing final act of the film, Brannaman deals with a particularly unruly horse and his troubled owner, highlighting the dire and disturbing consequences of improper horse rearing. (1:28) Lumiere, Shattuck, Smith Rafael. (Sam Stander)

Cars 2 You pretty much can’t say a bad thing about a Pixar film. Cars 2 is by no means Ratatouille (2007) or Wall-E (2008), but the sequel to the 2006 hit Cars offers plenty of sleek visuals and one-note gags under its hollow hood. If nothing else, Pixar seems to have overcome the dingy, dark glaze that plagues 3-D films. Directors John Lasseter and Joe Ranft return to beloved autos Lightning McQueen (Owen Wilson) and the “extremely American” Mater (Larry the Cable Guy). This time around, secret agents Finn McMissile (Michael Caine) and Holley Shiftwell (Emily Mortimer) come along for the ride while working to expose sabotage in the alternative fuel industry. Compelling chase sequences, explosions and more than a few jabs at cultural stereotypes follow suit. This is the lightest, silliest Pixar film to date, but you probably don’t have any business seeing it unless you’ve got a kid in tow. (1:52) 1000 Van Ness, SF Center, Shattuck. (Lattanzio)

*Cave of Forgotten Dreams The latest documentary from Werner Herzog once again goes where no filmmaker — or many human beings, for that matter — has gone before: the Chauvet-Pont-d’Arc Cave, a heavily-guarded cavern in Southern France containing the oldest prehistoric artwork on record. Access is highly restricted, but Herzog’s 3D study is surely the next best thing to an in-person visit. The eerie beauty of the works leads to a typically Herzog-ian quest to learn more about the primitive culture that produced the paintings; as usual, Herzog’s experts have their own quirks (like a circus performer-turned-scientist), and the director’s own wry narration is peppered with random pop culture references and existential ponderings. It’s all interwoven with footage of crude yet beautiful renderings of horses and rhinos, calcified cave-bear skulls, and other time-capsule peeks at life tens of thousands of years ago. The end result is awe-inspiring. (1:35) SF Center, Shattuck. (Eddy)

Empire of Silver Love, not money, is at the core of Empire of Silver — that’s the M.O. of a Shanxi banking family’s libertine third son, or “Third Master” (Aaron Kwok) in this epic tug-of-war between Confucian duty and free will. The Third Master pines for his true love, his stepmother (Hao Lei), yet change is going off all around the star-crossed couple in China at the end of the 19th century and the start of the 20th, and the youthful scion ends up pouring his passion into the family business, attempting to tread his own path, apart from his Machiavellian father (Tielin Zhang). Much like her protagonist, however, director (and Stanford alum) Christina Yao seems more besotted with romance than finance, bathing those scenes with the love light and sensual hues reminiscent of Zhang Yimou’s early movies. Though Yao handles the widescreen crowd scenes with aplomb, her chosen focus on money, rather than honey, leaches the action of its emotional charge. It doesn’t help that, on the heels of the Great Recession, it’s unlikely that anyone buys the idea of a financial industry with ironclad integrity — or gives a flying yuan about the lives of bankers. (1:52) Four Star. (Chun)

The Hangover Part II What do you do with a problematic mess like Hangover Part II? I was a fan of The Hangover (2009), as well as director-cowriter Todd Phillips’ 1994 GG Allin doc, Hated, so I was rooting for II, this time set in the East’s Sin City of Bangkok, while simultaneously dreading the inevitable Asian/”ching-chang-chong” jokes. Would this would-be hit sequel be funnier if they packed in more of those? Doubtful. The problem is that most of II‘s so-called humor, Asian or no, falls completely flat — and any gross-out yuks regarding wicked, wicked Bangkok are fairly old hat at this point, long after Shocking Asia (1976) and innumerable episodes of No Reservations and other extreme travel offerings. This Hangover around, mild-ish dentist Stu (Ed Helms) is heading to the altar with Lauren (The Real World: San Diego‘s Jamie Chung), with buds Phil (Bradley Cooper) and Doug (Justin Bartha) in tow. Alan (Zach Galifianakis) has completely broken with reality — he’s the pity invite who somehow ropes in the gangster wild-card Mr. Chow (Ken Jeong). Blackouts, natch, and not-very-funny high jinks ensue, with Jeong, surprisingly, pulling small sections of II out of the crapper. Phillips obviously specializes in men-behaving-badly, but II‘s most recent character tweaks, turning Phil into an arrogant, delusional creep and Alan into an arrogant, delusional kook, seem beside the point. Because almost none of the jokes work, and that includes the tired jabs at tranny strippers because we all know how supposedly straight white guys get hella grossed out by brown chicks with dicks. Lame. (1:42) SF Center. (Chun)

*Harry Potter and the Deathly Hallows Part 2 Chances are you aren’t going to jump into the Harry Potter series with Harry Potter and the Deathly Hallows Part 2. So while the movie is probably the best Harry Potter film yet, it’s more a fitting conclusion than a standalone film. For fans of the books, there are no real surprises — this is a close adaptation. And for those Harry Potter movie fans who haven’t read the books, shame on you, and kudos if you managed to not get spoiled. It’s hard for me to offer a serious critical analysis of Part 2, because it represents the end of a long and very emotional journey. (Everyone in that audience was crying. Everyone.) I will say that, as was the case in the book, there are a few overdone, schmaltzy moments that aren’t really necessary. But in the context of the series, they’re forgivable — this may not be the great cinematic event of our generation, but Harry Potter as a whole is sure to be one of our most enduring cultural icons. (2:10) Empire, 1000 Van Ness, Presidio, Sundance Kabuki. (Peitzman)

Horrible Bosses Lead by a clearly talented ensemble of comic actors, Horrible Bosses is yet another example of a big-budget summer comedy with a promising conceit (see Bad Teacher) that fails to deliver anything but crude alms to the lowest common denominator. Seth Gordon directs Jason Bateman, Jason Sudeikis, and Charlie Day as three pals fed up with their evil employers (Kevin Spacey, Colin Farrell and Jennifer Aniston, respectively) so they hatch a plan to have them killed. Because the answer to their problem obviously lies in a dive bar in the “bad part of town,” Jamie Foxx plays Motherfucker Jones, their murder consultant and the film’s most likable character-stereotype. In the tradition of The Hangover (2009) and its ilk of beer-guzzling, frat-boy cousins, Horrible Bosses is a disastrous pile-up of idiocy that’s more vapid than vulgar despite a few amusing performances. See it for no other reason than Michael Bluth and Charlie Kelly on coke. (1:33) Four Star, Marina, 1000 Van Ness, Sundance Kabuki. (Lattanzio)

Larry Crowne While Transformers: Dark of the Moon may be getting all the attention for being the most terrible summer movie, I’d like to propose Larry Crowne as the bigger offender. No, it doesn’t have the abrasive effects of a Michael Bay blockbuster, but it’s surely just as incompetent. And coming from an actor as talented as Tom Hanks — who co-wrote, directed, produced, and stars in the film —Larry Crowne is insulting. The plot, insofar as there is one, centers around the titular Larry (Hanks), a man who goes to community college, joins a scooter gang led by Wilmer Valderrama, and ends up falling for his cranky, alcoholic teacher Mercedes (Julia Roberts). The scenes are thrown together hapharzadly, with no real sense of character development or continuity. Larry Crowne doesn’t even feel like a romantic comedy until a drunk Mercedes begins kissing and dry humping her student. But hey, who can resist a shot of Larry’s middle-aged bottom as he tries to wriggle into jeans that are just too small? (1:39) Presidio, SF Center. (Peitzman)

Midnight in Paris Owen Wilson plays Gil, a self-confessed “Hollywood hack” visiting the City of Light with his conservative future in-laws and crassly materialistic fiancée Inez (Rachel McAdams). A romantic obviously at odds with their selfish pragmatism (somehow he hasn’t realized that yet), he’s in love with Paris and particularly its fabled artistic past. Walking back to his hotel alone one night, he’s beckoned into an antique vehicle and finds himself transported to the 1920s, at every turn meeting the Fitzgeralds, Gertrude Stein (Kathy Bates), Dali (Adrien Brody), etc. He also meets Adriana (Marion Cotillard), a woman alluring enough to be fought over by Hemingway (Corey Stoll) and Picasso (Marcial di Fonzo Bo) — though she fancies aspiring literary novelist Gil. Woody Allen’s latest is a pleasant trifle, no more, no less. Its toying with a form of magical escapism from the dreary present recalls The Purple Rose of Cairo (1985), albeit without that film’s greater structural ingeniousness and considerable heart. None of the actors are at their best, though Cotillard is indeed beguiling and Wilson dithers charmingly as usual. Still — it’s pleasant. (1:34) Albany, Embarcadero, 1000 Van Ness, Piedmont, Sundance Kabuki. (Harvey)

*Page One: Inside the New York Times When Andrew Rossi’s documentary premiered at Sundance this January, word of mouth on it was respectable but qualified, with nearly everyone opining that it was good … just not what they’d been led to expect. What they expected was (in line with the original subtitle A Year Inside the New York Times) a top-to-bottom overview of how the nation’s most respected — and in some circles resented — arbiter of news, “style,” and culture is created on a day-to-day as well as longer term basis. That’s something that would doubtless fascinate anyone still interested in print media, or even that realm of web media not catering to the ADD nation. But that big picture and the wealth of minute cogs within isn’t Page One‘s subject. Instead, Rossi focuses on the Gray Lady’s wrestling with admittedly fast-changing times in which newspapers and any other information source on paper seem to constitute an endangered species. This particular Times, however, is such a special case that that crisis might better have been explored by training a camera on a less fabled publication, perhaps one of the many that have succumbed to a once unthinkable, market-shrunk mortality in recent years. The film finds its colorful protagonist in David Carr, an ex-crack addict turned media columnist who retains his cranky, nonconformist edge even as he defends the Times itself from the same out-with-the-old cheerleaders who 15 years ago were inflating the dot-com boom till it burst. Facing one particularly smug champion of the blogosphere at a forum, Carr notes that without a few remaining outlets — like the Times — doing the hard work of serious research and reportage, the web would have nothing to purloin or offer but its own unending trivia and gossip. Page One does what it does entertainingly well, but if you’re looking for insight toward this not-dead-yet U.S. institution as a whole, you’d be better off simply picking up this week’s Sunday edition and reading every last word. (1:28) Lumiere, Smith Rafael. (Harvey)

Pirates of the Caribbean: On Stranger Tides The last time we saw rascally Captain Jack Sparrow (Johnny Depp), he was fighting his most formidable enemy yet: the potentially franchise-ending Pirates of the Caribbean: At World’s End (2007). The first Pirates movie (2003) was a surprise critical success, earning Depp his first-ever Oscar nomination; subsequent entries, though no less moneymaking, suffered from a detectable case of sequel-itis. Overseeing this reboot of sorts is director Rob Marshall (2002’s Chicago), who keeps the World’s End notion of sending Jack to find the Fountain of Youth, but adds in a raft of new faces, including Deadwood‘s Ian McShane (as Blackbeard) and lady pirate Penélope Cruz. The story is predictably over-the-top, with the expected supernatural elements mingling with sparring both sword-driven and verbal — as well as an underlying theme about faith that’s nowhere near as fun as the film’s lesser motifs (revenge, for one). It’s basically a big swirl of silly swashbuckling, nothing more or less. And speaking of Depp, the fact that the oft-ridiculous Sparrow is still an amusing character can only be chalked up to the actor’s own brand of untouchable cool. If it was anyone else, Sparrow’d be in Austin Powers territory by now. (2:05) SF Center. (Eddy)

*Project Nim This is the story of an individual plucked from their native culture even before birth, separated from parents shortly after, handed over to a chaotic if loving urban foster family, yanked from them to a lavish, isolated country estate, then shipped off to a medical experimentation lab, “rescued” only to be placed in prison like solitary confinement, and … well, things finally get a little better, but isn’t this enough abuse for several lifetimes? Before you call Child Services or the ACLU, be informed that this is not the saga of a human being, but one Nim Chimpsky, a chimpanzee born in U.S. captivity, then set on a highly unusual life course as the subject of a study in animal language acquisition by Columbia University linguist Herbert S. Terrace. Nim did indeed prove remarkably adept at learning sign language to communicate with his teachers/minders — even if Terrace finally belittled that as no more than imitation performed to beg food and other favor. Nim was a prodigy, and for a while a media sensation. He was also a temperamental, physically powerful wild beast who could (and sometimes did) cause considerable harm to those around him. Regardless, both his adaptation to human habitats and animal instincts should have been deal with a great deal more care and consistency — there was no overall plan for his well-being beyond serving (or being abandoned by) whoever his keepers were at any given moment. This latest documentary by James Marsh (2008’s Man on Wire, 1999’s Wisconsin Death Trip) is an involving story whose latter-day interviewees — tumbling rather easily into hero and villain categories, with Prof. Terrance not in the first camp — annotate an enormous amount of archival footage shot throughout Nim’s life. (1:33) SF Center. (Harvey)

*Snow Flower and the Secret Fan Working with Lisa See’s novel, director Wayne Wang returns to the crowd-pleasing territory of his wildly popular Joy Luck Club (1993) — fortunately it’s also material that feels intensely personal, even transposed in 21st century China (one of those modern Chinese women, Rupert Murdoch’s wife Wendi bought the rights to the book and provides a financial boost here). Modern-day Nina (Bingbing Li) is about to leave her native Shanghai for NYC and certain success in the banking world when she learns that her best friend, her laotong or sworn sister, Sophia (Gianna Jun), is in a coma. She must piece together the mystery of her friend’s life since they last parted, studying the book written about her 19th century forbearer Snow Flower (also Jun) and her own laotong Lily (Li). An uncredited turn by Hugh Jackman as a caddish boyfriend is beside the point here; Wang’s take on the bond of friendship that ties two women together, beyond the pain of foot-binding, marriage, class, and adversity is tremulously sentimental, in way that will have many would-be Joy Luck Club-ers happily identifying with these sisters from other mothers — and leave everyone else sobbing in the darkness. (1:40) Albany, Piedmont, SF Center, Sundance Kabuki. (Chun)

*Super 8 The latest from J.J. Abrams is very conspicuously produced by Steven Spielberg; it evokes 1982’s E.T.: The Extra-Terrestrial as well as 1985’s The Goonies and 1982’s Poltergeist (so Spielbergian in nature you’d be forgiven for assuming he directed, rather than simply produced, the pair). But having Grandpa Stevie blessing your flick is surely a good thing, especially when you’re already as capable as Abrams. Super 8 is set in 1979, high time for its titular medium, used by a group of horror movie-loving kids to film their backyard zombie epic; later in the film, old-school celluloid reveals the mystery behind exactly what escaped following a spectacular train wreck on the edge of their small Ohio town. The PG-13 Super 8 aims to frighten, albeit gently; there’s a lot of nostalgia afoot, and things do veer into sappiness at the end (that, plus the band of kids at its center, evoke the trademarks of another Grandpa Stevie: Stephen King). But the kid actors (especially the much-vaunted Elle Fanning) are great, and there’s palpable imagination and atmosphere afoot, rare qualities in blockbusters today. Super 8 tries, and mostly succeeds, in progressing the fears and themes addressed by E.T. (divorce, loneliness, growing up) into century 21, making the unknowns darker and the consequences more dire. (1:52) Empire, 1000 Van Ness, Shattuck. (Eddy)

*Tabloid Taking a break from loftier subjects, Errol Morris’ latest documentary simply finds a whopper of a story and lets the principal participant tell her side of it — one we gradually realize may be very far from the real truth. In 1978 former Miss Wyoming Joyce McKinney flew to England, where the Mormon boy she’d grown infatuated with had been posted for missionary work by his church. What ensued became a U.K. tabloid sensation, as the glamorous, not at all publicity-shy Yankee attracted accusations of kidnapping, imprisonment, attempted rape and more. Her victim of love, one Kirk Anderson, is not heard from here — presumably he’s been trying to live down an embarrassing life chapter ever since. But we do hear from others who shed considerable light on the now middle-aged McKinney’s continued protestations that it was all just one big misunderstanding. Most importantly, we hear from the lady herself — and she is colorful, unflappable, unapologetic, and quite possibly stone-cold nuts. (1:28) California, Embarcadero. (Harvey)

*Terri What happens when the camera stops on the quiet, shy and heavy 15-year-old in the corner of the classroom? Terri might be his story — if he cut class regularly to avoid being teased about his man-breasts, wore PJs to school, and befriended an affable, straight-talking Shrek of a teacher. Painfully awkward Terri (Jacob Wysocki) is ignored or mocked by most, left to feed the mice he catches in traps to passing raptors, care for his ailing uncle, and avoid the school bullies as best he can. But assistant principal Mr. Fitzgerald (John C. Reilly), who has a habit of nurturing the school’s misfits, recognizes Terri’s tender heart and takes him under his wing. It’s catching, apparently, as Terri first befriends the hair-pulling Chad (Bridger Zadina) and then Heather, the girl who allows herself be fingered in home ec (Olivia Crocicchia). What transpires among these school outcasts, shaped by director-writer Azazel Jacobs, subtly subverts your conventional teen identity story arc —Terri isn’t the only one here that’s good-hearted. (1:45) Bridge, California. (Chun)

*13 Assassins 13 Assassins is clearly destined to be prolific director Takashi Miike’s greatest success outside Japan yet. It’s another departure for the multi-genre-conquering Miike, doubtless one of the most conventional movies he’s made in theme and execution. That’s key to its appeal — rigorously traditional, taking its sweet time getting to samurai action that is pointedly not heightened by wire work or CGI, it arrives at the kind of slam-dunk prolonged battle climax that only a measured buildup can let you properly appreciate. In the 1840s, samurai are in decline but feudalism is still hale. It’s a time of peace, though not for the unfortunates who live under regional tyrant Lord Naritsugu (Goro Inagaki), a li’l Nippon Caligula who taxes and oppresses his people to the point of starvation. Alas, the current Shogun is his sibling, and plans to make little bro his chief adviser — so a concerned Shogun official secretly hires veteran samurai Shinzaemon (Koji Yakusho) to assassinate the Lord. Fully an hour is spent on our hero doing “assembling the team” stuff, recruiting other unemployed, retired, or wannabe samurai. When the protagonists finally commence their mission, their target is already aware he’s being pursued, and he’s surrounded by some 200 soldiers by the time Miike arrives at the film’s sustained, spectacular climax: a small village which Shinzaemon and co. have turned into a giant boobytrap so that 13 men can divide and destroy an ogre-guarding army. A major reason why mainstream Hollywood fantasy and straight action movies have gotten so depressingly interchangeable is that digital FX and stunt work can (and does) visualize any stupid idea — heroes who get thrown 200 feet into walls by monsters then getting up to fight some more, etc. 13 Assassins is thrilling because its action, while sporting against-the-odds ingeniousness and sheer luck by our heroes as in any trad genre film, is still vividly, bloodily, credibly physical. (2:06) Four Star, Opera Plaza. (Harvey)

Transformers: Dark of the Moon I’ll never understand the wisdom behind epic-length children’s movies. What child — or adult, for that matter — wants to sit through 154 minutes of assaultive popcorn entertainment? It’s an especially confounding decision for this third installment in the Transformers franchise because there’s a fantastic 90-minute movie in there, undone at every turn by some of the worst jokes, most pointless characters, and most hateful cultural politics you’re likely to see this summer. But when I say a fantastic movie, I mean a fantastic movie. It took two very expensive earlier attempts before director Michael Bay figured out that big things require a big canvas. Every shot of Dark of the Moon‘s predecessors seemed designed to hide their effects by crowding the screen. Finally we get the full view — the scale is now rightly calibrated to operatic and ridiculous. The marquee set pieces are inspired and terrifying, eliciting a sense of vertigo that’s earned for once, not imposed by the editing. The human hijinks are less consistent but ingratiatingly batshit, and without resorting to preening self-awareness and elaborately contrived mea culpas. But unfortunately Bay is too unapologetic even to walk back the ethnic buffoonery that not only upsets hippies like me but also seems defiantly disharmonious with the movie he’s trying to make. Bay is like that guy at the party who thinks amping up the racism will prove he’s not a racist. It’s that kind of garbage (plus, I guess, some universal primal hatred of Shia LaBeouf that I don’t really get) that makes people dismiss these movies wholesale. This time it’s just not deserved. I wouldn’t want to meet the asshole who made this thing, but credit where credit is due. It’s a visual marvel with perfectly integrated, utterly tactile, brilliantly choreographed CG robotics — a point that’ll no doubt be conceded in passing as if it’s not the very reason the movie exists. As if it’s not a feat of mastery to make a megaton changeling truck look graceful. (2:34) 1000 Van Ness, Sundance Kabuki. (Jason Shamai)

The Tree of Life Mainstream American films are so rarely adventuresome that overreactive gratitude frequently greets those rare, self-conscious, usually Oscar-baiting stabs at profundity. Terrence Malick has made those gestures so sparingly over four decades that his scarcity is widely taken for genius. Now there’s The Tree of Life, at once astonishingly ambitious — insofar as general addressing the origin/meaning of life goes — and a small domestic narrative artificially inflated to a maximally pretentious pressure-point. The thesis here is a conflict between “nature” (the way of striving, dissatisfied, angry humanity) and “grace” (the way of love, femininity, and God). After a while Tree settles into a fairly conventional narrative groove, dissecting — albeit in meandering fashion — the travails of a middle-class Texas household whose patriarch (a solid Brad Pitt) is sternly demanding of his three young sons. As a modern-day survivor of that household, Malick’s career-reviving ally Sean Penn has little to do but look angst-ridden while wandering about various alien landscapes. Set in Waco but also shot in Rome, at Versailles, and in Saturn’s orbit (trust me), The Tree of Life is so astonishingly self-important while so undernourished on some basic levels that it would be easy to dismiss as lofty bullshit. Its Cannes premiere audience booed and cheered — both factions right, to an extent. (2:18) California, Embarcadero, Empire, Smith Rafael, Sundance Kabuki. (Harvey)

*The Trip Eclectic British director Michael Winterbottom rebounds from sexually humiliating Jessica Alba in last year’s flop The Killer Inside Me to humiliating Steve Coogan in all number of ways (this time to positive effect) in this largely improvised comic romp through England’s Lake District. Well, romp might be the wrong descriptive — dubbed a “foodie Sideways” but more plaintive and less formulaic than that sun-dappled California affair, this TV-to-film adaptation displays a characteristic English glumness to surprisingly keen emotional effect. Playing himself, Coogan displays all the carefree joie de vivre of a colonoscopy patient with hemorrhoids as he sloshes through the gray northern landscape trying to get cell reception when not dining on haute cuisine or being wracked with self-doubt over his stalled movie career and love life. Throw in a happily married, happy-go-lucky frenemy (comic actor Rob Brydon) and Coogan (TV’s I’m Alan Partridge), can’t help but seem like a pathetic middle-aged prick in a puffy coat. Somehow, though, his confused narcissism is a perverse panacea. Come for the dueling Michael Caine impressions and snot martinis, stay for the scallops and Brydon’s “small man in a box” routine. (1:52) Clay, Shattuck, Smith Rafael. (Devereaux)

Winnie the Pooh (1:09) 1000 Van Ness, Presidio.

Zookeeper (1:42) 1000 Van Ness.


Film listings are edited by Cheryl Eddy. Reviewers are Kimberly Chun, Michelle Devereaux, Peter Galvin, Max Goldberg, Dennis Harvey, Johnny Ray Huston, Louis Peitzman, Lynn Rapoport, Ben Richardson, and Matt Sussman. For rep house showtimes, see Rep Clock.

The Chron says “Ed, Don’t Run”

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Interesting, the politics of the media and the mayor’s race. While the Chron is typically the downtown/conservative paper, and some of those same folks are pushing Mayor Ed Lee to run for another term, the Chron’s big editorial July 17th made the case against Run Ed Run. Why? Well, mostly because the mayor promised:


But there is an even more important reason Ed Lee should not run: He said he would not. … He also said he took the job with a “clear, basic understanding” that he would run the city for the final year of Gavin Newsom’s term with “no distractions.”


The Chron clearly likes Ed Lee, and projects that as a candidate, he would lose the good will he’s created as mayor:


One of the reasons the atmosphere at City Hall this year has been so calm – and the results so impressive – it that the self-effacing occupant of Room 200 has gone out of his way to be collaborative, and the good feeling has been reciprocated.


That dynamic would change in an instant if Lee joined nine very ambitious politicians in the race for mayor. He would be widely regarded as the front-runner and thus would become the No. 1 target of the other nine.


His opponents would include two key members of the Board of Supervisors: President David Chiu and progressive stalwart John Avalos. The chances of anything meaningful emerging out of City Hall for the remainder of the year would plummet.


I’m not sure that’s true, not with ranked-choice voting. Nobody would want to anger Lee or his supporters; they’d all be going for the Number Two votes. (All except Leland Yee. Lee’s biggest backers in Chinatown despise Yee; it would be hard to keep that one civil.) And I don’t think Lee’s personality would suddenly change the minute he entered the race.


It would mean that David Chiu and Dennis Herrera would start to drop in the polls, since at least some of their core supporters would move to Lee. The race would be defined (with some reason) at Yee v. Lee.


But I don’t think it’s going to happen. As long as the mayoral candidates agree to let Lee have his job back (and Yee would be crazy not to make that promise — the thought of Mayor Yee AND Lee having no job might be the kicker that would push Lee into the race), I think the caretaker mayor would be just as happy to bow out. And the more times he says he won’t do it, and the more times players like the Chron urge him not to (and make it about civility and honoring his word) the harder it will be to jump in at the last minute.


(Before all the trolls attack me: I’m not telling Lee not to run. I’ve said all along: I hated the idea of a “caretaker” mayor, and I think Lee has been a great improvement over Gavin Newsom. I just think if he wants to run, he shouldn’t wait until the last minute. And the last minute is getting closer all the time.)


 

Will politicians get veto power over the voters?

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Political interest groups of all stripes generally hold the “will of the voters” to be sacrosanct and not something that should be arbitrarily trifled with by mere politicians. Right or wrong, it’s commonly accepted that if voters do something, only they should be able to undo or modify it. And certainly, if that standard is going to be changed, someone ought to put forward a pretty damn good reason for doing so.

Which is why we and other City Hall watchers have been perplexed over these last few months as Sup. Scott Wiener has pushed a ballot measure that would give the Board of Supervisors the power to alter voter-approved measures after three years, which will go before the board tomorrow (Tues/19) for possible placement on the November ballot.

Aside for a general desire to clean up unspecified minor clutter from the city codes, Wiener hasn’t really offered much of a rationale for this big change, or said what laws he has in his sights. That’s caused groups on both the left and the right to view it with great suspicion, for good reason. It’s been amended many times to address the understandable panic about the bedrock principles that it could alter, changing its effective date and going back-and-forth on whether it should apply to voter-initiated measures, finally settling on restricting it to just measures introduced by the board or mayor and taking effect after January 2012.

But as indicated by comments Sup. Sean Elsbernd made at the Rules Committee hearing and with an editorial supporting Wiener’s measure in Friday’s San Francisco Chronicle (which is often a sign of funny business being cooked up downtown), at least some of the rationale is to overturn a trio of progressive fall ballot measures that they don’t like, even before voters have said whether they want them. And that’s not a good sign, no matter how you feel about those measures.

As much as we would all love to empower legislators to go after voter-approved measures that we don’t like – for example, our state would be in much better fiscal shape if the Democrat-controlled Legislature would tweak Prop. 13 – that’s just not how things are done in a democracy. And if undoing every significant progressive reform that voters have approved over the years was suddenly a possibility on any given Tuesday, Wiener will have seriously raised the stakes at City Hall.

With campaign finance laws under attack by conservative judges and rich corporations and individuals wielding ever more power over our elections, the prospect that decades worth of reforms would suddenly be on the table in each district supervisorial race is truly scary. And we’re going to open up this can of worms based simply on the small bureaucratic nips and tucks that Wiener is citing? That just doesn’t make sense. Yup, there’s definitely some funny business going on here.

Chris Cunnie running for sheriff?

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It appears that the race for San Francisco sheriff is about to get more competitive: Chris Cunnie, the former Police Officers Association president, the former undersheriff and chief district attorney investigator is getting close to deciding to run, numerous sources tell me.


I haven’t been able to reach Cunnie directly, but he’s been calling around to local political types and talking about the race, and several people close to him say he’s about ready to make the jump.


Cunnie was widely expected to run when incument Mike Hennessey appointed him as undersheriff more than a year ago, but Cunnie left that job for personal reasons and appeared to have no interest in trying for the top position.


But he’s apparently changed his mind, and he would be the third candidate in the race and likely to get more traction than Paul Miyamoto, a captain in the Sheriff”s Department who has no prior political experience.


At this point, however, Hennessey has already endorsed Ross Mirkarimi, who is by any account the front-runner. He’s the only candidate with any electoral experience and he’ll have the progressives united behind his campaign. Cunnie’s time as the POA boss will hurt him on the left.


It’s not clear why Cunnie has decided to enter the race, but I think it’s safe to say that a lot of powerful people in this town are worried that Mirkarimi — a stalwart progressive who happens to have been very involved in law-enforcement issues — could wind up in a citywide office from which he might at some point seek to run for mayor. Cunnie would make it much safer for the more conservative types.