Housing Archives — Page 44 of 76 — San Francisco Bay Guardian Archive 1966

Redevelopment throws Arc Ecology under the bus

Mary Magee

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September 23, 2010

No one was really surprised when the Redevelopment Commission voted 4-0 not to renew Arc Ecology’s contract to provide environmental information services regarding remediation plans at Hunters Point Shipyard and award it to Circle Point.

Sad and disgusted, yes. But surprised, no. That’s because everyone expected that Commissioners Leroy King, Darshan Singh, Rick Swig and Francee Covington, who are all appointees of Mayor Gavin Newsom, would throw Arc under the bus as payback for Arc’s decision to comment on the EIR for Lennar’s Candlestick Point/shipyard redevelopment plan and oppose the giving away of state parklands so Lennar could build luxury condos.

“The message was that we shouldn’t have commented ” Arc’s executive director Saul Bloom told the Guardian after the Commission vote went down. “But this you’re-either-on-our-side-or-out-of-a- contract attitude is completely bogus. It’s tactics that Republicans use against Democrats.”

And with the exception of Al Norman (who had the bad manners to burst out laughing when Arc got voted out) and Circle Point staffers, who obviously wanted the contract, those who attended the Commission’s September 21 meeting agreed that the outcome symbolized everything that’s wrong with Redevelopment’s current model of governance, in which political appointees, not elected officials, make decisions that majorly impact the city’s land use.

Thor Kaslofsky, Redevelopment’s shipyard project manager, kicked off the Commission’s contract discussions by explaining why Redevelopment Agency staff were recommending that the Commission award the contract to Arc Ecology.
As Kaslofsky explained, Circle Point received 0.2 points more than Arc from the Agency’s scoring panel, “making it difficult for the panel to determine who is the most qualified.”

Kaslofsky noted that there had been “concerns about Arc Ecology’s multiple roles in the community.”
This was a reference to the fact that, besides, providing independent assessments on the Navy’s clean-up plans, Arc produced “Alternatives For Study,” a report that studied alternatives to a plan that Lennar and the city refused to change–a public-private stubbornness that most recently resulted in a lawsuit from the Sierra Club and the Golden Gate Audubon Society.

“But the panel voted for Arc as the most qualified firm,” Kaslofsky concluded, noting that there were “concerns about Circle Point’s ability to ramp up”—a reference to the fact that though Circle Point has offices in Sacramento and downtown San Francisco, it doesn’t have a presence in the Bayview and little-to-no experience of the military base clean-up process.

Bloom then talked about how Arc has been active in the Bayview for decades.

“We’ve been in the Bayview for 25 years,” Bloom told the Commission. “We’ve read every environmental document that’s been produced. And our office is on Third Street,”
Bloom noted that after Arc scored the highest for Redevelopment’s environmental services contract in 2009, the Agency withdrew its request for proposals (RFP) leaving the community without Arc’s services—and without the services of the Navy’s community-based Restoration Advisory Board—at a time when the Navy was pushing clean-up plans that favor capping the shipyard’s heavily polluted Parcel E-2, rather than digging and hauling out the contamination.

As Bloom noted, the Agency’s contract RFP switcheroo, “caused significant costs to the community because we were unable to provide services at the same time the Navy’s RAB was closed down.”

After Bloom spoke, a stream of Bayview advocates testified in support of Arc.

“Arc is more knowledgeable about clean-up issues than most government regulators,” said Scott Madison, a member of the shipyard’s citizen advisory committee.
“The community asked for—and you granted—an independent contractor, a watch dog, not a lap dog,” Madison continued. “Circle Point may be technically qualified, but they are strangers to the Bayview. The Commission should have the courage to hire a watchdog, even at the risk of a nip at the heels.”

Michael Lynes, conservation director with the Golden Gate Audubon Society, which recently joined the Sierra Club in suing to block the city’s EIR on Lennar’s Candlestick/ shipyard plans, told the Commission that he found “the value provided by Arc to be absolutely essential.”

D10 candidate Eric Smith, a member of the Navy’s now defunct RAB, praised Arc for, “being fantastic in sharing the information.”
“There is no other organization that has their history, has done the work they’ve done, and has the relationship with the community,” Smith said, “With the loss of the RAB, Arc was the only place to go.”

Jackie Phillips of ACCE (Alliance of Californians for Community Empowerment) noted that how a lot of organizations come to the Bayview, but unlike Arc, few stay the course.
“I’ve gone to their workshops,” Phillips said. “They sat us down, they’ve taken us on tours, they’ve taken us to the toxic sites, they have shown us what these changes will mean.”

Phillips also expounded on the difficulty of winning the trust of the Bayview community.
“In the Bayview, we don’t know who to trust, because there have been a lot of broken promises,” Phillips said. “Arc did not try to hide things from us. They have a relationship with the community.”

Next up was Claude Eberhart, who said ordinarily he’d be happy to see Circle Point get the contract, because he likes their staff.
“But by rights, I can’t recommend that,” Eberhart said. “The issue is trust.”
Noting that he has worked with Arc since 1987 when he and Bloom fought plans to homeport the USS Missouri at the shipyard, Eberhart said that in terms of getting “clear, concise and correct information,” Arc is “one environmental organization we can rely on.”

Eberhart also noted that last year, when there was pressure to take a large chunk out of the Candlestick Point State Recreation Area so that the city/Lennar could build luxury condos on state parklands, “Arc stepped forward and provided the information we needed to achieve a community consensus and have the Sierra Club come up with the final deal that allowed for an exchange [of state parklands].”

John Eller, an organizer with ACCE, which co-signed the community benefits agreement that the Labor Council negotiated with Lennar to secure living wages and higher levels of affordable housing, noted that Commission President Rick Swig had spoken earlier in the meeting about how Cohen, Newsom’s former economic advisor, was a consensus builder.

“And that’s exactly what Arc has done over the years,” Eller said.

Kate Kelley, director of the Sierra Club’s San Francisco Bay Chapter, praised Arc’s integrity.
“The information it provided was balanced, responsive and certainly technically competent,” she said.

“This is not a baseball game,” Kelley continued, referring to Circle Point’s understandable claim that it rightfully won the contract based on the Agency’s scoring process. “This is about relationships and trust—and I trust Arc Ecology to do the right thing.”

Al Norman, who heads the Bayview Merchants Association, was the sole dissenter among Bayview residents who spoke at the meeting.
Norman claimed that Arc’s critique of the city’s EIR was somehow “a conflict of interest.”

But instead of providing evidence to support his claims, Norman launched into a personal attack.
“[Bloom] went against this agency and the community, concerning his alternative plan, when we already had a plan in place,” Norman said. “I think Circle Point deserves a chance.”

The son of the late Jesse Mason, who worked for Arc until he died this summer, spoke in support of Arc and Bloom.
“My father believed in Arc, he trusted Arc,” Mason said.

And Christine Johnson, secretary of the shipyard’s Citizen Advisory Committee, spoke of the pressing need in the Bayview for independent review of technical environmental documents.
“We feel it’s imperative to get immediate advice and expert opinion and to properly assimilate information,” Johnson said, referring to the Navy’s shipyard clean-up plans.
‘We’ve been without that advice for nearly a year.”

Terry Ander, whose organization is a member of the Southeast Jobs Coalition, which includes Brightline, Inner City Youth, Visitacion Valley Community Development Coalition and Young Community Developers, spoke highly of Arc.
“Arc Ecology deserves this contract,” Anders said, noting that the Bayview community has been part of “enough neglect and B.S. to last for ten life times.”

And D10 candidate Kristine Enea, a former member of the Navy’s RaB, urged the Commission to “support Arc and focus on the community’s need for information.”

Bayview community advocate Espanola Jackson stressed the need for accurate information from a trusted source, as opposed to politically comfortable lip service.
“We need the correct information and not the lies and the politics that have been played upon my community,” Jackson said.

After 17 folks spoke in favor of Arc, many of them registering surprise that there was talk of taking the contract away from a small Bayview-based non-profit, Bloom sought to correct any misinformation that had been spread about his organization.
Noting that Arc’s Alternative for Studies “was an attempt to do some problem solving,” Bloom observed how, “Instead, we got painted as an opponent to a bridge. We are a strong supporter of the development and we have put 300 people to work in the Bayview.”

But all this support and clarification was not enough to save Arc from being thrown under the bus.

Commissioners Leroy King, Francee Covington and Darshan Singh joined Commission President Rick Swig in calling for Arc’s ouster. And along the way, they variously accused Bloom of disloyalty, dishonesty and expectations of winning the contract. (The latter accusation was a tad ironic given that there are currently no term limits for Redevelopment commissioners, as evidenced by King who has sat on the commission for decades and has just been renominated by Mayor Gavin Newsom to serve yet another term.)

“I’m opposed to giving the contract to Arc,” Commissioner King said. “Each time, [Bloom] spoke opposed to Redevelopment,” King continued, without proffering any details to support his claims, but giving a disturbing insight into how he thinks organizations that contract with Redevelopment for $282,000 a year (the amount Circle Point will be paid for four years for the environmental services contract) should position themselves on all Agency-related issues.

“[Lennar’s] Kofi Bonner called me and said. ‘Will you chance your vote? We need him’” King said, acknowledging that he didn’t want to award the contract to Arc, when it first applied, four years ago. “But every time [Bloom] was opposed to basic things to fill that shipyard. He talks against Lennar.”

Commissioner Covington confused the audience by pulling out a copy of the city’s response to comments on its EIR for Lennar’s redevelopment plans, even though the Redevelopment contract in question concerns assessing the environmental issues related to the Navy’s shipyard clean-up plans.

Covington then pointed to, but did not identify, letters that she claimed were from individuals who alleged their names were falsely included in a letter supporting Arc’s EIR comments.

Covington then told the audience that the Agency’s 50 percent small business enterprise standard in contract awards “ is a goal but does not apply to non-profits”.

And Commission President Swig, a hotel and tourism industry consultant, sought to frame Arc, which is respected as an independent non-profit, as an ungrateful consultant.
“As a consultant myself, I don’t agree with all my customers, but I don’t bite the hand that feeds me,” Swig said.

And then the Commission voted 4-0 to reject Arc—and award the contract to Circle Point.

Outside the meeting, a black mood reigned.
“It was political payback,” Scott Madison said. “I think the Commission made a bad choice.”

Mike McGowan. Arc’s senior scientist, noted that public support was 17-3 in favor of Arc.
“But I guess only four votes counted,” he observed. “It seemed that Redevelopment’s staff was in favor of Arc, as was the community except for a few voices, but the Commission kept harping on incidental issues. The truth is that there are no holes in our qualifications.”

McGowan noted that the environmental services contract relates primarily to Navy clean-up.
“Arc never got in the way of the development,” McGowan said. “What it did was participate more fully in the EIR process, and, as I understand, Lennar incorporated some of Arc’s suggestions into their design. But by Arc not having its contract for the last 18 months, a lot of misinformation floated to the top.”

McGowan noted that the spirit of the Agency’s policy on small business enterprises is to foster the development of small firms that are disadvantaged and local.
“And Arc definitely is smaller, less advantaged and based in the Bayview, but it seemed like a lot of personal animosity came up,” he said.

Bloom acknowledged that the loss of this contract is a serious economic blow for Arc.
“They screwed a local small non-profit in the face of a multi-million dollar organization that swathed itself in a couple of small Bayview businesses,” Bloom continued, referring to Circle Point’s inclusion of three local SBEs as sub-contractors in its contract proposal.

Others, speaking off the record for fear of political reprisal, told the Guardian that the Commission’s treatment of Arc—and its refusal to listen to community members and community-based organizations that represent many thousands of local residents—calls into question the need for Redevelopment to exist in its present configuration, if the Commission believes its priority is to fire contractors that disagree with its plans in other arenas.

“The Board can eliminate the Redevelopment Agency and/or change its governance,” a Bayview resident said. “The Bayview is the last frontier of the eastern side of San Francisco. It’s a historically neglected neighborhood that many folks in City Hall now see as the next potential gold mine.”

“Red” bayou

Jesse Hawthorne Ficks

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September 21, 2010

0

STAGE The young woman has something wrong with her; a chorus of women tell us so. They’re neighbors in the same particular, yet nebulous, time/place: a housing project in a nameless small town in the Louisiana bayou, some time in the “distant present.” As if floating on water, the young woman, an African American teen named Oya (Lakisha May), lies prone on a dais at the center of an otherwise bare stage as they speak of her. Her name, like those of all the characters in Tarell Alvin McCraney’s In the Red and Brown Water, evokes African folklore, but there is something of the classical Greek tragedy about all this too, something of Lorca, and more. This is meta-theatrical terrain as hybrid and multifarious as the culture of the bayou itself.

As we circle back to the beginning of her story, Oya seems destined for great things. She’s an exceptional runner, a natural in fact, and it brings her great joy as well as the offer of a scholarship to the state school. But she defers the offer to be with her ailing single mother (Nicol Foster) and soon finds herself not moving at all.

Oya’s hopes shift to love. But the great love of her young life, a lothario named Shango (an excellent Isaiah Johnson), soon joins the military, leaving Oya to the care of a fallback sweetheart, the big, gentle, stuttering Ogun Size (Ryan Vincent Anderson). She continues stagnating, restless, unhappy, spending all her time on the porch of her house. It seems a baby might save Oya, but she appears incapable of becoming pregnant. Her desperation grows, since her womb and her world will not. Left with no room to breathe, no air, no forward motion, Oya’s fate is all but sealed.

It would be something for any new play by a playwright under 30 to live up to the hype that greeted McCraney’s In the Red and Brown Water, which opened last week at Marin Theatre Company. Fortunately for playwright and audience alike, MTC delivers a solid production, attractively staged by its own producing director, Ryan Rilette (whose relationship with the playwright goes back to a production at Rilette’s former stomping grounds, New Orleans’ Southern Rep), and featuring some fine performances by a strong, engaging ensemble. But if the Bay Area premiere of this first work in McCraney’s much touted trilogy, The Brother/Sister Plays — all being staged over the coming weeks in an unprecedented coproduction by MTC, the Magic, and ACT — well serves the real talents exhibited by the acclaimed newcomer, the play itself still falls short of its ambitious scope.

Rilette’s impressive cast and fluid staging take the poetry and humor in McCraney’s words and run with it. The playwright has his characters voice their own and others’ stage directions — calling knowing attention to the artifice of theatrical storytelling as well as the narrations we make of our own lives — and the actors handle this aspect with aplomb, deftly shifting from bland utterance to in-character performance of the emotion or action described. There’s much well-throated song and some affecting sensuality here too. But the theatrical style only partly makes up for some thinness in plot and character. Oya’s is a humble story, at one level, and the strength of the play comes in recognizing her as worthy of our attention. At the same time, the playwright’s urge to cast her along a trajectory of classical-tragic proportions ends up feeling overblown instead of quietly poignant.

Bay Area audiences have the opportunity to see The Brother/Sister Plays trilogy over the coming weeks, which is no small thing, marking an unprecedented collaboration between three major companies. The Magic Theatre opens The Brothers Size this week (Size having first brought attention to McCraney when it was produced by New York City’s Public Theater in 2006) and American Conservatory Theater will follow in October with the Bay Area premiere of Marcus; or the Secret of Sweet. Qualifications aside, this is an unusual and enticing project all around.

IN THE RED AND BROWN WATER

Through Oct. 10, $32–$-53

Marin Theatre Company

397 Miller, Mill Valley

(415) 388-5208

www.marintheatre.org

The District 8 dilemma

Jesse Hawthorne Ficks

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September 21, 2010

13

tredmond@sfbg.com

Gabriel Haaland, a longtime queer labor activist, was talking to a friend from District 8 the other day, chatting about the race for a supervisor to fill the shoes of Harvey Milk, Harry Britt, Mark Leno, and Bevan Dufty. “She told me that she didn’t know who to vote for,” Haaland said, “because she didn’t know who the progressive was in the race.”

For supporters of Rafael Mandelman, that’s a serious challenge. “The polls are very consistent,” Haaland said. “Most of the voters in D-8 would prefer a progressive over a moderate, and when they know who the progressive is, they support that candidate.”

But oddly enough, although District 8 — the Castro, Noe Valley, and parts of the Mission — is one of the most politically active parts of the city, where voter turnout is consistently high, the supervisorial race is getting only limited media attention. The neighborhood and queer papers are doing a good job of covering the race, but for the rest of the media, it’s as if nothing’s happening. And that’s left voters confused about what ought to be a very clear choice.

The San Francisco Chronicle featured the District 6 race on the front page Sept. 19, with a long story about how demographic changes in the South of Market area would affect the successor to Sup. Chris Daly. District 10, with the mad political scrum of 22 candidates, no clear front runner and endorsements all over the map, has received considerable media attention.

Yet D–8 — which offers by far the most striking distinctions between candidates and the sharpest divisions over issues — has been flying under the radar.

Three major candidates are in the race, two gay men and a lesbian. All of them, for what it’s worth, are lawyers. Rafael Mandelman, who works for a firm that advises cities and counties, has the support of the vast majority of progressive leaders and organizations. Rebecca Prozan, a deputy district attorney, and Scott Wiener, a deputy city attorney, are very much on the moderate-centrist (some would say, by San Francisco standards, conservative) side of the political spectrum.

“As Barbara Boxer has said in her ads, the choice is clear,” Aaron Peskin, chair of the local Democratic Party and a Mandelman backer, told us. “Not to exaggerate, but this is like Boxer v. Carly Fiornia, and Rafael is our Boxer.”

Yet by almost all accounts, Wiener is ahead in the race.

ON THE ISSUES

The San Francisco Board of Supervisors has been roughly divided in the past decade between the progressive camp and moderate camp. And while those labels are hard to define (the Chronicle won’t even use the term “progressive,” preferring “ultraliberal”), most observers have a basic grip on the differences.

The moderates, who tend to support Mayor Gavin Newsom, are social liberals but fiscal conservatives. They talk about the city surviving budget red ink without major tax increases. They talk about controlling government spending and increasing public safety. The progressives generally see local government as underfunded after four years of brutal cuts and support the idea of raising new revenue to fill the gap. They support tenants over landlords, seek stronger protections for affordable housing, support Sanctuary City, and oppose sit-lie.

Certainly with Wiener and Mandelman, it’s abundantly clear where the candidates fall. The two agree on some things (they both oppose Prop. B, the pension-reform measure that would reduce health care payments for the children of city employees) and they both support nightlife. But overall, they take very different political stands.

Wiener told us, for example, that the city’s structural budget problems won’t be solved without cuts. “We’re not going to able to tax our way out of this,” he said in an endorsement interview. “We have to lower our expectations for government.”

Other than Muni, public safety, and core public health services, cuts “will have to be across the board,” he said. “What are the things we really can’t do without?”

Wiener supports the sit-lie proposal, saying that he doesn’t think the local police have the tools they need to get poorly behaving people off the streets. He doesn’t support Sup. Ross Mirkarimi’s measure mandating foot patrols because, he told us, he doesn’t think the supervisors should micromanage the Police Department.

Sup. Bevan Dufty, who currently holds the D–8 seat, has voted with the progressives occasionally — but almost never on tenant issues. And Wiener, who has the support of the rabidly anti-tenant Small Property Owners of San Francisco, is likely to follow that approach. Although he told us he supports rent control (which just about everyone in local politics agrees on at this point), he’s not a fan of additional protections against evictions and condo conversions. “I’m not prepared to go beyond what we have now” on eviction protections, he said. He supported Newsom’s plan to allow people to buy their way out of the waiting list and lottery for condo conversions.

And when it comes to public power, he’s to the right of the incumbent: Dufty has said repeatedly that he supports the city taking over Pacific Gas and Electric Co.’s infrastructure and putting the city in control of a full-scale public power system. Wiener says he supports community choice aggregation (CCA), but not full-scale public power.

Mandelman is a big supporter of local government and says, without hesitation, that the city needs more revenue. “The public sector is dramatically underfunded,” he told us in a recent interview. “There’s great wealth in the city and it needs to be tapped to preserve public services.” Mandelman said he’s not “tax happy,” but told us that the structure of how the city raises revenue is a mess. He supports a top-to-bottom review of the city’s revenue base with the goal of making taxation more progressive — and bringing in enough money to fund crucial services.

Mandelman is a foe of sit-lie, which he sees as punitive and ineffective. He opposes gang injunctions and supports Sanctuary City. And he’s a strong advocate for tenants, supporting stronger eviction protections and limits on condo conversions that take away affordable rental stock.

“You have to look at the candidates and ask what their priorities are,” he said. “Are the displacement of long-time residents critically important or something that’s not on the top of the list? Do you believe we need to rebuild the safety net? Or is queer politics all about property values?”

Prozan told us that she’s the one who can “bring the two sides together” and said that, like Dufty, she is “right up the middle.” She supports the hotel tax and the vehicle license fee and opposes sit-lie, but also thinks gang injunctions are a useful tool for law enforcement. She doesn’t see any reason to split appointments between the mayor and the supervisors for the board that oversees Muni or the Redevelopment Agency. She doesn’t think the city can or should do anything more about the conversion of rental property to tenancies in common, but supports the idea of taking over foreclosed properties to create housing for teachers, cops, and firefighters. So it’s safe to say the Prozan would probably be similar to the incumbent — with the progressives on a few things, against them on others.

UNDER THE RADAR?

Wiener and Mandelman agree on two basic points: there are stark differences between the candidates — and the city’s major media outlets aren’t paying enough attention. That’s probably because the relatively tame politics doesn’t compare to the sort of wild excitement you see in Districts 6 and 10.

“There’s less chaos than some of the other districts,” Wiener said. “The three major candidates are all hard-working, respected people who have all lived in the district a while.”

He also agreed that he and Mandelman have “very different visions” for the district and the city, and that there are sharp contrasts and divisions between the two candidates.

Prozan also argued that the political differences on issues aren’t going to be the only — or even the deciding — factor for many voters. “I think they’re looking for who’s got the courage and independence to do what’s right,” she told us.

But Mandelman told us there’s a crucial story here that needs to be told: “It’s a definitional fight about what the queer community is about in 2010. As goes D–8, so goes San Francisco.”

Quick Lit: Sept. 22-Sept. 28

David Talbot

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September 21, 2010

0

Literary readings, book tours, and talks this week

Jonathan Safran Foer, Mattilda Bernstein Sycamore, Radar Lab Showcase, The Architecture of Timothy Pflueger and more.

Wednesday, Sept. 22

Radar Lab Showcase
Featuring authors Ali Liebegott, Annie Sprinkle, Beth Stephens, Justin Chin, Kat Marie Yoas, Deez Nutsian, Rose Tully, Elyssa Joy Kilman, and Michelle Tea.
7 p.m., $10
The Luggage Store
1007 Market, SF
(415) 255-5971

Jonathan Safran Foer
Hear the author of Eating Animals, Extremely Lound and Incredibly Close, and Everything is Illuminated discuss vegetarianism, argue for humane agricultural methods, and examine the cultural meaning of food.
8 p.m., $20
Herbst Theater
401 Van Ness, SF
www.cityboxoffice.com

T.J. Stiles
The award-winning author of The First Tycoon: The Epic Life of Cornelius Vanderbilt will give a talk titled, “The Significance of One Life: The Individual’s Role in History, and Biography’s Place in the Digital Age,” where he will discuss the importance of the individual in the course of human events, how to reflect on life with the short attention span of the digital age, and other current challenges to writing biography.
6 p.m., $12
Mechanics’ Institute
57 Post, SF
(415) 393-0100

Thursday, Sept. 23

“The Architecture of Timothy Pflueger”
Theresa Poletti, author of Art Deco San Francisco, will lead this lecture about Pflueger, who shaped the skyline of San Francisco with his mastery of the Art Deco style.
6 p.m., $12
Bayside Conference Room
Pier 1
Embarcadero, SF
www.sfheritage.org

City of Stairways
Attend this reading with the young authors of WritersCorps of their new book of poetry, photography, artwork, maps, and tips titled, City of Stairways: A Poet’s Field Guide to San Francisco.
7 p.m., $5-$10
Red Poppy Art House
2698 Folsom, SF
(415) 826-2402

Guillermo Del Toro
Del Toro returns with his second novel, The Strain, the second in The Strain series, about a vampiric infection spreading across America. Del Toro is best known for his films, including Cronos, Blade II, Hellboy I and II, and Pan’s Labyrinth among others.
7:30 p.m., $12
Kabuki Sundance Theater
1881 Post, SF
www.booksmith.com

Monday, Sept. 27

Michael Lewis
Hear this journalist and author of Money Ball and The Blind Side discuss his latest book, The Big Short, describing the build up of the housing credit bubble that led to the financial crisis of 2007-2008.
8 p.m., $20
Herbst Theater
401 Van Ness, SF
www.cityboxoffice.com

Tuesday, Sept. 28

The End of San Francisco
Get a special preview reading of writer and activist Mattilda Bernstein Sycamore’s memoir in progress about the past two decades she spent in San Francisco, full of the political, literary, and artistic. Refreshments and discussion to follow.
6:30 p.m., free
Modern Times Bookstore
888 Valencia, SF
www.mtbs.com

Nothing Left for the Dead
Local author M. Cazadores will read and discuss his first novel, a piece of non-existential literature that touches on themes of indentured servitude, technology, American corporate plutocracy, racims, sheep, sex, love, music, drugs, and time. Accompanying music will be provided by David and Joanna.
7 p.m., free
Vesuvio
255 Columbus, SF
(415) 362-3370

Endorsement interviews: Jane Kim

Zelda Bronstein

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September 21, 2010

20

Jane Kim’s top issues are economic development and jobs. She told us she wants to encourage small business in the district, starting with an “empty storefronts” campaign. She’s pushing local-first hiring for construction and development.

Kim said she wants the city to index affordable housing to market-rate housing and try to keep the ratio from getting too far unbalanced. She’s calling for a new affordable housing bond.

She recognizes that the city needs substantial new sources of revenue, and supports a transit fee on downtown businesses, a transfer tax hike for properties selling for more than $825,000, and would explore a city income tax. She said she’s open to congestion pricing for downtown drivers.

Kim supports the City Place project, saying that a lot of the residents of the Tenderloin want discount retail in the area.

She’s a fairly new arrival to the district, having moved in about a year and a half ago, but she told us: “D6 is a district you can run in without having lived there a long time.”

Listen to the full interview here:

janekim by endorsements2010

PG&E’s secret pipeline map

Jesse Hawthorne Ficks

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September 21, 2010

9

news@sfbg.com

>>CLICK HERE TO VIEW THE FULL-SIZE PG&E SECRET PIPELINE MAP (PDF)

It’s been nearly two weeks since the pipeline in San Bruno exploded and killed four people, injuring many more and destroying 37 homes. And it’s left a lot of people in San Francisco wondering: could it happen here?

Of course it could. PG&E has more than 200 miles of major gas pipelines under the city streets that are scheduled to be replaced — and that means they’re reaching the end of their useful life. Just like the pipe that blew up in San Bruno.

Are any running under your home or business? PG&E isn’t going to tell you.

That’s bad. “The public has a right to this information,” City Attorney Dennis Herrera told us. And Sup. Ross Mirkarimi has introduced a resolution calling on PG&E to make the locations of its pipelines, electric lines, and other potentially parts of the company’s infrastructure public.

But here’s what worse: even the city’s public safety departments — the ones that would have to respond to a catastrophic event involving a gas main break — don’t know where those lines are.

“I’m still looking for that map myself,” said Lt. Mindy Talmadge, a spokesperson for the Fire Department.

The city’s Public Utilities Commission, which, among other things, digs its own trenches to install and repair water pipes, doesn’t have the PG&E map. Neither does the the California PUC, which regulates PG&E.

It might also make sense for the City Planning Department to have the map; after all, zoning an area for the future development of dense housing that sits on top of an explosive gas main might be an issue. “People need to start holding PG&E accountable,” Planning Commission member Christina Olague told us. “Why shouldn’t PG&E release [the map] given the recent tragedy?”

PG&E insists that the exact location of the gas mains should remain secret because someone might want to use the information for a terrorist attack. But if the San Francisco Fire Department and Department of Emergency Services can’t get the map of the pipelines, something is very wrong. Even Sup. Sean Elsbernd, who has been allied with PG&E against public power issues, agreed that “the public safety agencies should certainly have that information.”

The Mirkarimi resolution urges PG&E “to cooperate with the city’s request for infrastructure information.” Mayor Gavin Newsom has already appointed the fire chief and city administrator to conduct a utility infrastructure safety review that would evaluate the location, age, and maintenance history of every pipeline underneath city streets.

Not every state allows utilities to keep this information secret. In both Washington and Texas, maps of underground pipelines are easily accessible, said Carl Weimer, executive director of the Bellingham, Washington-based nonprofit Pipeline Safety Trust. Texas even has an online system, he said.

But in California, PG&E keeps even essential safety agencies in the dark. If a fire came near where a PG&E pipeline was buried — or if an earthquake fractured some of the lines and gas started to leak — Talmadge said the San Francisco Fire Department wouldn’t be able to do anything about the explosive gas except call PG&E. Only the private utility can shut off the gas, which is under high pressure in the main lines.

“We radio to our dispatch center and request PG&E to respond … They would contact PG&E and have them respond,” she explained.

The department doesn’t prepare specifically for that sort of event. “We do not have a specific gas leak training … it would be more of a hazardous material training,” Talmadge said.

The remarkable thing is that much of the data the city doesn’t have — and PG&E won’t give up — can be pulled together from publicly accessible data. The major news media, particularly The Bay Citizen, have been pursuing the story and have run pieces of the map. Several newspapers and websites have published rough maps outlining where the major underground pipes are.

But as far as we know, nobody’s done a full-scale look at what the existing public records show.

Using information that the U.S. Department of Transportation has put on the Web, we’ve managed to put together a pretty good approximation of the secret map PG&E doesn’t want you to see.

We took a map from the DOT’s Pipeline and Hazardous Materials Safety Administration and layered it over a map of San Francisco. The maps of the southeast part of the city are more accurate; the information on gas mains going through the north and west side of town are sketchier. But the lines appear to run parallel to major streets, and we’ve put together a guide that at the very least can tell you if there’s a potentially explosive gas line in your neighborhood — and maybe even under your street.

Obviously, every house or business that has natural gas service — and that’s most of San Francisco — is hooked up to a gas pipe, and those feeder pipes run under almost every street. But the gas in those lines is under much lower pressure than the gas in the 30-inch main lines shown on this map, where pressure can reach 200 pounds per square inch. It was a main pipe that blew up under San Bruno.

It’s not surprising that the southeast — traditionally the dumping ground for dangerous and toxic materials — would have the most gas mains, and the most running through residential areas. One line, for example, snakes up Ray Street and jogs over to Delta Street on the edge of McLaren Park and near a playground. It continues under Hamilton and Felton streets, under the Highway 280 and onto Thornton Street before heading into the more industrial areas near Evans Avenue.

Another main line goes under the south side of Bernal Heights, running below Banks Street, around the park, then down Alabama Street to Precita Street, where it connects with 25th Street. That line then heads to Potrero Hill, where it follows Rhode Island Street to 20th Street.

Research assistance by Nichole Dial.

The news that didn’t make the news in SF

Sasha Cuttler And Mary Magee

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September 16, 2010

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Every year, the Guardian features the Top 10 Project Censored stories presented by the Sonoma State University project that spends all year analyzing which stories the mainstream media missed. But which stories did not find their way into the mainstream press here in the San Francisco Bay Area?

News outlets other than the Guardian typically ignore Project Censored (unless you count SF Weekly’s snark), so you might say that even Censored tends to be censored. Other than that, we note that issues not hand-delivered via press release or PR campaign might receive less attention than those obvious stories. Using a rather unscientific process of surfing alternative news sites online to find out which stories didn’t get a lot of play in the mainstream, we’ve come up with an assortment of Local Censored stories – though this is by no means a comprehensive list. What other news didn’t make the news?

Local Censored stories:

* What we didn’t hear about when PG&E was pushing Prop 16

Speaking at an informational hearing in Sacramento in February 2010 about Pacific Gas & Electric Co.’s ballot initiative, Proposition 16, former California Energy Commissioner John Geesman noted that the state’s most powerful utility company was using customer money to finance a bid to change the state constitution for its own purposes. Prop 16, which earned a thumbs-down from voters in the June election, would have created a two-thirds majority vote requirement before municipalities could set up electricity services separate from PG&E. While there was no shortage of reporting about the astounding sums of cash that PG&E sank into Prop. 16, hardly anyone aside from Geesman picked up on the more salient point of what PG&E was not spending its money on.

“California’s investor-owned utilities face a Himalayan task in modernizing our electricity system and building the infrastructure necessary to serve a growing economy,” Geesman wrote on his blog, titled PG&E Ballot Initiative Fact Sheet. “They ought to focus on that, rather than manipulating the electorate to kneecap their few competitors.” It is now abundantly clear that PG&E’s aging gas pipelines in San Bruno were badly in need of replacement – and the utility’s neglect opened the door the catastrophic explosion that occurred Sept. 9, resulting in tragic loss of life and destroying homes. “The current leadership at PG&E has lost its way. Nobody is minding the ship,” senator Mark Leno told the Guardian shortly after the blast. “Enough with the self-initiated, self-serving political campaigns. … How about focusing on the current mission — to provide gas and electricity safely, without death and destruction?”

PG&E Ballot Initiative Fact Sheet: http://pgandeballotinitiativefactsheet.blogspot.com/
Huffington Post: http://www.huffingtonpost.com/christine-pelosi/deadly-priorities-why-did_b_713800.html

* What you might not have read about Johannes Mehserle’s murder trial

If you looked to Colorlines.com, Blockreportradio.com, the San Francisco Bay View, or Indybay.org for coverage of Johannes Meherle’s murder trial for the fatal shooting of Oscar Grant, then you got a different picture from the one offered by mainstream Bay Area news outlets. There may well be plenty of details about the trial that didn’t make the cut for mainstream news, but one particular point caught our eye as something that should’ve warranted more prominent coverage, or at very least sparked deeper questions from mainstream press. According to the witness testimony of Jackie Bryson, who was with Grant on the train platform the night of the shooting, Grant’s friends immediately urged BART police to call an ambulance after Grant had been shot, but police didn’t do it right away.

Here’s the report from Block Report Radio: “Jack Bryson said he yelled at Oscar after he was shot to stay awake and to the police to call the ambulance. The unidentified officer who was on Bryson declared, ‘We’ll call the ambulance when you shut the fuck up!’ Bryson went on to say that he was never searched on the Fruitvale platform or at the Lake Merritt BART police station, which seems ridiculous if you consider the earlier testimony of former BART police officers Dominici and Pirone, who were involved in the murder and who testified last week that they had felt threatened by Oscar Grant and his friends.” So, if it’s true that Grant’s friends were told to “shut the fuck up” when they were urging BART cops to call an ambulance, and that the supposedly threatening parties weren’t ever searched, why didn’t these points receive as much attention in the media as, say, the claim that years earlier, Grant may have resisted arrest? After witnessing the death of his friend, Bryson said in his testimony, he was detained for hours while wearing handcuffs pulled so tight that his wrists hurt, only to be told afterward that since he had not been read his Miranda rights, he was not under arrest. To be fair, the detail about calling the ambulance did make it into the Chronicle, near the bottom of a blog post, under the subhead, “Friend’s claim.”

Block Report Radio: http://www.blockreportradio.com/news-mainmenu-26/894-jack-bryson-hits-the-stand.html
Colorlines: http://colorlines.com/archives/2010/06/defense_opens_with_gripping_testimony.html

* Homelessness on the rise in San Francisco

The controversy surrounding Prop L, a proposed ordinance to ban sitting and lying down on the sidewalk, has been widely reported on — but there’s a more pressing issue related to homelessness that hasn’t gotten nearly as much ink. An article in New America Media, “Shelters predict homeless count to skyrocket,” highlighted a perceived surge in San Francisco’s homeless population, evidenced by overwhelmed service providers who can hardly keep up with demand. “We’re serving 200,000 more meals per year than two years ago, but we haven’t had the capacity to add staff,” the chief executive officer of the Glide Foundation noted in the article. The drop-in center, she added, no longer had enough seats to accommodate those in need. According to a fact sheet issued by the Coalition on Homelessness in July of 2009, 45 percent of respondents to a COH survey were experiencing homelessness for the first time. The overwhelming majority of respondents, 78 percent, became homeless while living in San Francisco.

New America Media: http://newamericamedia.org/2010/04/shelters-predict-homeless-count-to-skyrocket.php
Coalition on Homelessness: http://www.cohsf.org/en/

* The long wait for Section 8

It isn’t easy for a tenant with a Section 8 voucher to find housing in the San Francisco Bay Area. In San Francisco, there’s a barrier to getting the voucher in the first place, since the waitlist is currently closed. Those who have vouchers are often passed over by landlords, and the string of denials can drive people to unstable housing situations such as extended hotel stays. An article in POOR Magazine features the story of Linda William, a woman who left a San Francisco public housing project with a Section 8 voucher in hand only to embark on a wild goose chase, ultimately winding up in a low-end motel outside Vallejo. “Well whaddya know,” William told the POOR magazine reporter, “I found closed wait lists on almost all the low-income housing units in all of those places and all the rest of the landlords wouldn’t even return my calls when I told them I had section 8.” An article by Dean Preston of Tenants Together that appeared in BeyondChron, meanwhile, spotlights the issue of landlord discrimination against Section 8 tenants. “In the Section 8 voucher program, participating tenants pay 30 percent of their rent and the Housing Authority pays the balance to the landlord,” Preston writes. “It takes years for eligible tenants to be able to participate in the program. Once tenants get off the wait list, the landlord must sign a payment contract with the housing authority in order to receive the portion of the rent paid by the government. By refusing to sign onto the program, some landlords seek to force rent controlled tenants into situations where they cannot pay their rent.”
POOR Magazine: http://www.poormagazine.org/node/3277
BeyondChron: http://www.beyondchron.org/news/index.php?itemid=8012

* San Francisco’s trashy secret

Despite being thought of as a beacon of sustainability, San Francisco’s not-so-green waste stream is something that didn’t make the front page of many papers – except, of course, this one. Sarah Phelan’s “Tale of Two Landfills,” a Guardian cover story this past June, examined San Francisco’s decidedly unenlightened policy of transporting waste far outside of the city despite a goal of reducing waste to zero in the next 10 years. Here’s an excerpt: “It’s a reminder of a fact most San Franciscans don’t think much about: The city exports mountains of garbage into somebody else’s backyard. While residents have gone a long way to reduce the waste stream as city officials pursue an ambitious strategy of zero waste by 2020, we’re still trucking 1,800 tons of garbage out of San Francisco every day. And now we’re preparing to triple the distance that trash travels. ‘The mayor of San Francisco is encouraging us to be a green city by growing veggies, raising wonderful urban gardens, composting green waste and food and restaurant scraps,’ Irene Creps, a San Franciscan who owns a ranch in Wheatland, told us. ‘So why is he trying to dump San Francisco’s trash in a beautiful rural area?’”

SFBG: http://www.sfbg.com/2010/06/15/tale-two-landfills

* The real unemployment rate

The Bureau of Labor Statistics makes a distinction between so-called “discouraged workers” who have stopped looking for jobs, and the jobless who are actively seeking employment, so the official unemployment rate (9.7 percent in San Francisco, according to the most recent data) may be much lower than the actual unemployment rate.

We haven’t seen any brilliant local reporting on this issue, but the problem is summed up nicely in this YouTube video produced by a personal finance software firm.

http://www.youtube.com/watch?v=Ulu3SCAmeBA&feature=player_embedded

Lynette Sweet, the “no comment” candidate

Mary Magee

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September 16, 2010

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Lynette Sweet, who is running for D. 10 Supervisor, has already declined to give the Guardian an endorsement interview. And earlier this year, when Sweet sat down for a brief interview as part of our kick-off coverage of the D. 10 race, her campaign manager Shane Meyer kept trying to answer our questions before Sweet could even open her mouth.
But yesterday Meyer took the campaign’s habit of non-communicating to a new level, making us wonder just how much access or information anyone will be able to get out of Sweet, in the event that she actually gets elected, given how she is behaving as a candidate.

“We make no comments to the Guardian,” Meyer told us, when we called to ask if Sweet knew that workers with her campaign had stuck her campaign signs on the doors of the tenants association building in the Sunnydale public housing projects

Now, aside from the fact that Sweet is running a truly off-putting campaign by refusing to communicate on even the most straighforward issues, she might want to make sure her campaign staff are properly trained.

That’s because, as John St. Croix, executive director of the city’s Ethics Commission, told us, “It’s generally illegal to post any sign on public property.”

“All political signs can only be posted on utility poles and lamp posts,” St. Croix added, noting that the Department of Public Works regulates such activity and these regulations are clearly laid out in the Elections Department’s candidate guide.

That guide also states that local law prohibits the posting of signs in excess of 8-1/2 x 11” on all street poles—and that there is a total prohibition on historic lampposts, traffic signals (duh!) and poles with directional signage.

The guide lists common violations of the law regulating outdoor political advertising, which include posting more than one sign on the same pole, and failure to remove signs after Election Day.

“Candidates are strongly advised to become familiar with all applicable laws to avoid such violations,” the guide states.

Film listings

David Talbot

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September 14, 2010

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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. For first-run showtimes, see Movie Guide.

OPENING

Alpha and Omega A pair of relocated wolves try to make their way home in this 3D animated comedy. (1:28)

Catfish Please do not reveal the secret to Catfish — relax, I’m not going to. What I will say is this: Catfish’s uber-secretive, Paranormal Activity-esque ad campaign is effective, but the film ultimately stands on its own merits. This is an intriguing, relatable documentary, and if the studio feels that they’ll sell more tickets by promoting it in a certain way, so be it. Without giving away too much, Catfish is the spontaneous documentary that arose when filmmakers Rel Schulman and Henry Joost began filming Rel’s brother, Nev. Like so many of us, Nev finds himself drawn to a person he’s never met — embarking on a relationship through Facebook photos and wall posts. Of course, as is so often the case with the internet, nothing is quite what it seems. Catfish has already found its critics, particularly those who insist the documentary is a fake. I believe it, but either way it’s an impressive achievement: the best film yet about social networking. (1:26) Metreon. (Peitzman)

Devil "From the mind of M. Night Shyamalan," caution the commercials. (1:20) Shattuck.

*Easy A See "Life on the ‘A’ List." (1:30) Marina, Shattuck.

*Heartbreaker See "The Break-Up Artist." (1:44) Albany, Embarcadero.

*Sicilian Girl Spoiled daddy’s girl Rita Atria (Veronica D’Agostino) is traumatized at age 11 when her beloved papa is killed by Mafia associates. At 17, she’s pushed over the edge when an older brother meets the same fate. It’s then, in 1991,
that she breaks the omertà, or code of silence, by cooperating with judicial authorities, putting herself under severe witness-protection limitations while still at high assassination risk. This dramatized real-life story doesn’t offer cliché heroism: as portrayed by fireball D’Agostino, Rita is bratty, obstinate, not especially bright or pretty, her dedication more selfishly vengeful than concerned with the public good. She’s also a naive teenager susceptible to manipulation, especially by questionably motivated boyfriends. Yet she takes a stand and refuses to back down. The likely consequences of that courage make for a suspenseful drama director Marco Amenta ably steers to a conclusion both tragic and inspiring. (1:50) Lumiere, Shattuck, Smith Rafael. (Harvey)

The Town Ben Affleck directs and stars in this drama about a conflicted bank robber. (2:10) California, Cerrito, Presidio.

*Undertow See "Peruvian Twist." (1:40) Bridge.

The Virginity Hit To its credit, The Virginity Hit is not what you’d expect. The trailer and concept recall the teen sex comedy trend that sprung up after 1999’s American Pie, but the actual film is a far more grounded in reality. It’s also not nearly as good. The Virginity Hit is a well executed mockumentary, in that it feels amateur even in its most absurd moments. The movie follows Matt (Matt Bennett) in his attempts to lose his virginity after a disastrous attempt with his girlfriend Nicole (Nicole Weaver). As you’ve probably guessed, hilarity ensues — and it ensues, for a YouTube generation, in the form of viral videos and crude parodies. The problem with The Virginity Hit is that it just isn’t funny: the tone is all over the place, and the bits that should be amusing fall flat. It’s interesting as an experiment and the cast is quite convincing, but the material never elevates the film past its gimmick. (1:26) Metreon. (Peitzman)

ONGOING

*The Agony and the Ecstasy of Phil Spector Alternately slavish and critical, simultaneously buying into and subtly resisting the hype, The Agony and the Ecstasy of Phil Spector is a bit like the renowned producer himself, who said this to biographer Mick Brown in 2007’s Tearing Down the Wall of Sound: the Rise and Fall of Phil Spector: "I have a bipolar personality … I have devils inside that fight me. And I’m my own worst enemy … I would say I’m probably relatively insane." You can see why director Vikram Jayanti scored the interview with Spector at the center of Agony, since he gets on board the musicmaker’s bifurcated, multichannel tip. The doc is both fascinating and monotonous, respectful of Spector’s achievements as well as the sensation surrounding his blighted celebrity. The filmmaker stays away from the specifics of the night in 2003 when Lana Clarkson was found dead at Spector’s mansion, while recontextualizing the producer’s words and music with images culled from the murder trial and other footage. The end result is an innuendo-laden pastiche that resembles an echo chamber reverberating with all the doomed dramatics of "He Hit Me (It Felt Like a Kiss)." (1:42) Roxie, Smith Rafael. (Chun)

*The American George Clooney caught in a moodily paranoid, yet exquisitely photographed, ’70s-style suspense-arthouse death-trap? Belmondo and Beatty could empathize. Nonetheless, veteran rock photographer and Control (2007) director Anton Corbijn suffuses the chilly proceedings with a fresh, wintry beauty, the carefully balanced sense of highly charged tension and silky smoothness that a gunsmith would appreciate, and a resonance that feels personal. How else would an ex-rock shooter like Corbijn, who’s made iconic images of the Clash, U2, and others, connect with this tale of an assassin masquerading as a photographer, one who’s constantly glancing behind and around himself — justifiably wary of being caught in another killer’s sights — and seemingly just as wary of the director’s, and audience’s, gaze? A character who wouldn’t be out of place in a Camus novella or a Melville brooder, Jack/Edward, or more accurately "the American," (Clooney) is in exile after a bad collision with a girlfriend and hitmen in Sweden and hiding out in a picturesque Italian village, conspicuously the more-cold-than-cool outsider and doing one immaculate job for a gorgeous mysterious woman (Thekla Reuten). Is he a good or bad guy? The local priest (Paolo Bonacelli), who knows and sees all like a great eye in the sky, is trying to find out, as is the most beautiful prostitute in town (Violante Placido). The answers are nowhere near as clear or as plainly painted as a Sergio Leone Western, although Corbijn nods to the maestro when stone-cold killer Henry Fonda, then playing shockingly against type, appears on a cafe TV screen in Once Upon a Time in the West (1968). But the director’s care and attention to beauty — as well as the lines carved in the face of Clooney’s lean, mean-looking American, a whore like any other — say more than words. (1:43) Cerrito, Empire, Marina, 1000 Van Ness. (Chun)

*Animal Kingdom More renowned for its gold rush history and Victorian terrace homes than its criminal communities, Melbourne, Australia gets put on the same gritty map as Martin Scorsese’s ’70s-era New York City and Quentin Tarantino’s ’90s Los Angeles with the advent of director-writer David Michôd’s masterful debut feature. The metropolis’ sun-blasted suburban homes, wood-paneled bedrooms, and bleached-bone streets acquire a chilling, slowly building power, as Michôd follows the life and death of the Cody clan through the eyes of its newest member, an unformed, ungainly teenager nicknamed J (James Frecheville). When J’s mother ODs, he’s tossed into the twisted arms of her family: the Kewpie doll-faced, too-close-for-comfort matriarch Smurf (Jacki Weaver), dead-eyed armed robber Pope (Ben Mendelsohn), Pope’s best friend Baz (Joel Edgerton), volatile younger brother and dealer Craig (Sullivan Stapleton), and baby bro Darren (Luke Ford). Learning to hide his responses to the escalating insanity surrounding the Codys’ war against the police — and the rest of the world — and finding respite with his girlfriend, Nicky (Laura Wheelwright), J becomes the focus of a cop (Guy Pearce) determined to take the Codys down — and discovers he’s going to have use all his cunning to survive in the jungle called home. Stunning performances abound — from Frecheville, who beautifully hides a growing awareness behind his character’s monolithic passivity, to the adorably scarifying Weaver — in this carefully, brilliantly detailed crime-family drama bound to land at the top of aficionados’ favored lineups, right alongside 1972’s The Godfather and 1986’s At Close Range and cult raves 1970’s Bloody Mama and 1974’s Big Bad Mama. (2:02) Sundance Kabuki. (Chun)

Bran Nue Dae An energetic screen translation of a 1990 Australian stage musical, Rachel Perkins’ film is tourist cliché spun into crowd-pleasing slop, like a Down Under Riverdance. Young Aboriginal Willie (Rockie McKenzie) escapes the "corrective" environ of a 1969 Perth Catholic boarding school and flees homeward, only to be pursued by mercilessly hammy Geoffrey Wright’s racist priest baddie. The crude humor, generic tunes, and hectically shot and dance-poor numbers have about as much to do with Aussie abo culture as The Lion King does with "Africa" — it’s prefab feel-good pap posing as multicultural representation. (1:28) Elmwood, Sundance Kabuki. (Harvey)

Cairo Time (1:29) Embarcadero, Piedmont, Shattuck, Smith Rafael.

Change of Plans (1:40) Sundance Kabuki.

The Concert (1:47) Opera Plaza.

Eat Pray Love The new film based on Elizabeth Gilbert’s chart-busting memoir, Eat Pray Love, benefits greatly from the lead performance by Julia Roberts, an actor who can draw from her own reserves of pathos when a project has none of its own. The adaptation, about a whiny American author farting around the globe in search of what amounts to spiritual room service, is nothing without her. The journey begins with the Type-A, book contract-inspired premise that Gilbert will travel to three appointed countries over the course of a year in order that, having thrice denied herself absolutely nothing, she might come out the other end a better-balanced human being. The first stop is Italy, where her entire plan is to finally unbutton her jeans and indulge in a celebrated cuisine, as if her home base of Manhattan were a culinary backwater. But this film is all about tired equivalencies, so Italy equals food, and expressive hand gestures, and "the art of doing nothing." India, her next stop, equals enlightenment (her discovery that the guru she’s come to see is currently at an ashram in New York is an irony lost on the movie). And Bali, her final getaway, apparently equals contradictory but flattering aphorisms and thematically hypocritical romances. The sole appeal to a moviegoer here is aspirational. What’s so embarrassing about Eat Pray Love is its insistence that this appeal sprouts from the spiritual quest itself, and not just from the privilege that enables Gilbert to have such an extravagant quest in the first place. But then, self-awareness is supposed to be a obstacle to enlightenment. She’s got nothing to worry about there. (2:30) Elmwood, Empire, 1000 Van Ness, Presidio, SF Center, Sundance Kabuki. (Jason Shamai)

The Expendables Exactly what you’re expecting: a completely ludicrous explosion-o-thon about mercenaries hired by Bruce Willis to take down a South American general who’s actually a puppet for evil CIA agent-turned-coke kingpin Eric Roberts. Clearly, Sylvester Stallone (who directed, co-wrote, stars, and even coaxed a cameo out of Schwarzenegger) knows his audience, but The Expendables — bulging with a muscle-bound cast, including Dolph Lundgren, Terry Crews, Jason Statham, and Steve Austin, plus Jet Li, who suffers many a short-guy joke — is content to simply tap every expected rung on the 80s-actioner homage ladder. There’s no self-awareness, no truly witty one-liners, no plot twists, and certainly no making a badass out of any female characters (really, couldn’t the South American general’s daughter have packed some heat, or kicked someone in the balls — anything besides simply heaving her cleavage around?) The only truly memorable thing here is the inclusion of Mickey Rourke as Stallone’s tattoo-artist pal; I would possibly wager that Rourke was allowed to write his own weepy monologue, delivered in a close-up so extreme it’s more mind-searing than any of the film’s many machine-gun brawls. (1:43) 1000 Van Ness. (Eddy)

The Extra Man The polar opposite of buddy cop action flicks and spoofs a la The Other Guys, with only a faint resemblance to the bromances of Judd Apatow, Adam McKay, Will Ferrell, Seth Rogen, and so on, The Extra Man is a gently weird throwback to another era, much like its title character, Henry Harrison (Kevin Kline). Sweet, cross-dressing-curious teacher and would-be writer Louis Ives (Paul Dano) is drifting though life passively when he stumbles on eccentric playwright Harrison’s room-for-let and his oddball realm of hangers-on. A blustery, prickly, proudly misogynistic collector of Christmas balls, given to spasms of improvisational dancing, Harrison relishes his role as an escort to aged socialites, crankily shucking and jiving to score invites to fancy dinner parties and vacation homes in Florida. When Ives isn’t courting environmental magazine editor Mary (Katie Holmes) or hiding from the fearsome-looking wooly recluse Gershon (John C. Reilly), the mentor-able young man turns out to be more adept at the role than Harrison ever imagined. And like fossilized grande dames in Chanel, literate audiences also might be charmed by director-writer Shari Springer Berman’s unassuming, crushed-out bon mot, based on the novel by Jonathan Ames, to a few mannered, less-than-examined, happily twisted New York City subcultures. (1:45) Four Star. (Chun)

Get Low Born from the true story of Felix Bush, an eccentric Tennessee hermit who invited the world to celebrate his funeral in advance of his own death, Get Low is a loose take on what might inspire a man to do a thing like that. It’s a small story, and unlikely to attract the attention of popcorn-addled viewers in the midst of the summer blockbuster season, but Get Low has a whopper of a character in Felix Bush. Robert Duvall becomes Bush, constructing a quiet man who sees it all and speaks only when he has something to say, and supporting roles from Sissy Spacek and Bill Murray are expectedly solid, but the real surprise is what a strong eye director Aaron Schnieder has. In allowing scenes to unfold on their own terms and in their own time, Schneider gives a real humanity to what could have been a Hallmark movie. (1:42) Empire, Presidio, Shattuck. (Galvin)

*The Girl Who Played With Fire Lisbeth Salander is cooler than you are. The heroine of Stieg Larsson’s bestselling book series is fierce, mysterious, and utterly captivating: in the movie adaptations, she’s perfectly realized by Noomi Rapace, who has the power to transform Lisbeth from literary hero to film icon. Rapace first impressed audiences in The Girl With the Dragon Tattoo (2009), a faithful adaptation of Larsson’s premiere novel, and she returns as Lisbeth in The Girl Who Played With Fire. The sequel, as is often the case, isn’t quite on par with the original, but it’s still a page-to-screen success. And while the first film spent equal time on journalist Mikael Blomkvist (Michael Nyqvist), The Girl Who Played With Fire is almost entirely Lisbeth’s story. Sure, there’s more to the movie than the hacker-turned-sleuth — and the actor who plays her — but she carries the film. Rapace is Lisbeth; Lisbeth is Rapace. I’d watch both in anything. (2:09) Shattuck, Smith Rafael. (Peitzman)

Going the Distance If you live in San Francisco, don’t try to date someone in New York. It’s just not worth the hassle. But hey, maybe you’re as adorable as Drew Barrymore, and your boyfriend’s as charming as Justin Long — you can’t be expected to let a little geographical complication get in the way. That’s the driving force behind Going the Distance, a romcom that stars real-life couple Barrymore and Long as Erin and Garrett, two crazy kids trying to make it work cross-country. In many ways, the film is your standard boy-meets-girl story, but it’s cute enough that the predictability factor doesn’t really matter. The cast is universally strong, with bonus points to the standouts: It’s Always Sunny in Philadelphia‘s Charlie Day as Garrett’s embarrassing roommate, and Christina Applegate as Erin’s germaphobe sister. The humor is surprisingly sharp — and raunchy, which earned Going the Distance an R-rating. I’m not going to say Long’s bare ass is worth the price of admission, but it’s certainly a selling point. (1:43) Marina, 1000 Van Ness, SF Center, Shattuck. (Peitzman)

I’m Still Here This examination of Joaquin Phoenix’s self-imposed Hollywood exile is neither fascinating nor insightful. More like tedious and aggravating, really. Whether or not "JP" — as the erstwhile Oscar nominee refers to himself as he takes on a new persona as unwashed hip-hop artist — is faking his downward spiral is supposed to be the great attraction for Casey Affleck’s apparently vérité vehicle. But Phoenix is so (deliberately?) unlikable it’s hard to care one way or the other. If he is having a breakdown, conveniently captured on film from multiple angles, he’s still a spoiled, private jet-taking movie star moping about existential woes while living a privileged life (hotel suites, fawning personal assistants, etc.) If he’s faking it, it’s unclear what the point of I’m Still Here is supposed to be, other than a "fuck you" to the industry that made Phoenix rich and famous. Either way, ugh. (1:48) Elmwood, Embarcadero. (Eddy)

Inception As my movie going companion pointed out, "Christopher Nolan must’ve shit a brick when he saw Shutter Island." In Nolan’s Inception, as in Shutter Island, Leonardo DiCaprio is a troubled soul trapped in a world of mind-fuckery, with a tragic-vengeful wife (here, Marion Cotillard) and even some long-lost kids looming in his thoughts at all times. But Inception, about a team of corporate spies who infiltrate dreams to steal information and implant ideas, owes just as much to The Matrix (1999), Eternal Sunshine of the Spotless Mind (2004), and probably a James Bond flick or two. Familiar though it may feel, at least Inception is based on a creative idea — how many movies, much less summer blockbusters, actually require viewer brain power? If its complex house-of-cards plot (dreams within dreams within dreams) can’t quite withstand nit-picking, its action sequences are confidently staged and expertly directed, including a standout sequence involving a zero-gravity fist fight and elevator ride. Though it’s hardly genius — and Leo-recycle aside — Inception is worth it, if you don’t mind your puzzle missing a few pieces. (2:30) Four Star, 1000 Van Ness, Sundance Kabuki. (Eddy)

*The Kids Are All Right In many ways, The Kids Are All Right is a straightforward family dramedy: it’s about parents trying to do what’s best for their children and struggling to keep their relationship together. But it’s also a film in which Jules (Julianne Moore) goes down on Nic (Annette Bening) while they’re watching gay porn. Director Lisa Cholodenko (1998’s High Art) co-wrote the script (with Stuart Blumberg), and the film’s blend between mainstream and queer is part of what makes Kids such an important — not to mention enjoyable — film. Despite presenting issues that might be contentious to large portions of the country, the movie maintains an approachability that’s often lacking in queer cinema. Of course, being in the gay mecca of the Bay Area skews things significantly — most locals wouldn’t bat an eye at Kids, which has Nic and Jules’ children inviting their biological father ("the sperm donor," played by Mark Ruffalo) into their lives. But for those outside the liberal bubble, the idea of a nontraditional family might be more eye-opening. It’s not a message movie, but Kids may still change minds. And even if it doesn’t, the film is a success that works chiefly because it isn’t heavy-handed. It refuses to take itself too seriously. At its best, Kids is laugh-out-loud funny, handling the heaviest of issues with grace and humor. (1:47) Opera Plaza, Presidio, Piedmont, SF Center. (Peitzman)

The Last Exorcism Latest in a long line of Louisiana preachers, genial extrovert Cotton Marcus (Patrick Fabian) isn’t even sure he believes in God anymore — but it’s the family business, and it’s a living. He definitely doesn’t believe in demonic possession, yet has presided over many an "exorcism" if only to fool the psychologically damaged into thinking they’re "cured" of delusional ails. But now he’s decided such hijinks might be more harmful than helpful. So to debunk the whole idea, he takes a documentary filmmaking crew on one last "soul-saving" trek, answering a desperate letter from a widowed farmer (Louis Herthum) whose 16-year-old daughter (Ashley Bell) is believed possessed. Cotton deploys theatrical tricks to rig an alleged purging of Satan’s minion. And it works … but this wouldn’t be a horror movie if that rationalist triumph didn’t turn out to be a false finish, followed by all kinds of inexplicable WTF. German director Daniel Stamm’s first English-language feature (written by Huck Botko and Andrew Gurland) is being positioned by Lionsgate as the next viral word-of-mouth horror sensation a la prior faux-docs The Blair Witch Project (1999) and Paranormal Activity (2007). But the "reality" illusion is more transparent here. Despite some clever buildup tactics, okay twists, and a handful of scares, this ultimately disappoints — a preview audience’s catcalls at its underwhelming fadeout suggested there will be no Last Exorcism 2. (1:27) 1000 Van Ness. (Harvey)

*Machete Probably the first movie that was initially conceived solely as a fake-movie trailer (as part of Quentin Tarantino and Robert Rodriguez’s 2007 Grindhouse), Rodriguez’s Machete emerges in full-length form to take on everyone’s sky-high expectations. I mean, the trailer promised motorcycles soaring through flames, a gun-toting priest, and the line "You just fucked with the wrong Mexican." Fortunately, Machete the film does Machete the trailer proud; its deliberately silly revenge plot is both spot-on vintage homage and semi-serious commentary on America’s ongoing immigration debate. In addition, it features more severed limbs, gunshots to the head, irresponsible sex, and smirking Steven Seagal close-ups than any other movie in recent memory. Frequent Rodriguez supporting player Danny Trejo pretty much kills it as the title badass — but then, you already knew he would. (1:45) 1000 Van Ness, SF Center. (Eddy)

*Mademoiselle Chambon Stéphane Brizé’s new Mademoiselle Chambon is a movie whose protagonists lunge toward each other — even though they shouldn’t, for their own sakes and everyone else’s. Grave-voiced, craggy-faced Jean (Vincent Lindon) is a construction-site laborer; Anne Marie (Aure Atika) his assembly-line worker wife; Jeremy (Arthur Le Hourerou) the eight-year-old offspring who’s already better educated than either of them. One day Anne Marie suffers a temporarily disabling factory accident, leaving Jean to pick up Jeremy from school. There, Jean first encounters Jeremy’s teacher, Véronique Chambon (Sandrine Kiberlain). She has the willowy body of a veteran ballet dancer and a naturally refined air — at least by his limited experiential standards. There’s an immediate if unadmitted spark between them, yet Mademoiselle Chambon doesn’t get cheap about it. None of these people are more than ordinary, kinda-attractive. As temptations and related tensions unravel their stability, Brize allows his characters to slip grip gracefully. No one behaves well, but they do behave credibly. Mademoiselle Chambon sees rational folk with well-organized lives stubbornly resisting a mutual pull whose logical outcome will surely suck for all concerned. It’s a fine, measured drama presented with typical Gallic insouciance — tenderly discreet even when conventional art and commerce shout for something more crudely dramatic. (1:41) Albany, Clay. (Harvey)

*Mao’s Last Dancer Based on the subject’s autobiography of the same name, this Australian-produced drama chronicles the real-life saga of Li Cunxin (played as child, teen, and adult by Huang Wen Bin, Chengwu Guo, and Chi Cao), who was plucked from his rural childhood village in 1972 to study far from home at the Beijing Dance Academy. He attracted notice from Houston Ballet artistic director Ben Stevenson (Bruce Greenwood) during a cultural-exchange visit, and was allowed to go abroad for a Texas summer residency. At first the film looks headed toward well-handled but slightly pat inspirational territory pitting bad China against good America, as it cuts between Li’s grueling training by (mostly) humorless Party ideologues, and his astonishment at the prosperity and freedom in a country he’d been programmed to believe was a capitalist hellhole of injustice and deprivation. (Though as a Chinese diplomat cautions, not untruthfully, he’s only been exposed to "the nice parts.") Swayed by love and other factors, Li created an international incident — tensely staged here — when he chose to defect rather than return home. But Jan Sardi’s script and reliable Aussie veteran Bruce Beresford’s direction refuse to settle for easy sentiment, despite a corny situation or two. Our hero’s new life
isn’t all dream-come-true, nor is his past renounced without serious consequence (a poignant Joan Chen essays his peasant mother). The generous ballet excerpts (only slightly marred by occasional slow-mo gimmickry) offer reward enough, but the film’s greatest achievement is its honestly earning the right to jerk a few tears. (1:57) Embarcadero, Shattuck. (Harvey)

*Mesrine: Killer Instinct This first half of a two-part film about notorious French bank robber Jacques Mesrine examines the early life of its subject, before he was a flamboyant, headline-grabbing folk hero. The very first scene uses 70s-style split-screens to revel Mesrine’s violent 1979 death; writer-director Jean-François Richet (2005’s Assault on Precinct 13) then jumps back 15 or so years for a glimpse of our (anti-) hero’s soldiering days in Algeria. Before long, "Jacky" (an outstanding Vincent Cassel, in a César-winning performance) is back in Paris, horrifying his upper-class parents and young wife by choosing the underworld over conventional pencil-pushing. (A near-unrecognizable Gérard Depardieu appears as a mob boss.) Killer Instinct, which is adapted from Mesrine’s own prison-penned autobiography, suffers from some standard biopic problems — it tries to cram in too much, and feels mighty rushed at times. But there’s still plenty of bad, bad behavior to enjoy, including the film’s spectacular last act, a breakneck recreation of one of the daring prison escapes that helped make Mesrine a legend. Continuation Mesrine: Public Enemy No. 1, which beings where this film ends, is now playing. (1:53) Embarcadero, Shattuck, Sundance Kabuki. (Eddy)

*Mesrine: Public Enemy No. 1 If you see writer-director Jean-François Richet’s Mesrine: Killer Instinct (review above), you’re pretty much obligated to see this sequel, especially since the earlier film beings with the main character’s death, then flashes back and never catches up to it. This installment was actually filmed first, allowing star Vincent Cassell to pack on nearly 50 pounds to play the oldier, portlier version of the legendary French bank robber. Mesrine’s prowess as an escape artist allows him to spend much of this film on the lam with partner François (Mathieu Amalric) and girlfriend Sylvia (Ludivine Sagnier). Along the way, the headline-hungry crook declares himself a revolutionary, poses for Paris Match, kidnaps a billionaire, spends his ill-gotten money on diamonds and BMWs, tortures a journalist, and does as much as he can to further the Myth of Mesrine. The foreknowledge of Mesrine’s ultimate end lends a sense of ticking-clock doom; the first time we see it, in Killer Instinct, it’s from the point of view of Mesrine and Sylvia. Richet films the death scene here from the perspective of the police who tracked him, with increasing frustration, for years. Clever twists like this make it preferable to watch both films back-to-back, though Cassell’s commanding performance makes each a worthwhile stand-alone. (2:14) Embarcadero, Sundance Kabuki. (Eddy)

The Other Guys Will Ferrell and Adam McKay can do no wrong in some bro-medy aficionados’ eyes, but The Other Guys is no Talladega Nights: The Ballad of Ricky Bobby (2006) or Anchorman: The Legend of Ron Burgundy (2004). The other two Ferrell-McKay team-ups made short work of men’s jobs, in addition to genre filmmaking tropes, with crisper, cut-to-the-gag punchiness. And despite its laugh-out-loud first quarter — and some surprising TLC references by Michael Keaton, of all people, The Other Guys is about half a genuinely hilarious film that pokes fun at masculinity, as well as, interestingly, whiteness and beyond-the-pale, big-bucks white-collar crime. This lampoon of action buddy-cop flicks is dealt a semi-fatal blow when excess-loving, damage-dealing supercops Samuel Jackson and Dwayne Johnson exit, manically chewing scenery as they go. Two forgotten desktop jocks, forensic accounting investigator-with-a-past Allen (Ferrell) and ragaholic screwup Terry (Mark Wahlberg), must step it up when the dynamic duo dissipates, and go after crooked financier David Ershon (Steve Coogan). The second half of The Other Guys could have used some of the dramatic tension budding between buddy team Jackson-Johnson and reluctant cohorts Ferrell-Wahlberg, especially when Wahlberg begins to get bogged down in single-gear disbelief. But perhaps we should just be grateful for what few yuks we can glean from the atrocities of Great Recession-era robber barons. (1:47) 1000 Van Ness. (Chun)

Piranha 3D (1:29) 1000 Van Ness.

Resident Evil: Afterlife (1:30) 1000 Van Ness, SF Center.

*Scott Pilgrim vs. The World For fans of Bryan Lee O’Malley’s just-completed comics saga Scott Pilgrim, the announcement that Edgar Wright (2004’s Shaun of the Dead, 2007’s Hot Fuzz) would direct a film version was utterly surreal. Geeks get promises like this all the time, all too often empty (Guillermo del Toro’s Hobbit, anyone?). But miraculously, Wright indeed spent the past five years crafting the winning Scott Pilgrim vs. the World. The film follows hapless Toronto 20-something Scott Pilgrim (Michael Cera), bassist for crappy band Sex Bob-omb, as he falls for delivery girl Ramona Flowers (Mary Elizabeth Winstead), only to find he must defeat her seven evil exes — like so many videogame bosses — before he can comfortably date her. As it happens, he’s already dating a high-schooler, Knives (Ellen Wong), who’s not coping well with Scott moving on. Cera plays a good feckless twerp; his performance isn’t groundbreaking, but it dodges the Cera-playing-his-precious-self phenomenon so many have lamented. The film’s ensemble cast maintains a sardonic tone, with excellent turns by Alison Pill, Aubrey Plaza, and newcomer Wong. Jason Schwartzman is perfectly cast as the ultimate evil ex-boyfriend — there’s really no one slimier, at least under 35.The film brilliantly cops the comics’ visual language, including snarky captions and onomatopoetic sound effects, reminiscent onscreen of 1960s TV Batman. Sometimes this tends toward sensory overload, but it’s all so stylistically distinctive and appropriate that excess is easily forgiven. (1:52) California, 1000 Van Ness. (Sam Stander)

Soul Kitchen Director Fatih Akin (2004’s Head-On) offers a tribute to the German Heimat ("homeland") film, as well as to his own hometown, Hamburg, with this gritty comedy set in a restaurant dubbed Soul Kitchen. Star Adam Bousdoukos, who co-wrote the script with Akin, really did own a similar greasy spoon, and his knowledge of what makes an eatery soar or fail is exaggerated here to humorous and occasionally surreal effect. Bousdoukos’ character, the scruffy Zinos, loves funk music; he’s also in an existential funk, having just seen his girlfriend move to Shanghai. What’s worse, he’s just injured his back, necessitating the hiring of snooty chef Shayn (Head-On‘s Birol Ünel); his ne’er-do-well brother (Moritz Bleibtreu) is freshly out of jail; and he owes big bucks to the local tax board. Also, an old childhood pal turned sleazy businessman (Wotan Wilke Möhring) is circling his property with sharky hunger. Will everything that can possibly go wrong, go wrong, with a side of ketchup and mayonnaise? Of course it will. Stylish direction and a game cast, including winning newcomer Anna Bederke as Zinos’ shot-gulping waitress, make Soul Kitchen a fun if non-essential diversion. (1:33) Elmwood, Opera Plaza. (Eddy)

*The Switch Has any hard-working actor ever made as many mediocre, albeit vigorously marketed, movies as Jennifer Aniston? It seems like an age since her last good one, Nicole Holofcener’s Friends with Money (2006), though some might go as far back as 2002’s The Good Girl, her dramatic and cinematic breakthrough. Perhaps that dry spell seems extra long due to Aniston’s tabloid overexposure, or maybe it’s just the feeble conceits (a la 2009’s Love Happens) that Aniston allows herself to get roped into. In any case, armed with a sharp script based on a Jeffrey Eugenides short story and a less-than-perfect but comically well-equipped everyman foil in Jason Bateman, The Switch turns out to be a refreshing break from Aniston’s run of predictability: it’s actually good, girl (if a bit far-fetched that even a neurotic, successful financial whiz could be so emotionally constipated). Heeding her biological alarm clock over the objections of best friend Wally (Bateman), Kassie (Aniston) decides to get artificially inseminated by handsome, smart, and charming donor Roland (Patrick Wilson), but nothing goes according to plan when Wally gets wasted at her insemination party and — no use crying over spilled semen — woozily decides to substitute his own emissions for Roland’s. Funny, tender, heart-strings-tugging shenanigans ensue when Kassie returns to NYC after seven years with her adorable, neurotic mini-Wally Sebastian (Thomas Robinson). Bateman is as reliably excellent as ever. Blades of Glory (2007) directors Will Speak and Josh Gordon put care into the details — from the lighting, to the scene-swiping cameos by Juliette Lewis and Jeff Goldblum, to the on-point yet relatively realistic dialogue, and it shows, making this, along with The Kids Are All Right, a, ahem, seminal year for donor-coms. (1:56) 1000 Van Ness. (Chun)

*Takers Likely the best movie to be advertised on billboards all over Oakland in a while, Takers is one of those likeable, smart, and faintly ludicrous genre flicks — a gangsta B with a hip-hop heart, centered on a cadre of high-style, Rat Pack-like bank robbers — that redeems its playas all around. It gives T.I., in both starring and executive producer roles and tellingly emerging from the clink in his first scene, a career beyond the rap game and the pen: he’s a snottily charmismatic Little Caesar here, a slight, serpentine mini-Snoop. It gives the formidable Idris Elba (The Wire) as the group’s leader something to wrap his sonorous Cockney around as he plays off crack ‘ho sister (Marianne Jean-Baptiste) as if they were English-accented castaways on island L.A. It gives Paul Walker, the second-banana princeling of the urban action flick, something to do: namely function as Elba’s lieutenant. And it gives the benighted Chris Brown, who gets his share of fast-stepping glory via a nice, meaty chase scene, a way to recast and strive toward redeeming himself on the silver screen — while giving the little-girls-who-love-bad-boys something to scream about. See, something for everyone (except maybe Zoe Saldana, who gets saddled with the arm candy role). (1:57) 1000 Van Ness. (Chun)

*The Tillman Story To what extent is our government prepared to lie to us? Not just on a policy level, but a personal level, perverting actual instances of heroic self-sacrifice into propagandistic pablum? The answer during our prior White House administration was clearly: as far as possible, until caught. Perhaps the most egregious such instance was the case of Pat Tillman, who gave up a lucrative NFL contract, becoming a U.S. Army Ranger enlistee in a burst of genuine patriotic fervor post-9/11. He was subsequently killed in Afghanistan — but the "friendly fire" circumstances of that death, and its apparent cover-up, scandalized not only his military superiors but a command chain of deliberate disinformation stretching all the way to the White House. Amir Bar-Lev’s The Tillman Story is a documentary expose of unusual immediacy, narrative thrust, and outrage, which may partly stem from its being such a Bay Area story. The deceased subject’s South Bay family were diehard liberals dedicated to values that might be considered eccentric anywhere else. The mistake authorities made in casting Tillman’s death as a battlefield martyrdom — a scenario amply undermined by footage and testimony here — lay in underestimating the well-educated skepticism and doggedness of his blood relations, most notably mom, Mary. While other families might have simply accepted an official scenario, the Tillmans found logistical gaps, then pushed, and pushed. The Tillman Story is a journey toward justice (if not nearly enough). It’s engrossing, appalling, heartrending, and enraging, the nonfiction equivalent to last year’s underseen body bag drama The Messenger. (1:34) SF Center, Shattuck. (Harvey)

*The Two Escobars In America, the World Cup ends, and most sports fans turn their attentions elsewhere. In other countries, soccer is a year-round happening that inspires religious devotion. Putting this fact into perspectives both glorious and cruel is The Two Escobars, Jeff and Michael Zimbalist’s involving new doc about the rise of "narco-soccer" in Colombia, circa the coke-crazed 1980s and early 90s. One Escobar, we’ve all heard of: Pablo, a noted drug kingpin who was also a hero to the slum-dwellers who benefited from his donations of housing and, perhaps more importantly, soccer fields. A rabid footy fan himself, Pablo invested in Colombian teams, an influx of cash that helped the national team become one of the strongest in the world. Escobar number two is Andrés, the affable, wholesome defender who served as team captain in the 1994 World Cup. The events that caused both Escobars to meet untimely and brutal deaths are detailed here, by people who knew them well, in a moving, well-edited film that’s as cautionary as it is celebratory. Highly recommended. (1:40) Roxie. (Eddy)

*Winter’s Bone Winter’s Bone has already won awards at the Berlin International Film Festival and the Sundance Film Festival, but it’s the kind of downbeat, low-key, quiet film that may elude larger audiences (and, as these things go, Oscar voters). Like Andrea Arnold’s recent Fish Tank, it tells the story of a teenage girl who draws on unlikely reserves of toughness to navigate an unstable family life amid less-than-ideal economic circumstances. And it’s also directed by a woman: Debra Granik, whose previous feature, 2004’s Down to the Bone, starred Vera Farmiga (2009’s Up in the Air) as a checkout clerk trying to balance two kids and a secret coke habit. Drugs also figure into the plot of the harrowing Winter’s Bone, though its protagonist, Ree Dolly (Jennifer Lawrence), is faced with a different set of circumstances: her meth head father has jumped bail, leaving the family’s humble mountain home as collateral; the two kids at stake are her younger siblings. With no resources other than her own tenacity, Ree strikes out into her rural Missouri community, seeking information from relatives who clearly know where her father is — but ain’t sayin’ a word. It’s a journey fraught with menace, shot with an eye for near-documentary realism and an appreciation for slow-burn suspense; Lawrence anchors a solid cast with her own powerful performance. Who says American independent film is dead? (1:40) Opera Plaza. (Eddy)

A Woman, a Gun and a Noodle Shop An intriguing misfire on par with his 2006 OTT bodice-heaver Curse of the Golden Flower, A Woman, a Gun and a Noodle Shop sees filmmaker Zhang Yimou playfully dispensing with the serious rep cultivated by such films as Red Sorghum (1987) and Raise the Red Lantern (1981), movies that made Zhang a central figure amid Chinese film’s Fifth Generation. Deep into middle age, with crowd-pleasers like Hero (2002) and House of Flying Daggers (2004) behind him, Zhang appears fully committed to the low road of commercial entertainments — an approach completely in line with his country’s embrace of market-driven economics. But why remake the Coen brothers’ career-making 1984 noir tribute, Blood Simple? Zhang does little to refresh and improve on Coens’ noir retool, apart from drenching the proceedings in his homeland’s very dated, broad slapstick, including a jarringly out-of-place noodle-dough twirling scene, and setting some of the action on the glorious painted-desert mountainsides of the Gansu province. It’s as if Zhang has decided to send up himself — the film’s vivid palette and adulterous couple compares unfavorably with 1990’s Ju Dou — as well as with the brudders Coen. (1:35) Embarcadero, Sundance Kabuki. (Chun)

Endorsement interviews: Eric Smith

Zelda Bronstein

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September 8, 2010

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Eric Smith’s passion is environmental justice. He’s the director of Green Depot, a coalition of biodiesel organizations, and has helped lead the city to switch its buses and official vehicles to the cleaner fuel. He’s working on ways to get the city to move its waste by train. And he talks about the important of green jobs (and not just green jobs for the top college graduates.)

Smith told us he’s not fond of the Lennar project, but he supports the Communit Benefits Agreement and would have voted for the project EIR. He’s concerned about the city’s plans to bring 40,000 more housing units, mostly high-end condos, to the neighborhood, particularly the threat to light-industrial jobs. He complains about the lack of centralization in city services and the sometimes overlapping jobs of nonprofits and public agencies. He’s an opponent of the gang injunctions and Sit-Lie.

You can listen to our interview here:

esmith by endorsements2010

Our Weekly Picks: September 8-14, 2010

Jesse Hawthorne Ficks

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September 7, 2010

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WEDNESDAY 8

DANCE

Project Thrust

Many might think the bigger the bust, the better. But when it comes to the female body, shit gets complicated. Tits are either too big, too small, too this, too that. “How, when, and why are women aware and unaware of their feminine features? When do women hide curves and when do they flaunt them? Is it difficult to sustain sexiness?” These are some of the crucial questions choreographer and dancer Malinda LaVelle — who has danced with the Foundry and is now an artist in residence at the Garage — explores with her dance company Project Thrust and its newest work, Project Bust. Whether you love or hate the twins, LaVelle’s bold and funny choreography will leave you with a profound new respect for the female form. (Katie Gaydos)

Through Thurs/9

8 p.m., $15

Garage

975 Howard, SF

(415) 518-1517

www.projectthrust.org

THURSDAY 9

THEATER

Jerry Springer the Opera

Time for a big, dramatic, Jerry Springer Show-style revelation: I’m the father of your baby! Uh, just kidding. Actually, I was going to say that I had to ask the Googles if The Jerry Springer Show is still on TV. And indeed, 19 seasons along, it is. Even if its zeitgeist was a few years ago, and the most scandalous stuff on the idiot box now comes courtesy of Real Housewives, there’s no excuse for any self-respecting Springer fan (oxymoron?) to miss Jerry Springer the Opera, which promises “strippers and rednecks, incest and coprophilia, Jesus, Satan, and the Virgin Mary, the Ku Klux Klan, and a lesbian dwarf.” Adventurous local company Ray of Light Theatre ushers in its 10th anniversary season with this lurid, award-winning spectacular. (Cheryl Eddy)

Through Oct. 16

Wed.–Sat., 8 p.m., $20–$36

Victoria Theatre

2961 16th St, SF

www.jerrysf.com

MUSIC

Apocalyptica

Thanks to Judgement Day, Grayceon, and Giant Squid, San Francisco concert-goers are familiar with the peculiar potency of heavy metal cello. Unlike those bands, however, Finland’s Apocalyptica consists entirely of cellists. Since its beginnings in 1993 (sawing out Metallica covers), the quintet (four cellos, drums) has built up a cult following and turned its talents toward writing original songs. A new album, 7th Symphony, was released Aug. 20, featuring collaborations with Dave Lombardo (strong) and Gavin Rossdale (weak). Apocalyptica’s live show, nevertheless, is not to be missed. If you’re never seen someone play a cello while standing up and headbanging — well, what’s taken you so long? (Ben Richardson)

with Dir En Grey, Evaline

8 p.m., $28

Regency Ballroom

1290 Sutter, SF

1-866-448-7849

www.theregencyballroom.com

FILM

“Infinite City: Cinema City”

Writer Rebecca Solnit’s “Infinite City: A San Francisco Atlas” mapmaking project has investigated butterflies, queer history, hippies, and the SF vs. L.A. rivalry. Now, and perhaps inevitably, Solnit and her collaborators turn their attention to local cinema. Tonight’s work-in-progress screening, “Housing Shadows and Projecting Fog,” includes films on film (and fog) by Andy Black and Sam Green, and Christian Bruno. Saturday’s sprawling “cinema crawl” invites the movie-minder to various theaters. Two highlights: the Roxie spreads sparkle with Pickup’s Tricks, Gregory Pickup’s 1973 profile of founding Cockette Hibiscus; and the obligatory Vertigo screening (1958) at the Vogue. (Eddy)

7 p.m., free with museum admission ($9–$18)

(Sat/11, “A Few Dream Palaces of San Francisco” cinema crawl, various venues and times)

Phyllis Wattis Theater

SF Museum of Modern Art

151 Third St., SF

(415) 357-4000

www.sfmoma.org

MUSIC

Coliseum

Having stormed out of Kentucky onto the national scene with 2007’s No Salvation LP, Coliseum took an abrupt left turn when it came time to write this year’s follow-up, House With A Curse. Throttling back the incendiary crust-punk crossover of their previous albums, the trio debuted a new drummer and a stately post-punk sound — its tempos, at least when compared to precedent, sound almost meditative. Despite the switch, the songwriting remains stellar, and mastermind Ryan Patterson’s throaty yowl is wielded with mastery. Joined by local troublemakers Walken on Potrero Hill’s lowest stage, the band will deploy its new bread and circuses. (Richardson)

With Burning Love, Walken, Buried at Birth

9 p.m., $8

Thee Parkside

1600 17th St., SF

(415) 252-1330

www.theeparkside.com

MUSIC

The Gories

Looking for some good clean fun? This ain’t the show for you. As their name suggests, garage-rock vets the Gories play dirty, sinister blues with vocals that wail about feral girlfriends, explosive girlfriends, and motorcycle heroes, intercut with harmonica blasts and impassioned, slightly insane woo-hoo!s. Formed in Detroit circa 1986 — when squares were jamming to Whitney Houston and “Addicted to Love” — the band’s sound suggests nothing about the ’80s; it’s more like the tunes you’d want to hear while drag-racing to a midnight rager in a cemetery. Singer Mick Collins went on to form the Dirtbombs, a band that’s commanded its own rightful following, and this Gories reunion gig is a rare affair indeed. Turn up early for Haunted George, a kindred lo-fi cat whose discography includes an album titled Pile O’ Meat. Have mercy! (Eddy)

With Haunted George and Nice Smile

8 p.m., $20

Independent

628 Divisadero, SF

(415) 771-1421

www.theindependentsf.com

FRIDAY 10

DANCE

Paul Laurey and Christine Bonasea

Paul Laurey grew up in the Blue Ridge Mountains of West Virginia; he was training to be a scientist when the desire to dance hit him. Christine Bonasea was born in France and also tried academia and dance. Dance won out for her as well. Now courtesy of Joe Landini’s RAW — or resident artist workshop, which offers no money but free rehearsal space — they are sharing an evening of independent choreography. Both work with excellent, equally committed fellow performers: Laurey in Pull, Push and Things that Matter with Christine Cali and Sonsheree Giles; Bonasea in the matter of things with Rosemary Hannon, Jorge Rodolfo de Hoyos, and Kira Kirsh. The thrill comes from watching good dancers taking new risks and committing themselves to new contexts. (Rita Felciano)

Through Sat/11

8 p.m., $15

Garage

975 Howard, SF

www.975howard.com

FILM

“Drawn From Life: Comic Books and Graphic Novels Adapted”

When it comes to adapting a work for film, some preexisting properties have proven more successful than others. Video games: bad; Jane Austen novels: better; comic books: blockbusters, even when the movie ends up sucking. There’s yet to be a Best Adapted Screenplay Oscar doled out for a graphic novel or comic adaptation, but can such a breakthrough be far off? Missing from the Pacific Film Archive’s lineup are Ghost World (2001) and Scott Pilgrim vs. the World (still in theaters), but as graphic novel geeks the world over await/assault news regarding the Y: The Last Man movie, there’s plenty of tiding-over afoot. Campy delight Flash Gordon (1980) kicks off the series, with Hellboy (2004), Popeye (1980), American Splendor (2003), and Wes Craven’s oft-overlooked 1982 Swamp Thing among future selections. (Eddy)

“Drawn From Life: Comic Books and Graphic Novels Adapted”

Through Oct 31, $5.50–$9.50

Pacific Film Archive

2575 Bancroft, Berk.

(510) 642-5249

www.bampfa.berkeley.edu

SATURDAY 11

COMEDY

Craig Ferguson

In the supposedly madcap, late-night TV landscape (see: 1996’s The Late Shift), it’s surprising that Craig Ferguson has ultimately emerged as the least traditional of them all. The Scottish comedian — accent and all — makes up jokes on the fly, curses like a sailor, and often references his past as an alcoholic, a bartender, and a punk band drummer, every night on The Late Late Show. But in sticking to his guns, Ferguson comes off as a real talent rather than a manufactured experience, and the program’s unpredictable nature is the real reason to tune in — who cares about the guests anymore? You don’t have to visit the L.A. studio to see the man work; this week he brings his wanton charm to Davies Symphony Hall. (Peter Galvin)

8 p.m., $45–$55

Davies Symphony Hall

201 Van Ness, SF

1-866-448-7849

www.ticketmaster.com

VISUAL ART

“Castration Myth”

So there was this artist named Rudolf Schwarzkogler who was affiliated with Viennese Actionism — a 1960s art movement that used the body as canvas and violence as paint — and in 1965 he scared the art world and discredited the avant-garde by cutting off his penis. Or so people thought; turns out it was just a friend and a filleted fish. Fast-forward 36 years to 9/11 and we have the whole world scared, the term post-avant, and not one, but two dismembered phalluses — this time for real. Is there another fish myth at stake? Seeing this exhibit of Rudolph’s “Aktion” performance photographs is one way to find out. (Spencer Young)

Through Oct. 9

6–8 p.m., free

Steven Wolf Fine Arts

2747 19th St, SF

(415) 263 3677

www.stevenwolffinearts.com

COMEDY

Dylan Moran

Perhaps best known to American audiences for his appearances in Shaun of the Dead and Run, Fatboy, Run, Irish comedian Dylan Moran is a huge hit in his native U.K., notably for his brilliant role as a cantankerous and drunk yet lovable book shop owner in the tragically short-lived BBC series Black Books. His live stand-up is where he’s really made his name though; biting, sarcastic, and side-splittingly hilarious observations of a variety of topics we all encounter in our day-to-day lives — along with ones that most of us presumably don’t, such as having a weekend tryst with a Smurf. (Sean McCourt)

8 p.m., $36

Marines Memorial Theatre

609 Sutter, 2nd floor, SF

(415) 771-6900

www.marinesmemorialtheatre.com

TUESDAY 14

MUSIC

Suckers

Taking equal parts David Bowie-fetishism, avant-garde pop, and the sort of world eclecticism pioneered by Paul Simon and Peter Gabriel — and recently invigorated by Yeasayer and Vampire Weekend — this Brooklyn band hits just the right measures of each to create its signature Suckers sound. While that description might lead you to believe the foursome’s sound might be aloof or reserved, its debut Wild Smile is surprisingly sunny, like a collection of the slowest dance songs. Forget the name, a sucker is the last thing you’d be for getting a ticket to this one. (Galvin)

With Menomena and Tu Fawning

Through Sun/15

8 p.m., $18

Great American Music Hall

859 O’Farrell, SF

(415) 885-0750

www.gamh.com

The Guardian listings deadline is two weeks prior to our Wednesday publication date. To submit an item for consideration, please include the title of the event, a brief description of the event, date and time, venue name, street address (listing cross streets only isn’t sufficient), city, telephone number readers can call for more information, telephone number for media, and admission costs. Send information to Listings, the Guardian Building, 135 Mississippi St., SF, CA 94107; fax to (415) 487-2506; or e-mail (paste press release into e-mail body — no text attachments, please) to listings@sfbg.com. We cannot guarantee the return of photos, but enclosing an SASE helps. Digital photos may be submitted in jpeg format; the image must be at least 240 dpi and four inches by six inches in size. We regret we cannot accept listings over the phone.

Rep Clock

David Talbot

-

September 7, 2010

0

Schedules are for Wed/8–Tues/14 except where noted. Director and year are given when available. Double and triple features are marked with a •. All times are p.m. unless otherwise specified.

ARTISTS’ TELEVISION ACCESS 992 Valencia, SF; www.atasite.org. $6. "ANSWER Coalition:" Faubourg Tremé: The Untold Story of Black New Orleans (Logsdon, 2008), Thurs, 7:30. The Invisible Forest (Alli, 2008), Fri, 8.

CASTRO 429 Castro, SF; (415) 621-6120, www.castrotheatre.com. $7.50-10. The Bridge on the River Kwai (Lean, 1957), Sept 10-16, 7:30 (also Sat-Sun, Wed, 1, 4:15).

CHRISTOPHER B. SMITH RAFAEL FILM CENTER 1118 Fourth St, San Rafael; (415) 454-1222, www.cafilm.org. $6.50-10.25. Cairo Time (Nadda, 2009), call for dates and times. The Girl Who Played With Fire (Alfredson, 2009), call for dates and times. Lebanon (Maoz, 2009), call for dates and times. Soul Kitchen (Akin, 2009), call for dates and times. The Agony and the Ecstasy of Phil Spector (Jayanti, 2009), Sept 10-16, call for times. It Came From Kuchar (Kroot, 2009), Sun, 6:30.

"FILM NIGHT IN THE PARK" This week: Old Mill Park, 300 block of Throckmorton, Mill Valley; (415) 272- 2756, www.filmnight.org. Donations accepted. Alice in Wonderland (Burton, 2010), Fri, 8. Washington Square Park, Union and Columbus, SF; same contact and price info. Amélie (Jeunet, 2001), Sat, 8.

HERBST THEATER 401 Van Ness, SF; www.groundspark.org. $10-25. Choosing Children (Chasnoff and Klausner, 1985), Tues, 6:30. Twenty-fifth anniversary screening.

HUMANIST HALL 390 27th St, Oakl; www.humanisthall.org. $5. World in the Balance: The Population Paradox, Wed, 7:30.

JACK LONDON SQUARE East lawn, Oakl; www.jacklondonsquare.com. Free. "Waterfront Flicks:" Dreamgirls (Condon, 2006), Thurs, 7:30.

MECHANICS’ INSTITUTE 57 Post, SF; (415) 393-0100 (reservations required). $10. "CinemaLit: Loves Labours: Leo McCarey Revisited:" The Awful Truth (McCarey, 1937), Fri, 6.

"9/11 TRUTH FILM FESTIVAL" Various venues; www.sf911truth.org. Sponsored by the Northern California 9/11 Truth Alliance; go to website for complete schedule. Thurs-Sun.

PACIFIC FILM ARCHIVE 2575 Bancroft, Berk; (510) 642-5249, www.bampfa.berkeley.edu. $5.50-9.50. "Unseen Cinema:" "Revolutions in Technique and Form," Wed, 7:30. "Shakespeare on Film:" Henry V (Olivier, 1945), Thurs, 7; A Midsummer Night’s Dream (Dieterle and Reinhardt, 1935), Sun, 4. "Swoon: Great Leading Men in Gorgeous 35mm Prints:" House of Bamboo (Fuller, 1952), Fri, 7; The Hustler (Rosen, 1961), Sun, 6:30. "Drawn From Life: Comic Books and Graphic Novels Adapted:" Flash Gordon (Hodges, 1980), Fri, 9; Hellboy (del Toro, 2004), Sat, 8:45. "Berkeley Old Time Music Convention:" •I Hear What You See: The Old-Time World of Kenny Hall (Simon, 2010), and Sprout Wings and Fly (Blank, Gerrard, and Conway, 1983), Sat, 4. "Dance and the State in East Asia Conference:" Yang Bang Xi: The Eight Model Works (Yan, 2006), Sat, 6:30.

RED VIC 1727 Haight, SF; (415) 668-3994. $6-9. "SF Shorts: The San Francisco International Festival of Short Films," Wed-Sat, 7:30, 9:30 (also Fri, 5:30; Sat, 3:30, 5:30). The Karate Kid (Zwart, 2010), Sun, 2, 5, 8; Mon, 7:30. Cyrus (Duplass and Duplass, 2010), Sept 14-16, 7:15, 9:15 (also Sept 15, 2).

ROXIE 3117 and 3125 16th St, SF; (415) 863-1087, www.roxie.com. $5-11.50. The Cockettes (Weissman and Weber, 2002), Wed-Thurs, 7, 9:15. With live performances from the Thrillpeddlers’ production of the Cockettes musical Pearls Over Shanghai. The Life and Times of Allen Ginsberg (Aronson, 1984), Wed-Thurs, 7:15, 9. Agony and the Ecstasy of Phil Spector (Jayanti, 2008), Sept 10-16, 7, 9:15 (also Sat-Sun, 2:30, 4:45). Pickup’s Tricks (Pickup, 1973), Sat, 6. Part of SFMOMA’s "Cinema City" film crawl.
SAN FRANCISCO MUSEUM OF MODERN ART 151 Third St, SF; www.sfmoma.org. Prices vary. "Infinite City: Cinema City:" "Housing Shadows and Projecting Fog," work-in-progress screening, Thurs, 7. "Cinema City" continues with screenings at various SF venues. Check website for info.
SAN FRANCISCO PUBLIC LIBRARY Koret Auditorium, 100 Larkin, SF; www.sfpl.org. Free. "Amandla! South Africa During and After Apartheid:" Tsotsi (Hood, 2005), Thurs, noon.

Endorsement interview: Tony Kelly

Zelda Bronstein

-

September 3, 2010

7

Tony Kelly’s been involved in land-use and development battles in the district for more than a decade — and it shows. He talks about zoning, redevelopment, and urban finance with the ease of an expert. He complains that funding affordable housing just by asking developers to include a little bit in their market-rate units is “a sucker’s game.” He talks about the need for public-sector investment to handle the major influx of population projected for the district over the next 20 years. He’s also thought a lot about city finance, and suggests, among other things, that San Francisco demand that the University of California pay some sort of fee in lieu of the $60 million the giant institution doesn’t pay in local property taxes.

Kelly also talks about environmental justice in the district, and is willing to go as far as suggesting that the city look at ending I-280 at either Cesar Chavez or Alemany as part of a program to expand rail service along the corridor. You can listen to our interview here:

kelly by endorsements2010

Endorsement interview: DeWitt Lacy

Zelda Bronstein

-

September 2, 2010

0

DeWitt Lacy wants District 10 to get its fair share — of the city’s economic pie, of the programs that serve San Franciscans, of the parks and infrastructure that San Francisco pays for. He complains that the district has some of the worse environmental problems in the city “and we don’t even protect the parkland we have now.” He’s taking a generally progressive approach — he opposes sit-lie, is against the gang injunctions, and supports all the revenue measures on the fall ballot. He also thinks the city makes it too hard on the working class; in fact, he complained about the cost of parking tickets, saying they’re a real burden for people trying to support a family on moderate incomes. And he’s concerned that the emphasis on housing in the city’s Eastern Neighborhoods Plan could impact light industry.

You can listen to the interview here:

lacy by endorsements2010

Endorsement Interviews: Rebecca Prozan

Sasha Cuttler And Mary Magee

-

September 1, 2010

18

Rebecca Prozan, a candidate for Disctrict 8, has the endorsement of incumbent Sup. Bevan Dufty, and she and Dufty seem to have a lot in common. “I’m able to bring both sides together,” she told us, noting that D-8 constituents “like people who are independent thinkers, who are right up the middle.”

An assistant District Attorney, LGBT and District 8 liaison under former Mayor Willie Brown, and a Recreation & Parks Commissioner, Prozan is familiar with San Francisco government from a number of angles — but she’s also perceptive of the level of mistrust that exists. “There isn’t a San Franciscan in District 8 that actually thinks government is spending every dollar as it should,” she said.

Prozan said she is supportive of a hotel tax to boost revenues, a vehicle license fee to help improve MUNI, and a parcel tax to raise money for schools. She likes the idea of conducting audits as a way to tighten up spending, but rejected the idea of requiring nonprofit organizations to disclose how they spend city funds that are allocated to them. She doesn’t see any reason for split appointments on the SFMTA Board or the Redevelopment Agency, and she believes that while it’s “not a witch hunt,” part of the solution for MUNI should be targeting salaries. She’s against the proposed sit / lie ordinance, she’s a big fan of the Community Justice Center, and she thinks gang injunctions are a useful tool for law enforcement.

Prozan also told us she thinks the city should focus on building more rental housing, and she has been shopping around the idea of figuring out how to convert 1,100 foreclosed San Francisco properties into affordable housing for “teachers, cops, and firefighters.” Listen to the full interview below.

rprozan by endorsements2010

Film listings

David Talbot

-

August 31, 2010

0

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. For first-run showtimes, see Movie Guide.

OPENING

*The American George Clooney caught in a moodily paranoid, yet exquisitely photographed, ’70s-style suspense-arthouse death-trap? Belmondo and Beatty could empathize. Nonetheless, veteran rock photographer and Control (2007) director Anton Corbijn suffuses the chilly proceedings with a fresh, wintry beauty, the carefully balanced sense of highly charged tension and silky smoothness that a gunsmith would appreciate, and a resonance that feels personal. How else would an ex-rock shooter like Corbijn, who’s made iconic images of the Clash, U2, and others, connect with this tale of an assassin masquerading as a photographer, one who’s constantly glancing behind and around himself — justifiably wary of being caught in another killer’s sights — and seemingly just as wary of the director’s, and audience’s, gaze? A character who wouldn’t be out of place in a Camus novella or a Melville brooder, Jack/Edward, or more accurately "the American," (Clooney) is in exile after a bad collision with a girlfriend and hitmen in Sweden and hiding out in a picturesque Italian village, conspicuously the more-cold-than-cool outsider and doing one immaculate job for a gorgeous mysterious woman (Thekla Reuten). Is he a good or bad guy? The local priest (Paolo Bonacelli), who knows and sees all like a great eye in the sky, is trying to find out, as is the most beautiful prostitute in town (Violante Placido). The answers are nowhere near as clear or as plainly painted as a Sergio Leone Western, although Corbijn nods to the maestro when stone-cold killer Henry Fonda, then playing shockingly against type, appears on a cafe TV screen in Once Upon a Time in the West (1968). But the director’s care and attention to beauty — as well as the lines carved in the face of Clooney’s lean, mean-looking American, a whore like any other — say more than words. (1:43) Cerrito, Presidio. (Chun)

Dogtooth See "Father Knows Best." (1:36) Sundance Kabuki.

Going the Distance If you live in San Francisco, don’t try to date someone in New York. It’s just not worth the hassle. But hey, maybe you’re as adorable as Drew Barrymore, and your boyfriend’s as charming as Justin Long — you can’t be expected to let a little geographical complication get in the way. That’s the driving force behind Going the Distance, a romcom that stars real-life couple Barrymore and Long as Erin and Garrett, two crazy kids trying to make it work cross-country. In many ways, the film is your standard boy-meets-girl story, but it’s cute enough that the predictability factor doesn’t really matter. The cast is universally strong, with bonus points to the standouts: It’s Always Sunny in Philadelphia‘s Charlie Day as Garrett’s embarrassing roommate, and Christina Applegate as Erin’s germaphobe sister. The humor is surprisingly sharp — and raunchy, which earned Going the Distance an R-rating. I’m not going to say Long’s bare ass is worth the price of admission, but it’s certainly a selling point. (1:43) California, Marina. (Peitzman)

Highwater The latest from the first family of surf movies comes courtesy of Dana Brown (2003’s Step Into Liquid), son of Bruce (1964’s The Endless Summer) and father of Wes (an up-and-comer who co-edited Highwater). The film focuses on Oahu’s legendary North Shore — "the one path all surfers must take," per Dana’s occasionally woo-woo narration — and the annual big-wave contests held there each year. Though the majority of screen time is (of course) taken up by sweeping, slo-mo shots of pros tangling with looming walls of water, Highwater reaches out to civilian audiences with sidebars on the North Shore’s eccentric local culture, the science behind the 10-mile beach’s massive waves, and profiles of the sport’s more colorful characters. Brown is also careful to highlight the growing amount of women in the sport, who surf the exact same breaks as the men but earn far less prize money for it. Diehards might notice events in the film feel a bit dated, and indeed, Highwater was shot in 2005. But since surfers operate under the assumption that "one wave can make a person’s career" (especially if it’s captured on film), there’s presumably no sell-by date violation here. (1:30) Metreon. (Eddy)

Jean-Michel Basquiat: The Radiant Child Director Tamra Davis, a personal friend of Basquiat’s, draws on her insider knowledge for this doc about the late artist. (1:34) Lumiere, Shattuck.

The Life and Times of Allen Ginsberg Here’s your chance to get to know the late poet before he’s portrayed by non-doppelgänger James Franco in the upcoming Howl. Whereas Howl, title drawn from his most famous and controversial creation, focuses on Ginsberg’s 1957 obscenity trial, Jerry Aronson’s 1994 doc offers a more sweeping take on his life. Friends and relatives (in both new and archival interviews), home-movie footage and photographs, talk show excerpts (William F. Buckley: so not down with the counterculture), and the man himself (reading his work, powerfully) help piece together what was undeniably a passionate and remarkable existence. (1:22) Roxie. (Eddy)

*Machete Probably the first movie that was initially conceived solely as a fake-movie trailer (as part of Quentin Tarantino and Robert Rodriguez’s 2007 Grindhouse), Rodriguez’s Machete emerges in full-length form to take on everyone’s sky-high expectations. I mean, the trailer promised motorcycles soaring through flames, a gun-toting priest, and the line "You just fucked with the wrong Mexican." Fortunately, Machete the film does Machete the trailer proud; its deliberately silly revenge plot is both spot-on vintage homage and semi-serious commentary on America’s ongoing immigration debate. In addition, it features more severed limbs, gunshots to the head, irresponsible sex, and smirking Steven Seagal close-ups than any other movie in recent memory. Frequent Rodriguez supporting player Danny Trejo pretty much kills it as the title badass — but then, you already knew he would. (1:45) Presidio. (Eddy)

*Mesrine: Public Enemy No. 1 If you see writer-director Jean-François Richet’s Mesrine: Killer Instinct (review below), you’re pretty much obligated to see this sequel, especially since the earlier film beings with the main character’s death, then flashes back and never catches up to it. This installment was actually filmed first, allowing star Vincent Cassell to pack on nearly 50 pounds to play the oldier, portlier version of the legendary French bank robber. Mesrine’s prowess as an escape artist allows him to spend much of this film on the lam with partner François (Mathieu Amalric) and girlfriend Sylvia (Ludivine Sagnier). Along the way, the headline-hungry crook declares himself a revolutionary, poses for Paris Match, kidnaps a billionaire, spends his ill-gotten money on diamonds and BMWs, tortures a journalist, and does as much as he can to further the Myth of Mesrine. The foreknowledge of Mesrine’s ultimate end lends a sense of ticking-clock doom; the first time we see it, in Killer Instinct, it’s from the point of view of Mesrine and Sylvia. Richet films the death scene here from the perspective of the police who tracked him, with increasing frustration, for years. Clever twists like this make it preferable to watch both films back-to-back, though Cassell’s commanding performance makes each a worthwhile stand-alone. (2:14) Embarcadero, Shattuck. (Eddy)

The People I’ve Slept With Legions of walk-ons lay claim to the title role in the latest from Quentin Lee (1997’s Shopping for Fangs). The People I’ve Slept With‘s heroine, late-twentysomething L.A. dweller Angela (Karin Anna Cheung), leads a life of qualm-free sexual rapaciousness. That is, until the day when she finds herself — whether owing to a drunken bout of bad judgment or a breakdown in latex technology — pregnant, perplexed in regard to the issue of paternity, and forced to consult the thick stack of homemade baseball-style trading cards with which she documents her sexploits, using descriptive monikers and salient stats. Is Daddy dildo-lovin’ Mr. Hottie from down the hall? The smarmy gent with whom she briefly exchanged intimacies in the bathroom of a bar, a.k.a. Five-Second-Guy? Or the most appealing and least absurd contender, a local politico dubbed Mystery Man? Nothing in Angela’s track record suggests that the answer should matter as much as the location of the nearest Planned Parenthood clinic, but as in Knocked Up (2007), if it was less inexplicable, it would be a much shorter film. Instead, Angela, with the help of her snarky, romantically challenged gay BFF Gabriel (Wilson Cruz), sets off in pursuit of DNA samples from the likeliest candidates and, with slightly unhinged optimism, starts planning her nuptials. These events offer some very mild comedy and the occasional gross-out gag; the film’s maneuverings as Angela fumbles toward a position on motherhood, slutdom, and constructing the perfect life are sweet, earnest, and a little clumsy. (1:29) Viz Cinema. (Rapoport)

Soul Kitchen Director Fatih Akin (2004’s Head-On) offers a tribute to the German Heimat ("homeland") film, as well as to his own hometown, Hamburg, with this gritty comedy set in a restaurant dubbed Soul Kitchen. Star Adam Bousdoukos, who co-wrote the script with Akin, really did own a similar greasy spoon, and his knowledge of what makes an eatery soar or fail is exaggerated here to humorous and occasionally surreal effect. Bousdoukos’ character, the scruffy Zinos, loves funk music; he’s also in an existential funk, having just seen his girlfriend move to Shanghai. What’s worse, he’s just injured his back, necessitating the hiring of snooty chef Shayn (Head-On‘s Birol Ünel); his ne’er-do-well brother (Moritz Bleibtreu) is freshly out of jail; and he owes big bucks to the local tax board. Also, an old childhood pal turned sleazy businessman (Wotan Wilke Möhring) is circling his property with sharky hunger. Will everything that can possibly go wrong, go wrong, with a side of ketchup and mayonnaise? Of course it will. Stylish direction and a game cast, including winning newcomer Anna Bederke as Zinos’ shot-gulping waitress, make Soul Kitchen a fun if non-essential diversion. (1:33) Embarcadero, Smith Rafael. (Eddy)

*The Tillman Story "See Notes on a Scandal." (1:34) Shattuck.

ONGOING

*Animal Kingdom More renowned for its gold rush history and Victorian terrace homes than its criminal communities, Melbourne, Australia gets put on the same gritty map as Martin Scorsese’s ’70s-era New York City and Quentin Tarantino’s ’90s Los Angeles with the advent of director-writer David Michôd’s masterful debut feature. The metropolis’ sun-blasted suburban homes, wood-paneled bedrooms, and bleached-bone streets acquire a chilling, slowly building power, as Michôd follows the life and death of the Cody clan through the eyes of its newest member, an unformed, ungainly teenager nicknamed J (James Frecheville). When J’s mother ODs, he’s tossed into the twisted arms of her family: the Kewpie doll-faced, too-close-for-comfort matriarch Smurf (Jacki Weaver), dead-eyed armed robber Pope (Ben Mendelsohn), Pope’s best friend Baz (Joel Edgerton), volatile younger brother and dealer Craig (Sullivan Stapleton), and baby bro Darren (Luke Ford). Learning to hide his responses to the escalating insanity surrounding the Codys’ war against the police — and the rest of the world — and finding respite with his girlfriend, Nicky (Laura Wheelwright), J becomes the focus of a cop (Guy Pearce) determined to take the Codys down — and discovers he’s going to have use all his cunning to survive in the jungle called home. Stunning performances abound — from Frecheville, who beautifully hides a growing awareness behind his character’s monolithic passivity, to the adorably scarifying Weaver — in this carefully, brilliantly detailed crime-family drama bound to land at the top of aficionados’ favored lineups, right alongside 1972’s The Godfather and 1986’s At Close Range and cult raves 1970’s Bloody Mama and 1974’s Big Bad Mama. (2:02) Shattuck, Sundance Kabuki. (Chun)

Avatar: Special Edition (2:51) 1000 Van Ness, SF Center, Sundance Kabuki.

Cairo Time (1:29) Embarcadero, Piedmont, Shattuck, Smith Rafael.

*Centurion Neil Marshall is the kind of filmmaker who inspires glee among horror and action junkies, but indifference among mainstream moviegoers. Centurion isn’t likely to change this. It’s the second century, and Romans are invading what’s now the Scottish Highlands, much to the displeasure of the Picts, the tribal people who’re already living there. Enter Quintus Dias (Michael Fassbender), a Roman soldier who becomes the de facto leader of an ever-shrinking group of men trapped behind enemy lines after their general (The Wire‘s Dominic West) is captured. Devotees of Marshall (2002’s Dog Soldiers, 2005’s The Descent, 2008’s Doomsday) will recognize certain elements: an ensemble cast, a military setting, the presence of a fierce female (Bond heroine Olga Kurylenko, who makes Pict warrior drag both spooky and sexy). Unlike his earlier films, though, there’s no supernatural twist; it’s just good old battlefield guts and gore. Sure, the romantic subplot feels a little forced, but this is genre filmmaking in its purest form, to be celebrated with gusto by those who appreciate grisly decapitations and the like. (Read my interview with Marshall at www.sfbg.com/pixel_vision.) (1:39) Lumiere, Shattuck. (Eddy)

The Concert (1:47) Clay.

Despicable Me Judging from the adorable, booty-shaking, highly merchandisable charm of its sunny-yellow Percocet-like minions, Despicable Me‘s makers have more than a few fond memories of the California Raisins. That gives you an idea of the 30-second attention-span level at work here. Thanks to Pixar and company, our expectations for animated features are high, but despite the single lob at Lehman Brothers aimed toward the grown-ups, the humor here is pitched straight at the eight and younger crowd: from the mugging, child-like minions to the all-in-good-fun, slightly quease-inducing 3-D roller-coaster ride. Gru (Steve Carell) is Despicable‘s also-ran supervillain — a bit too old and too unoriginal for a game that’s been rigged in the favor of the youthful, annoyingly perky Vector (Jason Segel), who’s managed to swipe the Giza Pyramids and become the world’s number one bad dude. When Vector steals away the crucial shrink ray needed for Gru’s plot to thieve the moon, the latter pulls out the big guns: three adorable orphans who have managed to penetrate Vector’s defenses with their fund-raising cookie sales. It turns out kids have their own insidiously heart-warming way of wrecking havoc on one’s well-laid plans. Filmmakers Pierre Coffin and Chris Renaud do their best to exploit the 3-D medium, but Avatar (2009) this is not. Nor will many adults be able to withstand the onslaught of cute undertaken by all those raisins, I mean, minions. (1:35) SF Center. (Chun)

Dinner for Schmucks When he attracts favorable notice and a possible promotion from his corporate boss, Tim (Paul Rudd) is invited to an annual affair in which executives compete to see who can dig up the freakiest loser dweeb for everyone to snicker at. He literally runs into the perfect candidate: Barry (Steve Carrell), an IRS employee whose hobby is making elaborate tableaux with stuffed dead nice in tiny human clothes. He’s also the sort of person who, in trying to be helpful, inevitably wreaks havoc on the unlucky person being helped. Which means the 24 hours or so before the "Biggest Idiot" contest provide plenty of time for well-intentioned Barry to nearly destroy Tim’s relationship with a girlfriend (Stephanie Szostak), reunite him with Crazy Stalker Chick (Lucy Punch), and imperil his wooing of a multimillion-dollar account. Director Jay Roach (of the Austin Powers and Meet the Fockers series) has a full load of comedy talent on board here. So why are the results so tepid? This remake softens the bite of Francis Veber’s 1998 original French The Dinner Game by making Tim not a yuppie scumbag but a nice guy who just happens to have a jerk’s job (his company seizes ailing firms and liquidates them), and who doesn’t really want to expose hapless Barry to humiliation. But even with that satirical angle removed and a wider streak of sentimentality, it should cough up more laughs than it does. (1:50) 1000 Van Ness, SF Center. (Harvey)

Eat Pray Love The new film based on Elizabeth Gilbert’s chart-busting memoir, Eat Pray Love, benefits greatly from the lead performance by Julia Roberts, an actor who can draw from her own reserves of pathos when a project has none of its own. The adaptation, about a whiny American author farting around the globe in search of what amounts to spiritual room service, is nothing without her. The journey begins with the Type-A, book contract-inspired premise that Gilbert will travel to three appointed countries over the course of a year in order that, having thrice denied herself absolutely nothing, she might come out the other end a better-balanced human being. The first stop is Italy, where her entire plan is to finally unbutton her jeans and indulge in a celebrated cuisine, as if her home base of Manhattan were a culinary backwater. But this film is all about tired equivalencies, so Italy equals food, and expressive hand gestures, and "the art of doing nothing." India, her next stop, equals enlightenment (her discovery that the guru she’s come to see is currently at an ashram in New York is an irony lost on the movie). And Bali, her final getaway, apparently equals contradictory but flattering aphorisms and thematically hypocritical romances. The sole appeal to a moviegoer here is aspirational. What’s so embarrassing about Eat Pray Love is its insistence that this appeal sprouts from the spiritual quest itself, and not just from the privilege that enables Gilbert to have such an extravagant quest in the first place. But then, self-awareness is supposed to be a obstacle to enlightenment. She’s got nothing to worry about there. (2:30) Cerrito, Empire, Marina, 1000 Van Ness, SF Center, Sundance Kabuki. (Jason Shamai)

The Expendables Exactly what you’re expecting: a completely ludicrous explosion-o-thon about mercenaries hired by Bruce Willis to take down a South American general who’s actually a puppet for evil CIA agent-turned-coke kingpin Eric Roberts. Clearly, Sylvester Stallone (who directed, co-wrote, stars, and even coaxed a cameo out of Schwarzenegger) knows his audience, but The Expendables — bulging with a muscle-bound cast, including Dolph Lundgren, Terry Crews, Jason Statham, and Steve Austin, plus Jet Li, who suffers many a short-guy joke — is content to simply tap every expected rung on the 80s-actioner homage ladder. There’s no self-awareness, no truly witty one-liners, no plot twists, and certainly no making a badass out of any female characters (really, couldn’t the South American general’s daughter have packed some heat, or kicked someone in the balls — anything besides simply heaving her cleavage around?) The only truly memorable thing here is the inclusion of Mickey Rourke as Stallone’s tattoo-artist pal; I would possibly wager that Rourke was allowed to write his own weepy monologue, delivered in a close-up so extreme it’s more mind-searing than any of the film’s many machine-gun brawls. (1:43) 1000 Van Ness. (Eddy)

The Extra Man The polar opposite of buddy cop action flicks and spoofs a la The Other Guys, with only a faint resemblance to the bromances of Judd Apatow, Adam McKay, Will Ferrell, Seth Rogen, and so on, The Extra Man is a gently weird throwback to another era, much like its title character, Henry Harrison (Kevin Kline). Sweet, cross-dressing-curious teacher and would-be writer Louis Ives (Paul Dano) is drifting though life passively when he stumbles on eccentric playwright Harrison’s room-for-let and his oddball realm of hangers-on. A blustery, prickly, proudly misogynistic collector of Christmas balls, given to spasms of improvisational dancing, Harrison relishes his role as an escort to aged socialites, crankily shucking and jiving to score invites to fancy dinner parties and vacation homes in Florida. When Ives isn’t courting environmental magazine editor Mary (Katie Holmes) or hiding from the fearsome-looking wooly recluse Gershon (John C. Reilly), the mentor-able young man turns out to be more adept at the role than Harrison ever imagined. And like fossilized grande dames in Chanel, literate audiences also might be charmed by director-writer Shari Springer Berman’s unassuming, crushed-out bon mot, based on the novel by Jonathan Ames, to a few mannered, less-than-examined, happily twisted New York City subcultures. (1:45) Opera Plaza. (Chun)

Flipped I’m sure a "he said/she said" film exists that makes good on the premise, but Rob Reiner’s Flipped doesn’t quite cut it. Nestled safely in 1960s small-town America, the film is first narrated by Bryce, an eighth grader who’s spent the past four years rebuking the advances of Juli, the girl who lives across the street. Bryce is a pretty typical boy, bumbling and unsure of just what he wants, but soon the story "flips" and we see the same events narrated from Juli’s POV. Juli is drawn to Bryce’s "sparkling eyes," yes, but with a poor family and an annoyingly sincere love for life, she has problems outside of lusting for Bryce. Based on a tween-hit novel by author Wendelin Van Draanen, the story’s familiarity perhaps stems from the source material — in my experience those sorts of novels rarely invite readers older than high school — and similarly in the case of Flipped, I think this might be something we should leave to the kids. (1:30) Opera Plaza. (Galvin)

Get Low Born from the true story of Felix Bush, an eccentric Tennessee hermit who invited the world to celebrate his funeral in advance of his own death, Get Low is a loose take on what might inspire a man to do a thing like that. It’s a small story, and unlikely to attract the attention of popcorn-addled viewers in the midst of the summer blockbuster season, but Get Low has a whopper of a character in Felix Bush. Robert Duvall becomes Bush, constructing a quiet man who sees it all and speaks only when he has something to say, and supporting roles from Sissy Spacek and Bill Murray are expectedly solid, but the real surprise is what a strong eye director Aaron Schnieder has. In allowing scenes to unfold on their own terms and in their own time, Schneider gives a real humanity to what could have been a Hallmark movie. (1:42) Albany, Empire, Opera Plaza. (Galvin)

*The Girl Who Played With Fire Lisbeth Salander is cooler than you are. The heroine of Stieg Larsson’s bestselling book series is fierce, mysterious, and utterly captivating: in the movie adaptations, she’s perfectly realized by Noomi Rapace, who has the power to transform Lisbeth from literary hero to film icon. Rapace first impressed audiences in The Girl With the Dragon Tattoo (2009), a faithful adaptation of Larsson’s premiere novel, and she returns as Lisbeth in The Girl Who Played With Fire. The sequel, as is often the case, isn’t quite on par with the original, but it’s still a page-to-screen success. And while the first film spent equal time on journalist Mikael Blomkvist (Michael Nyqvist), The Girl Who Played With Fire is almost entirely Lisbeth’s story. Sure, there’s more to the movie than the hacker-turned-sleuth — and the actor who plays her — but she carries the film. Rapace is Lisbeth; Lisbeth is Rapace. I’d watch both in anything. (2:09) Lumiere, Shattuck, Smith Rafael. (Peitzman)

Inception As my movie going companion pointed out, "Christopher Nolan must’ve shit a brick when he saw Shutter Island." In Nolan’s Inception, as in Shutter Island, Leonardo DiCaprio is a troubled soul trapped in a world of mind-fuckery, with a tragic-vengeful wife (here, Marion Cotillard) and even some long-lost kids looming in his thoughts at all times. But Inception, about a team of corporate spies who infiltrate dreams to steal information and implant ideas, owes just as much to The Matrix (1999), Eternal Sunshine of the Spotless Mind (2004), and probably a James Bond flick or two. Familiar though it may feel, at least Inception is based on a creative idea — how many movies, much less summer blockbusters, actually require viewer brain power? If its complex house-of-cards plot (dreams within dreams within dreams) can’t quite withstand nit-picking, its action sequences are confidently staged and expertly directed, including a standout sequence involving a zero-gravity fist fight and elevator ride. Though it’s hardly genius — and Leo-recycle aside — Inception is worth it, if you don’t mind your puzzle missing a few pieces. (2:30) Empire, 1000 Van Ness, Sundance Kabuki. (Eddy)

*Joan Rivers: A Piece of Work Whether you’re a fan of its subject or not, Ricki Stern and Annie Sundberg’s documentary is an absorbing look at the business of entertainment, a demanding treadmill that fame doesn’t really make any easier. At 75, comedian Rivers has four decades in the spotlight behind her. Yet despite a high Q rating she finds it difficult to get the top-ranked gigs, no matter that as a workaholic who’ll take anything she could scarcely be more available. Funny onstage (and a lot ruder than on TV), she’s very, very focused off-, dismissive of being called a "trailblazer" when she’s still actively competing with those whose women comics trail she blazed for today’s hot TV guest spot or whatever. Anyone seeking a thorough career overview will have to look elsewhere; this vérité year-in-the-life portrait is, like the lady herself, entertainingly and quite fiercely focused on the here-and-now. (1:24) Four Star. (Harvey)

*The Kids Are All Right In many ways, The Kids Are All Right is a straightforward family dramedy: it’s about parents trying to do what’s best for their children and struggling to keep their relationship together. But it’s also a film in which Jules (Julianne Moore) goes down on Nic (Annette Bening) while they’re watching gay porn. Director Lisa Cholodenko (1998’s High Art) co-wrote the script (with Stuart Blumberg), and the film’s blend between mainstream and queer is part of what makes Kids such an important — not to mention enjoyable — film. Despite presenting issues that might be contentious to large portions of the country, the movie maintains an approachability that’s often lacking in queer cinema. Of course, being in the gay mecca of the Bay Area skews things significantly — most locals wouldn’t bat an eye at Kids, which has Nic and Jules’ children inviting their biological father ("the sperm donor," played by Mark Ruffalo) into their lives. But for those outside the liberal bubble, the idea of a nontraditional family might be more eye-opening. It’s not a message movie, but Kids may still change minds. And even if it doesn’t, the film is a success that works chiefly because it isn’t heavy-handed. It refuses to take itself too seriously. At its best, Kids is laugh-out-loud funny, handling the heaviest of issues with grace and humor. (1:47) Bridge, Piedmont, Presidio, SF Center, Shattuck. (Peitzman)

The Last Exorcism Latest in a long line of Louisiana preachers, genial extrovert Cotton Marcus (Patrick Fabian) isn’t even sure he believes in God anymore — but it’s the family business, and it’s a living. He definitely doesn’t believe in demonic possession, yet has presided over many an "exorcism" if only to fool the psychologically damaged into thinking they’re "cured" of delusional ails. But now he’s decided such hijinks might be more harmful than helpful. So to debunk the whole idea, he takes a documentary filmmaking crew on one last "soul-saving" trek, answering a desperate letter from a widowed farmer (Louis Herthum) whose 16-year-old daughter (Ashley Bell) is believed possessed. Cotton deploys theatrical tricks to rig an alleged purging of Satan’s minion. And it works … but this wouldn’t be a horror movie if that rationalist triumph didn’t turn out to be a false finish, followed by all kinds of inexplicable WTF. German director Daniel Stamm’s first English-language feature (written by Huck Botko and Andrew Gurland) is being positioned by Lionsgate as the next viral word-of-mouth horror sensation a la prior faux-docs The Blair Witch Project (1999) and Paranormal Activity (2007). But the "reality" illusion is more transparent here. Despite some clever buildup tactics, okay twists, and a handful of scares, this ultimately disappoints — a preview audience’s catcalls at its underwhelming fadeout suggested there will be no Last Exorcism 2. (1:27) 1000 Van Ness, Shattuck. (Harvey)

Lebanon "Das Boot in a tank" has been the thumbnail summary of writer-director Samuel Maoz’s film in its festival travels to date, during which it’s picked up various prizes including a Venice Golden Lion. On the first day of Israel’s 1982 invasion (which Maoz fought in), an Israeli army tank with a crew of three fairly green 20-somethings — soon joined by a fourth with even less battle experience — crosses the border, enters a city already halfway reduced to rubble, and promptly gets its inhabitants in the worst possible fix, stranded without backup. Highly visceral and, needless to say, claustrophobic (there are almost no exterior shots), Lebanon may for some echo The Hurt Locker (2009) in its intense focus on physical peril. It also echoes that film’s lack of equally gripping character development. But taken on its own willfully narrow terms, this is a potent exercise in squirmy combat you-are-thereness. (1:33) Smith Rafael. (Harvey)

Lottery Ticket (1:39) 1000 Van Ness.

*Mao’s Last Dancer Based on the subject’s autobiography of the same name, this Australian-produced drama chronicles the real-life saga of Li Cunxin (played as child, teen, and adult by Huang Wen Bin, Chengwu Guo, and Chi Cao), who was plucked from his rural childhood village in 1972 to study far from home at the Beijing Dance Academy. He attracted notice from Houston Ballet artistic director Ben Stevenson (Bruce Greenwood) during a cultural-exchange visit, and was allowed to go abroad for a Texas summer residency. At first the film looks headed toward well-handled but slightly pat inspirational territory pitting bad China against good America, as it cuts between Li’s grueling training by (mostly) humorless Party ideologues, and his astonishment at the prosperity and freedom in a country he’d been programmed to believe was a capitalist hellhole of injustice and deprivation. (Though as a Chinese diplomat cautions, not untruthfully, he’s only been exposed to "the nice parts.") Swayed by love and other factors, Li created an international incident — tensely staged here — when he chose to defect rather than return home. But Jan Sardi’s script and reliable Aussie veteran Bruce Beresford’s direction refuse to settle for easy sentiment, despite a corny situation or two. Our hero’s new life
isn’t all dream-come-true, nor is his past renounced without serious consequence (a poignant Joan Chen essays his peasant mother). The generous ballet excerpts (only slightly marred by occasional slow-mo gimmickry) offer reward enough, but the film’s greatest achievement is its honestly earning the right to jerk a few tears. (1:57) Albany, Embarcadero, Sundance Kabuki. (Harvey)

*Mesrine: Killer Instinct This first half of a two-part film about notorious French bank robber Jacques Mesrine examines the early life of its subject, before he was a flamboyant, headline-grabbing folk hero. The very first scene uses 70s-style split-screens to revel Mesrine’s violent 1979 death; writer-director Jean-François Richet (2005’s Assault on Precinct 13) then jumps back 15 or so years for a glimpse of our (anti-) hero’s soldiering days in Algeria. Before long, "Jacky" (an outstanding Vincent Cassel, in a César-winning performance) is back in Paris, horrifying his upper-class parents and young wife by choosing the underworld over conventional pencil-pushing. (A near-unrecognizable Gérard Depardieu appears as a mob boss.) Killer Instinct, which is adapted from Mesrine’s own prison-penned autobiography, suffers from some standard biopic problems — it tries to cram in too much, and feels mighty rushed at times. But there’s still plenty of bad, bad behavior to enjoy, including the film’s spectacular last act, a breakneck recreation of one of the daring prison escapes that helped make Mesrine a legend. Continuation Mesrine: Public Enemy No. 1, which beings where this film ends, comes out Fri/3. (1:53) Embarcadero, Shattuck, Sundance Kabuki. (Eddy)

Nanny McPhee Returns Emma Thompson is back as the titular Mary Poppins type who’s far from practically perfect, her extreme case of the uglies lessening whenever children in her charge learn a "lesson." The family in need this time belongs to harried Isabel Green (Maggie Gyllenhaal, trying a little too hard like everyone here), who’s got way more than she can handle raising three unruly children and running an English farm while her husband’s away fighting World War II. Making matters worse is the arrival of a horribly bratty nephew and niece fleeing the London Blitz, not to mention the constant pestering of a brother-in-law (Rhys Ifans) who wants the farm sold to cover his secret gambling debts. Enter guess who, restoring order and civility with the thump of her magic walking stick. The first Nanny McPhee (2005) movie, adapted from Christianna Brand’s children’s books by Thompson and directed by Kirk Jones, was an old-fashioned delight adults could thoroughly enjoy. This sequel, again written by Thomson though directed by Susanna White, is roughly what Babe: Pig in the City (1998) was to the original Babe (1995): something endearingly simple and charming turned shrill, overproduced, and charmless, with way too many CGI animals doing stupid things (like porcine synchronized swimming). It’s bad enough that Ralph Fiennes and Ewan McGregor — no doubt beguiled by the earlier film — chose to do thankless cameos in such dross. But it’s pretty unforgivable that Dame Maggie Smith should suffer a career nadir as a senile old dear who at one point happily plops down on a big pat of cow shit. (1:48) 1000 Van Ness, SF Center. (Harvey)

The Other Guys Will Ferrell and Adam McKay can do no wrong in some bro-medy aficionados’ eyes, but The Other Guys is no Talladega Nights: The Ballad of Ricky Bobby (2006) or Anchorman: The Legend of Ron Burgundy (2004). The other two Ferrell-McKay team-ups made short work of men’s jobs, in addition to genre filmmaking tropes, with crisper, cut-to-the-gag punchiness. And despite its laugh-out-loud first quarter — and some surprising TLC references by Michael Keaton, of all people, The Other Guys is about half a genuinely hilarious film that pokes fun at masculinity, as well as, interestingly, whiteness and beyond-the-pale, big-bucks white-collar crime. This lampoon of action buddy-cop flicks is dealt a semi-fatal blow when excess-loving, damage-dealing supercops Samuel Jackson and Dwayne Johnson exit, manically chewing scenery as they go. Two forgotten desktop jocks, forensic accounting investigator-with-a-past Allen (Ferrell) and ragaholic screwup Terry (Mark Wahlberg), must step it up when the dynamic duo dissipates, and go after crooked financier David Ershon (Steve Coogan). The second half of The Other Guys could have used some of the dramatic tension budding between buddy team Jackson-Johnson and reluctant cohorts Ferrell-Wahlberg, especially when Wahlberg begins to get bogged down in single-gear disbelief. But perhaps we should just be grateful for what few yuks we can glean from the atrocities of Great Recession-era robber barons. (1:47) California, 1000 Van Ness, Presidio. (Chun)

Pirahna 3D (1:29) 1000 Van Ness.

Salt Angelina Jolie channels the existential crisis of Jason Bourne and the DIY spirit of MacGyver in a film positing that America’s most pressing concern is extant Russian cold warriors, who are plotting to reestablish their country’s pre-glasnost glory via nuclear holocaust and a Dark Angel–style army of spy kids. Jolie plays CIA agent Evelyn Salt, a woman who can stymie the top-shelf surveillance system at work using her undergarments and fashion a shoulder-mounted rocket out of interrogation-room furniture and cleaning supplies. These talents surface after Salt is accused of being a Russian operative in league with the aforementioned disturbers of the new world order and takes flight, with her agency coworkers (Liev Schreiber and Chiwetel Ejiofor) in hot pursuit. What ensues is a vicious and confounding assault on the highest levels of the U.S. government, most known rules of logic, and the viewer’s patience and powers of suspending disbelief. Salt’s off-the-ranch maneuverings are moderately engaging, particularly in the first leg of the chase, but clunky expository flashbacks, B-movie-grade dialogue, and an absurd plotline slow the momentum considerably. (1:31) 1000 Van Ness, Sundance Kabuki. (Rapoport)

*Scott Pilgrim vs. The World For fans of Bryan Lee O’Malley’s just-completed comics saga Scott Pilgrim, the announcement that Edgar Wright (2004’s Shaun of the Dead, 2007’s Hot Fuzz) would direct a film version was utterly surreal. Geeks get promises like this all the time, all too often empty (Guillermo del Toro’s Hobbit, anyone?). But miraculously, Wright indeed spent the past five years crafting the winning Scott Pilgrim vs. the World. The film follows hapless Toronto 20-something Scott Pilgrim (Michael Cera), bassist for crappy band Sex Bob-omb, as he falls for delivery girl Ramona Flowers (Mary Elizabeth Winstead), only to find he must defeat her seven evil exes — like so many videogame bosses — before he can comfortably date her. As it happens, he’s already dating a high-schooler, Knives (Ellen Wong), who’s not coping well with Scott moving on. Cera plays a good feckless twerp; his performance isn’t groundbreaking, but it dodges the Cera-playing-his-precious-self phenomenon so many have lamented. The film’s ensemble cast maintains a sardonic tone, with excellent turns by Alison Pill, Aubrey Plaza, and newcomer Wong. Jason Schwartzman is perfectly cast as the ultimate evil ex-boyfriend — there’s really no one slimier, at least under 35.The film brilliantly cops the comics’ visual language, including snarky captions and onomatopoetic sound effects, reminiscent onscreen of 1960s TV Batman. Sometimes this tends toward sensory overload, but it’s all so stylistically distinctive and appropriate that excess is easily forgiven. (1:52) California, Four Star, 1000 Van Ness. (Sam Stander)

Step Up 3D The third installment of the Step Up enterprise graduates performing arts high school and moves to the sidewalks, rooftops, and warehouses of New York City, as well as the occasional venue — part underground club, part ad-plastered sports arena — where packs of street dancers battle and mop up the floor with their rivals, employing only the weaponry of a fierce routine. That, and the fast-forward button in the editing suite — beyond drop kicks and droplets of water coming out of the screen at your face, Step Up 3D unabashedly adopts the choreographed F/X of contemporary action films, manipulating footage to make the dancers look like nimble, ferocious, supernatural creatures with a youthful disdain for gravity and the space-time continuum. There is a plot of sorts, involving a crew called the Pirates; their fearless leader Luke (Rick Malambri); his mysterious lady friend Natalie (Sharni Vinson); an NYU freshman named Moose (Adam Sevani of 2008’s Step Up 2: The Streets), who was, in Luke’s oft-repeated words, "born from a boombox" (or BFAB); and the warehouse wonderland where the Pirates live and train, amid a decor of tape-deck-womb walls and galleries of limited-edition sneakers. It’s best, though, not to follow along too closely on the rare occasions when director Jon Chu (Step Up 2) mistakenly lets more than four lines of earnest dialogue stack up without a dance-scene intervention. The near-continuous wave of choreographed outbursts is like eye candy injected with multiple shots of 5-Hour Energy drink, but those who flinch at the idea of Auto-Tuning dance performance may want to stay home and rent 2000’s Center Stage. (1:46) 1000 Van Ness, SF Center. (Rapoport)

*The Switch Has any hard-working actor ever made as many mediocre, albeit vigorously marketed, movies as Jennifer Aniston? It seems like an age since her last good one, Nicole Holofcener’s Friends with Money (2006), though some might go as far back as 2002’s The Good Girl, her dramatic and cinematic breakthrough. Perhaps that dry spell seems extra long due to Aniston’s tabloid overexposure, or maybe it’s just the feeble conceits (a la 2009’s Love Happens) that Aniston allows herself to get roped into. In any case, armed with a sharp script based on a Jeffrey Eugenides short story and a less-than-perfect but comically well-equipped everyman foil in Jason Bateman, The Switch turns out to be a refreshing break from Aniston’s run of predictability: it’s actually good, girl (if a bit far-fetched that even a neurotic, successful financial whiz could be so emotionally constipated). Heeding her biological alarm clock over the objections of best friend Wally (Bateman), Kassie (Aniston) decides to get artificially inseminated by handsome, smart, and charming donor Roland (Patrick Wilson), but nothing goes according to plan when Wally gets wasted at her insemination party and — no use crying over spilled semen — woozily decides to substitute his own emissions for Roland’s. Funny, tender, heart-strings-tugging shenanigans ensue when Kassie returns to NYC after seven years with her adorable, neurotic mini-Wally Sebastian (Thomas Robinson). Bateman is as reliably excellent as ever. Blades of Glory (2007) directors Will Speak and Josh Gordon put care into the details — from the lighting, to the scene-swiping cameos by Juliette Lewis and Jeff Goldblum, to the on-point yet relatively realistic dialogue, and it shows, making this, along with The Kids Are All Right, a, ahem, seminal year for donor-coms. (1:56) 1000 Van Ness. (Chun)

*Takers Likely the best movie to be advertised on billboards all over Oakland in a while, Takers is one of those likeable, smart, and faintly ludicrous genre flicks — a gangsta B with a hip-hop heart, centered on a cadre of high-style, Rat Pack-like bank robbers — that redeems its playas all around. It gives T.I., in both starring and executive producer roles and tellingly emerging from the clink in his first scene, a career beyond the rap game and the pen: he’s a snottily charmismatic Little Caesar here, a slight, serpentine mini-Snoop. It gives the formidable Idris Elba (The Wire) as the group’s leader something to wrap his sonorous Cockney around as he plays off crack ‘ho sister (Marianne Jean-Baptiste) as if they were English-accented castaways on island L.A. It gives Paul Walker, the second-banana princeling of the urban action flick, something to do: namely function as Elba’s lieutenant. And it gives the benighted Chris Brown, who gets his share of fast-stepping glory via a nice, meaty chase scene, a way to recast and strive toward redeeming himself on the silver screen — while giving the little-girls-who-love-bad-boys something to scream about. See, something for everyone (except maybe Zoe Saldana, who gets saddled with the arm candy role). (1:57) 1000 Van Ness, Shattuck. (Chun)

*The Two Escobars In America, the World Cup ends, and most sports fans turn their attentions elsewhere. In other countries, soccer is a year-round happening that inspires religious devotion. Putting this fact into perspectives both glorious and cruel is The Two Escobars, Jeff and Michael Zimbalist’s involving new doc about the rise of "narco-soccer" in Colombia, circa the coke-crazed 1980s and early 90s. One Escobar, we’ve all heard of: Pablo, a noted drug kingpin who was also a hero to the slum-dwellers who benefited from his donations of housing and, perhaps more importantly, soccer fields. A rabid footy fan himself, Pablo invested in Colombian teams, an influx of cash that helped the national team become one of the strongest in the world. Escobar number two is Andrés, the affable, wholesome defender who served as team captain in the 1994 World Cup. The events that caused both Escobars to meet untimely and brutal deaths are detailed here, by people who knew them well, in a moving, well-edited film that’s as cautionary as it is celebratory. Highly recommended. (1:40) Sundance Kabuki. (Eddy)

Vampires Suck (1:40) 1000 Van Ness.

The Wildest Dream: Conquest of Everest The Everest documentary has, by now, become a genre unto itself. It’s got its own tropes (sweeping shots of the mountain’s face, somber voice-over philosophizing about the human struggle with nature) and its own canon (topped, perhaps, by the harrowing 1998 IMAX hit Everest). The latest entry into this field is National Geographic Entertainment’s The Wildest Dream, which chronicles early-20th century explorer George Mallory’s lifelong — and ultimately life-ending — quest to reach Everest’s summit, and modern mountaineer Conrad Anker’s attempt to recreate his predecessor’s final climb. Director Anthony Geffen unfolds his tale in standard adventure-doc fashion. We get a lot of scratchy footage from Mallory’s climbs, a few risibly awkward dramatic re-creations, and quite a lot of portentous voiceover work. These are worn techniques, to be sure, but that doesn’t make the story told any less compelling. Mallory himself emerges as a particularly fascinating figure — a talented and charming scholar, a devoted husband, and an irresponsible, borderline suicidal obsessive. It’s a shame that we’re only able to observe him at a century’s distance. (1:33) Opera Plaza. (Zach Ritter)

*Winter’s Bone Winter’s Bone has already won awards at the Berlin International Film Festival and the Sundance Film Festival, but it’s the kind of downbeat, low-key, quiet film that may elude larger audiences (and, as these things go, Oscar voters). Like Andrea Arnold’s recent Fish Tank, it tells the story of a teenage girl who draws on unlikely reserves of toughness to navigate an unstable family life amid less-than-ideal economic circumstances. And it’s also directed by a woman: Debra Granik, whose previous feature, 2004’s Down to the Bone, starred Vera Farmiga (2009’s Up in the Air) as a checkout clerk trying to balance two kids and a secret coke habit. Drugs also figure into the plot of the harrowing Winter’s Bone, though its protagonist, Ree Dolly (Jennifer Lawrence), is faced with a different set of circumstances: her meth head father has jumped bail, leaving the family’s humble mountain home as collateral; the two kids at stake are her younger siblings. With no resources other than her own tenacity, Ree strikes out into her rural Missouri community, seeking information from relatives who clearly know where her father is — but ain’t sayin’ a word. It’s a journey fraught with menace, shot with an eye for near-documentary realism and an appreciation for slow-burn suspense; Lawrence anchors a solid cast with her own powerful performance. Who says American independent film is dead? (1:40) Empire, Four Star, Opera Plaza. (Eddy)

Endorsement Interviews: Debra Walker

Sasha Cuttler And Mary Magee

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August 30, 2010

15

Editors note: The Guardian is interviewing candidates for the fall elections, and to give everyone the broadest possible understanding of the issues and our endorsement process, we’re posting the sound files of all the interviews on the politics blog. Our endorsements will be coming out Oct. 6th.

Debra Walker, a candidate for District 6, has obviously thought a lot about sustainable development — and she isn’t just focused on what building materials are being selected. In addition to planning in ways that would limit traffic congestion and still make sense years from now when the city is grappling with sea-level rise, affordability ranks near the top of her list of priorities.

“Can we agree that we are not building enough below-market housing?” she asked.

A tenant representative on the city’s Building Inspection Commission, Walker is interested in integrating an analysis of the socioeconomic effects of development into the city planning process. “We need to look at our development proposals through a different lens,” she said. “We need to come at planning from the perspective of what we need.”

She’d like to see the city look at the larger picture of what kind of a future is being crafted through its planning decisions. “Land use is the primary issue in District 6 and District 10,” she said. “If we do it wrong, it will exacerbate every problem we have. It’s the future of San Francisco.”

As someone whose primary mode of transportation is a bicycle, Walker looks at MUNI from the perspective of some one who might take transit more often if her busy schedule permitted it. “None of our policies encourage people to ride transit,” she pointed out, adding that she would be interested in exploring ways to boost ridership in order to improve MUNI service, and looking at measures such as a vehicle license fee to create additional funding for transit.

Walker also talked with us about revenue generating measures, why she would support a Bank of San Francisco as a way to prime the pump for our local economy, and how to address issues surrounding local hiring. Listen to the full interview below.

dwalker by tim94107

Evaluating the criteria the city uses to classify folks as gang members

Mary Magee

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August 26, 2010

7

Evaluating the criteria the city uses to classify folks as gang members

I recently asked Deputy City Attorney Yvonne Mere about the criteria the city uses to determine if someone is a member of a criminal street gang.

More precisely, I wanted to know if any of the 41 young black men named in City Attorney Dennis Herrerra’s recently filed gang injunction in Visitacion Valley were named simply because they were seen affiliating with documented gang members and frequenting gang areas.

I asked because those are two criteria local law enforcement officials use to classify gang members.

According to Penal Code Section 186.22, a minimum of two or more of the following criteria must be met to classify someone as a member of a criminal street gang:
1. Subject has admitted to being a gang member (to any peace officer, school official, or juvenile hall employee).
2. Subject has committed gang-related crimes or engaged in gang-related activities.
3. Subject has been identified as a gang member by a reliable informant/source.
4. Subject has been identified as a gang member by an untested informant or source with corroborative evidence.
5. Subject has been seen affiliating with documented gang members.
6. Subject has been seen displaying symbols and/or hand signs.
7. Subject has been seen frequenting gang areas.
8. Subject has been seen wearing gang clothing.
9. Subject has identifiable gang tattoos.
10. Subject is a registered gang member under Penal Code section 186.30
OR—as a single criteria:
11. Subject admits being a gang member in a custodial classification interview.

“I don’t have a cheat sheet that says X has number 3, 7 and 10 on that list,” Mere replied. “But I will tell you that this is not the case that these guys just happen to be hanging out in the area, and weren’t committing crimes, but just got swept up.”

Mere pointed to one of the declarations posted at the City Attorney’s website that alleges that one individual admitted to being a gang member, and was also convicted of second degree robbery, arrested in felony possession of firearms and ammunition, has been seen in the neighborhood with other documented gang members, frequenting gang areas and throwing a Down Below Gang’s hand sign.

“Our expert declaration lays out all the criteria,” Mere said. “And we have an opt out provision,” she added, noting that the Lawyer’s Committee has said it will help anyone with the opt-out petition. “But so far no lawyers or individuals have contacted us about opting out.”

Another expert declaration documents how the SFPD received a tip that gang members had buried a weapon after a chase with the police and that when the SFPD recovered the firearm, they found fingerprints of one of the individuals now on the Viz Valley list.
The declaration says that this individual was then arrested and found with a plastic baggie containing ten off-white rocks of suspected rock cocaine between his buttocks.
Another individual named on the list allegedly took police on a chase through the Britton Courts public housing project and was seen stopping to bury a small off-white object, which allegedly turned out to be two bags of suspected meth. On arrest, this individual, who is not on the Britton Courts lease, was found with a bag of marijuana on his person.

I asked Mere if the City Attorney’s gang injunction could be impacted if voters approve Prop.19, which would legalize the sale of marijuana.

“I can’t say how Prop. 19 is going to affect numerous cases that have a gang component,” Mere said. “I will tell you that we put everything on the table. We have laid out our entire case. It gives transparency. And a judge still has to decide if the evidence is sufficient.”

But if there is all this evidence, why isn’t the District Attorney’s Office prosecuting these 41 individuals on criminal charges (a process that would also automatically give these men the right to a Public Defender)?

“I think [folks in the D.A’s office] do,” Mere said. “But we’re still seeing that despite the best efforts of the police department, that the nuisance behavior still occurs. This is just another tool to stop the violence.”

Mere said none of the funding to put together this particular case came from federal sources.
“We are the same eight lawyers that do neighborhood nuisance abatement,” Mere said.

Endorsement interview: Jim Meko

Zelda Bronstein

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August 26, 2010

5

Editors note: The Guardian is interviewing candidates for the fall elections, and to give everyone the broadest possible understanding of the issues and our endorsement process, we’re posting the sound files of all the interviews on the politics blog. Our endorsements will be coming out Oct. 6th.

Jim Meko’s been part of western SOMA for decades. He founded the SOMA Leadership Council, played a key role in Western SOMA planning, helped create the Entertainment Commission and now sits on that panel. He probably knows the details of land-use policy better than half the professional planners in the city and has all sorts of ideas about using zoning and traffic engineering to improve the neighborhood (two-way traffic on Folsom, for example). He’s pushing to be sure that market-rate housing development not skew the existing ration of affordable to expensive housing. He’s a small business owner and a supporter of the entertainment industry.

He’s got a bit of a fiscal conservative side, too: He told us he supports Jeff Adachi’s pension-reform measure and wants to get rid of many of the set-asides in the city budget. You can listen to his views here:

jimmeko by janwend

Endorsement interviews: Glendon “Anna Conda” Hyde

Zelda Bronstein

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August 26, 2010

2

Endorsement interviews: Glendon “Anna Conda” Hyde

Editors note: The Guardian is interviewing candidates for the fall elections, and to give everyone the broadest possible understanding of the issues and our endorsement process, we’re posting the sound files of all the interviews on the politics blog. Our endorsements will be coming out Oct. 6th.

District 6 candidate Glendon “Anna Conda” Hyde is full of intriguing ideas for how San Francisco can bring greater dignity into people’s lives.

These include a five-year moratorium on condominiums, the establishment of safe injection sites, building a grocery store in the Tenderloin, continuum housing for youth that age out of foster care, the charging of weight-based fees on vehicles that enter the city, and the creation of a theater and cultural district on the mid-Market Street corridor.

“We have been inspiring a whole lot of people that didn’t have a voice,” Hyde, who performs as the drag queen Anna Conda, told us in a conversation that touched on hot-button topics like decriminalizing homelessness, expanding rent control, creating safe and affordable housing, and providing better and basic services for folks in low-income areas,

“I was more into the idea of rent control but people are far more willing to talk about harm reduction and safe injection sites,” Hyde said of life on the campaign trail.

“San Francisco is a magical place that draws people to it, but it’s become the place that forces people out.”

Folks often talk about the divisive rise of NIMBYism in the South of Market, but Hyde thinks there is a way to create a more unified front in the district. “People don’t understand the ramifications of not taking care of the homelessness,” Hyde said. “Your tax is putting people in jail or on the streets, where it will cost twice as much. Three nights in jail equals the cost of an entire month of housing.”

To learn more about how Hyde intends to offer permanent solutions to these challengers, instead of simply sweeping folks from a doorstep to a jail cell, listen to the interview here:

glendon by janwend

Herrera’s gang injunction becomes part of D. 10 dialogue

Mary Magee

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August 24, 2010

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As stated in this week’s article about City Attorney Dennis Herrera’s Viz Valley gang injunction, Herrera’s move gives D. 10 candidates an opportunity to show they are tracking all the issues in a district that is home to the city’s largest public housing site.

As C.L.A.E.R. Project director Sharen Hewitt put it at a debriefing session about the injunction, “D. 10 has been reduced to the Lennar issue, and that’s what’s criminal.”

And the injunction is becoming part of the dialogue in the D. 10 race, with eleven candidates in that race sounding off on the injunction, many of them critiquing Dennis Herrera’s approach and/or advocating for legal representation for those named in the suit, and more services in this historically neglected district.

Candidates Isaac Bowers, Kristine Enea, Chris Jackson, Nyese Joshua, Steve Moss and Marlene Tran attended Hewitt’s August 12 gang injunction debriefing.

And by meeting’s end, Bowers and Enea said they would help community members get legal representation.
“A lot of people being served, don’t know what an injunction is, or don’t show up at the hearing and then they become subject to the injunction,” Bowers said.

Enea said she was glad that City Attorney Yvonne Mere clarified at the debriefing that the 41 young men named in Herrera’s filing could not be included in the actual injunction until they have been served.

“It was important to clarify the notice process,” Enea said.

Jackson said he’s committed to helping these men access job and education opportunities.
“If you i.d. folks as low-income gang members, there is a lot more you can do than simply hand over their names to law enforcement,” Jackson said.
“Before the City Attorney puts in a gang injunction, that office should talk about it with the community.” Jackson continued. “Ultimately this is about land use.”

“For the City Attorney to have a top down approach to gang injunctions is unfortunate,” Jackson said, noting that Herrera’s injunctions have been in predominantly
African American and Latino neighborhoods.

“And in terms of taking away people’s civil rights, it’s unacceptable, “ Jackson added, noting that the City Attorney’s list of targeted individuals is public information.

Reached by phone, Moss says he’d like to see a time limit imposed on gang injunctions. Currently, injunctions are indefinite, once they have been granted.

“I haven’t studied the precise details,” Moss said, noting that he went to Hewitt’s debriefing and has leaved through materials the City Attorney’s Office provided.
“Generally, no one likes gang injunctions because they potentially threaten civil liberties and sometimes the city gets it wrong,” Moss said, referring to cases where folks have been wrongly named in previous injunctions. “But in places where injunctions have been brought, they do seem to have reduced the violence and calmed down the district. I’d like there to be a time limit, a sunset clause.”

D. 10 candidate Marlene Tran said she thinks the injunction could help reduce violence in the neighborhood.
“I was trying to listen to the different input at the debriefing session,” Tran said. “But on TV, I heard that when Herrera talked to the Chinese press, he cited some 200 incidents in the proposed safety zone. About 100 of those incidents involved guns, and there have been ten homicides in three years. Those are really glaring statistics. And this morning I read that there is another injunction in Oakland, and they talked about success with gang injunctions in Salinas, where the homicide rate dropped from 50 to 5, compared to 2008/2009.”

Tran, who sits on the Community Advisory Board for the Police Department’s Ingleside Station, said she heard from Ingleside Captain Louis Cassenego that he wants to serve all 41 respondents named in the injunction peacefully.
“If this is done without any casualties to the district and the community, and if it prevents any further violence, then this is the way to go,” Tran said.

Tran expressed some due process concerns.
“If they spend that much personnel and time [on putting the injunction together], it should be done with due process,” Tran said.

But she feels the current level of violence in Viz Valley is unacceptable.
“I’ve lived here for twenty something years, and if you talk to residents and children, who wants to hear gun fire,” Tran said. “So I think we have to work for a peaceful community to prevent these problems. That’s why we call ourselves the emergent district.”

D. 10 candidate Ed Donaldson believes the injunctions are a product of neglect.
“It comes back to a question of overall neglect in the district,” Donaldson explained. When you have that level of social and economic neglect, gang injunctions become “necessary’. But when you look at the resources coming into the district through local non-profits, which comes, I believe to $110 million a year, 80 percent of which is city money, paid mostly to non-profits that may not be based in the district, you have to ask, Are we getting what we paid for? And do these non-profits have enough integrity to make sure there is a level of impact to transform people’s lives? “

Donaldson says that, given the overall level of neglect in public housing, it’s not surprising the district has challenges.

“So, are we willing to invest in the neighborhood in a very transformative way, or are we going to continue to give money to police and prisons?” Donaldson asked.
He notes that every year, 1,600 men and women return to the southeast side of San Francisco, and there is a 71 percent recidivism rate among these folks.

“Why is this rate so high in a progressive city like San Francisco?” Donaldson said. “Part of the answer lies with our public housing policy: if you can’t get public housing, you can’t apply for a job, you can’t go to school to better yourself.”

Donaldson says there is a direct connection between the district’s homicide rate and the people getting out of prison, returning to the district and re-offending.
“So, what’s so hard about getting our arms around 1,600 people a year and stabilizing them? Because then a lot of stuff about public safety will go away.”

D. 10 candidate Tony Kelly believes that if there were gangs in Viz Valley, then Herrera’s injunction would be valid.
“There is gang-like activity, but it’s small scale turf wars, shootings and retaliations, and it’s not organized,” Kelly said. “ Instead, you’ve got unorganized young black men with no other options, doing whatever it takes to get ahead. But instead of doing something constructive, the City Attorney calls them gangs.”

Kelly notes that the City Attorney claims that most of the individuals named in the Viz Valley injunction don’t live in the proposed safety zone.
“But according to what I’m hearing on the ground, a bunch of them do live here and/or grew up here,” Kelly said. “So, we want their families to get involved. They need safe havens. But combined with last year’s budget cuts, all this does is criminalize young people and pushes the problem around. As long as we have 40-50 percent unemployment, we are not going to solve our crime problem.”

DeWitt Lacy, also a D. 10 candidate, said he is concerned that gang injunctions are circumventing people’s due process rights.
“In a criminal case, you have the right to an attorney, but that’s not so in a civil action,” Lacy said.

Lacy worries that gang injunctions lend themselves to racial profiling.
“Folks have to stay in their house or quickly go to and fro because they can’t hang out in the neighborhood,” Lacy said. “A smarter approach would be to do community policy that Sup. Ross Mirkarimi introduced in the Western Addition. It’s been shown to have a positive impact on criminal activity. We should have officers walking around in troubled areas. The more we change a foot patrol pilot into citywide policy, the more we actually address serious issues and problems. Everyone understands the value that police bring and everyone wants to be able to rely on them. When we only use police to bring a punitive action it reinforces the notion that they are evil enforcers.”

D. 10 candidate Malia Cohen said she was concerned by Herrera’s approach.
“I think we need a more comprehensive approach, otherwise, we’ll simply be moving crime two blocks over,” Cohen said. “We need long-term, not short-term solutions.”

Cohen noted that there are Chinese and Russian gangs in town, as well as African American ones, and Latino gangs like the Nortenos and Sudenos.
“But the style of how each gang manifests is different, which makes African Americans an easy target. We need to have a uniform approach to how we deal with this.”

The 41 men identified in Herrera’s latest injunction all appear to be African American, and many have family ties and roots in Sunnydale, meaning the injunction impacts a much larger circle of folks than those simply named in Herrera’s filings.
“The impact on families caught up in this can’t be overstated,” Cohen said. “Either they’ll have to take bus down to court, or drag down and pay hella money for parking, and for food, and even take a day off from work if they are employed. And then there’s the emotional effect. We could be using our resources in a more productive way. I understand that Dennis Herrera is ambitious, but this is playing on people’s racism. It’s tantamount to ethnic cleansing. Maybe Herrera wants to be seen as tough on crime, but ut how about being seen as big on compassion? Or big on fair? This is not going to help people get jobs and housing. And it prevents American citizens from being able to travel.”

Eric Smith, also a D. 10 candidate, says it’s right to question the injunctions.
“David Campos and Eric Quezada both expressed concerns about Herrera’s injunction against the Nortenos, when they were running in the 2008 race for D. 9,” Smith observed.
“They talked about the unintended consequences of that injunction in terms of deporting folks who then train the next generation in the ways of gangs.”

Smith questions how effective gang injunctions are in the long-term.
“They are a band-aid,” Smith said. “This is like putting a finger in the dike, or using a hammer to kill a flea. Because the root causes are not addressed. If you don’t deal with young people’s lack of education and joblessness, their hopelessness, their choicelessness, the gang becomes their family. So, if the city did community policing and had great youth programs, it would help.”

Smith, who is a professional jazz musician, wants to see more music, poetry and spoken word programs and activities in the neighborhood.
“There’s a lot of untapped talent,” he said. “When you have arts, music and theater, those are life-saving opportunities.”

Also a bio-diesel advocate, Smith wants to see people who are returning to the community after a stint inside, being able to access green jobs, instead of doing more of the same stuff, only better, than the activities that landed them inside in the first place.

“I care about everyone in the district, but most of all about those who have been kicked to the curb and end up in gangs, on drugs, or dead.”

And D. 10 candidate Diane Wesley Smith believes there are better solutions than gang injunctions

“African American culture is almost opposite in terms of physical mannerisms and gestures and tone of voice, and that can be scary to someone who is used to being conservative,” Wesley Smith said, speaking to the rising tensions between some black and Asian residents in the district.

“I believe these things could be solved with town hall meetings, where there is food and translators so folks could talk things out, “ she said. “It’s never going to be worked out through the police. Only law enforcement benefits from these kinds of proceedings. We need to reach out and touch each other, so that the Chinese community knows that the black community has the same goals as they do, which are employment, housing and safety.”

“When we talk about violating people’s civil rights, posting people’s pictures on websites, preying on people’s fears, well, that’s how we got into the war,” Wesley-Smith said. “Unemployment. Lack of access to opportunity. Lack of education. No money for our schools, but an increase in spending on our jails. These all send the same message: You are not wanted.”

Wesley Smith is concerned that the gang injunctions will accelerate the mass exodus of blacks and people of color from San Francisco.
“We all want a safe San Francisco,” she observed. “The solution is more jobs, not war. People are just going to go more underground in face of these injunctions. Meanwhile, the kids in my district don’t have toilet paper or computer paper in their schools.”

“I understand that Dennis Herrera is a career politician, and time will tell what his true aspirations are, but this is not legislation we propose in a caring society,” Wesley-Smith concluded. “We’re not showing any of these kids any love. All we need to do is partner with business and government and work this out. Te thought that four men standing on a corner drinking an energy drink could be considered gang members is shocking. That’s how they perpetuated slavery, and that’s why blacks have problems today. All my nephews dress similarly. So, are we going to consider them gang members? The good and the bad kids dress the same. We need people and parents to understand that none of us can be safe, until we take care of those who have the least in our community. I’d venture that everyone who is a safety concern has not pursued their education, has not been assisted in pursuing education, and has not been assisted in pursuing employment.”

D. 10 candidate Lynette Sweet promised to call me back to talk about the gang injunction, and if and when she does, I’ll be sure to include her comments here. The same goes for Nyese Joshua, Geoffrea Morris and Steve Weber who had not returned my calls as of blog time, and for any other D. 10 candidates that I was unable to reach for this article. So, stay tuned…

Crackdown on gangs — or civil liberties?

Jesse Hawthorne Ficks

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August 24, 2010

1

Crackdown on gangs — or civil liberties?

Sarah@sfbg.com

City Attorney Dennis Herrera’s Aug. 5 decision to file a civil gang injunction against two alleged gangs in Visitacion Valley is being hailed by top local law enforcement officials as an important weapon in a war between heavily-armed members of two rival gangs in the Sunnydale housing projects.

“I consider this another vital tool in the prosecution of violent criminals,” District Attorney Kamala Harris said in a City Attorney’s Office press release announcing the suit against the Down Below Gangsters (DBG) and Towerside Gang.

But in the middle of a heated race for supervisor in District 10, the gang injunction also has become a political issue — and infuriated civil liberties activists who say it’s unfair and won’t work.

Herrera’s complaint names and identifies 41 young black men using declarations from gang task force members, police reports, photographs of the men sporting tattoos, flashing hand signs, and wearing purported gang clothing — and even extracts from a letter that one listed individual sent to another alleged gang member, who was in jail.

If Herrera’s request is granted in court Sept. 30, it will be San Francisco’s fourth civil gang injunction. Herrera secured similar injunctions against the Bayview-Hunters Point Oakdale Mob in October 2006; the Mission District’s Norteños in 2007; and the Western Addition’s Chopper City, Eddy Rock, and Knock Out Posse in 2007.

The City Attorney’s Office claims a “cooling off” effect as a result of those injunctions. “Since Herrera launched the civil gang injunction program at the end of 2006, 46 percent of identified gang members (43 of 93) have gone without even a single arrest in San Francisco for crimes other than minor violations of the injunction itself,” Herrera’s office states.

It claims that the data also show progressive improvements over time. “Only 14 percent of identified gang members (13 of 93) were arrested for noninjunction crimes so far in 2010 — down from 41 percent in 2007,” Herrera’s office states.

But San Francisco Public Defender Jeff Adachi, civil rights lawyers, and community advocates worry that the injunction raises constitutional issues and practical problems that could be counterproductive in terms of Herrera’s stated effort to reduce violence in Visitacion Valley.

“The first difficulty you observe is that there is no right to counsel,” Adachi said, pointing to the three injunctions Herrera has already launched. “Instead, the burden is on the individuals named in the injunction to come forward and contest the injunction.”

Contesting an injunction is expensive and difficult, Adachi says.

“There’s a large amount of filing, and then there’s a hearing and a trial,” said Adachi, who represented individuals named in Herrera’s 2007 suit against the Norteños. “It costs between $10,000 and $20,000 to mount an adequate defense.”

Adachi claims Herrera’s past injunctions were mostly based on allegations and stale information that could have triggered more violence. “We saw that the city attorney based its injunction solely on what police officers had alleged, officers who in most cases were members of the Gang Task Force,” he said. “For instance, there was a woman who had been in a gang, but left years before. As a result of being named, her family was threatened and she was fearful there would be reprisals.” The woman’s name was ultimately removed.

Adachi represented a young man who had never been in trouble but found himself on Herrera’s Mission-based injunction list after he rapped about the Nortenos. “There was no evidence, but when we said there had been a mistake, the city attorney disagreed,” Adachi said. “In the end, a judge found there was insufficient evidence.”

Adachi worries about the impact on individuals mistakenly named in the suit. “When you name someone, that brands them. What we saw in other injunctions was that people lost jobs.”

He notes that only a few people came forward to challenge past injunctions. “But in at least four cases, people were found not to be gang members,” he said.

At the time of those injunctions, there was no way to get off the list. “So we worked with the ACLU to demand one and the City Attorney’s Office agreed,” Adachi said. “But I don’t know how many people have since filed paperwork.”

Ingleside police station Capt. Louis Cassenego told us that as of Aug. 20, 12 men had been served with the injunction — six allegedly from DBG, six from Ingleside.

“We had signage posted on utility poles, and no signs have been torn down,” Cassenego said. “And so far, the folks served have taken it in a matter-of fact fashion.”

But Sharen Hewitt, executive director of the C.L.A.E.R. Project, a community empowerment and violence prevention nonprofit, said she worries that people don’t understand the implications of being served and won’t take the trouble to opt out. “I talked to a young man after he got served and he tore up his notice,” Hewitt said.

Hewitt invited representatives from the City Attorney’s Office, Police Department, Lawyers Committee for Civil Rights, Bay Area Legal Aid, and residents of the area to an Aug. 12 emergency debriefing. “We are sitting in the middle of a major war zone,” Hewitt said, referring to the meeting’s location at Britton Courts, a public housing project that Herrera claims is on DBG turf. “Although this situation threatens the community, it has also brought us together. And now we are trying to pull together a legal team.”

Deputy City Attorney Yvonne Mere explained that the suit seeks to ban criminal and nuisance conduct by creating a proposed safety zone that covers two-tenths of a square mile and encompasses both gangs’ alleged turf plus a buffer zone.

The injunction would impose a 10 p.m. curfew on the 41 men listed, who are a barred from trespassing, selling drugs, and illegally possessing firearms, loitering, displaying gang signs, and associating in public in neighborhoods surrounding the Sunnydale, Heritage Homes, and Britton Courts developments.

Some of this conduct is already against the law, but other activities, including assembling in groups, is typically protected by the Constitution, Mere explained.

Lt. Mikail Ali of the Ingleside station said many youngsters don’t want to be in a gang. “This is an out,” Ali said.

But some residents questioned whether some men on Herrera’s list are in a gang. “Who are you to say who is a gang member?” asked Sheila Hill, who was concerned that her son, the victim of a shooting a couple of years ago, was on the list. “Yes, they might have done something three or five years ago, but many of them have moved on, got married, and got a job. I don’t believe you guys are really checking your records.”

Mere disagreed (later clarifying that Hill’s son isn’t named by the injunction). “We looked at criminal records within the last five years, including shootings, shots fired, and weapons possessed, and it’s a pretty violent zone down here,” Mere said. Mere claims the war between DBG and the Towerside caused 10 murders in the last three years.

Leslie Burch, president of the Britton Courts Neighborhood Association and cofounder of the Visitacion Valley Peacekeepers, said a lot of the men named grew up together, playing sports, staying at each other’s houses overnight, and making affiliations.

“So I wouldn’t necessarily classify them as gangs,” Burch said. “They are just a bunch of friends who have common interests like music, sports, and hanging out together.”

Mere pointed to the opt-out option, part of a 2008 agreement between the city attorney, ACLU, and Lawyers’ Committee for Civil Rights.

“It’s an option for people to say, ‘No, you are wrong,'<0x2009>” Mere said. “They can submit letters from pastors and friends, and we’ll consider that between now and Sept. 30.“

But Burch challenged some of the evidence posted at the City Attorney’s wesbite, including photographs of people sporting alleged gang tattoos and clothing.

“Take the T sign,” Burch explained “The city attorney says it represents the Towerside. But I had a nephew who was murdered. His name was Trayon, and some people wear the letter T in remembrance of him. I was in court with a nephew who was trying to explain that he is not a gang member just because he’s wearing a hat with a T on it.”

Hewitt noted that the injunction follows budget cuts that decimated local nonprofits and that funding is desperately needed for programs that provide young men with jobs and other alternatives to crime.

Hewitt also noted that the injunction gives District 10 candidates an opportunity to show the community that they are tracking all the issues in this pivotal race. “D-10 has been reduced to the Lennar issue, and that’s what’s criminal,” Hewitt said, adding that coverage of the race has so far largely excluded Viz Valley, even though it’s home to the city’s largest public housing site.

Indeed, the injunction is becoming part of the dialogue in the District 10 supervisor campaign. Candidates Isaac Bowers, Kristine Enea, Chris Jackson, Nyese Joshua, Steve Moss, and Marlene Tran attended Sharen Hewitt’s Aug. 12 gang injunction debriefing. By meeting’s end, Bowers and Enea said they would help community members get legal representation. “A lot of people being served don’t know what an injunction is or don’t show up at the hearing, and then they become subject to the injunction,” Bowers said.

Jackson said he’s committed to helping these men get access to job and education opportunities.

Candidate Tony Kelly said if there are gangs in Viz Valley, Herrera’s injunction would be valid. “There is gang-like activity, but it’s small-scale turf wars, shootings. and retaliations. And it’s not organized,” Kelly claimed. “Instead, you’ve got unorganized young black men with no other options doing whatever it takes to get ahead. But instead of doing something constructive, the city attorney calls them gangs.”

DeWitt Lacy, also a candidate, said he remains concerned that gang injunctions are circumventing people’s due process rights. “In a criminal case, you have the right to an attorney — but that’s not so in a civil action.”

Film listings

David Talbot

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August 24, 2010

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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. For first-run showtimes, see Movie Guide.

OPENING

Avatar: Special Edition Now with nine extra minutes? Wasn’t this movie long enough the first time? (2:51)

Cairo Time Patricia Clarkson plays a married magazine editor who unexpectedly falls in love while on vacation in Cairo. (1:29) Embarcadero, Piedmont, Shattuck, Smith Rafael.

*Centurion Neil Marshall is the kind of filmmaker who inspires glee among horror and action junkies, but indifference among mainstream moviegoers. Centurion isn’t likely to change this. It’s the second century, and Romans are invading what’s now the Scottish Highlands, much to the displeasure of the Picts, the tribal people who’re already living there. Enter Quintus Dias (Michael Fassbender), a Roman soldier who becomes the de facto leader of an ever-shrinking group of men trapped behind enemy lines after their general (The Wire‘s Dominic West) is captured. Devotees of Marshall (2002’s Dog Soldiers, 2005’s The Descent, 2008’s Doomsday) will recognize certain elements: an ensemble cast, a military setting, the presence of a fierce female (Bond heroine Olga Kurylenko, who makes Pict warrior drag both spooky and sexy). Unlike his earlier films, though, there’s no supernatural twist; it’s just good old battlefield guts and gore. Sure, the romantic subplot feels a little forced, but this is genre filmmaking in its purest form, to be celebrated with gusto by those who appreciate grisly decapitations and the like. (Read my interview with Marshall at www.sfbg.com/pixel_vision.) (1:39) Lumiere, Shattuck. (Eddy)

Flipped I’m sure a "he said/she said" film exists that makes good on the premise, but Rob Reiner’s Flipped doesn’t quite cut it. Nestled safely in 1960s small-town America, the film is first narrated by Bryce, an eighth grader who’s spent the past four years rebuking the advances of Juli, the girl who lives across the street. Bryce is a pretty typical boy, bumbling and unsure of just what he wants, but soon the story "flips" and we see the same events narrated from Juli’s POV. Juli is drawn to Bryce’s "sparkling eyes," yes, but with a poor family and an annoyingly sincere love for life, she has problems outside of lusting for Bryce. Based on a tween-hit novel by author Wendelin Van Draanen, the story’s familiarity perhaps stems from the source material — in my experience those sorts of novels rarely invite readers older than high school — and similarly in the case of Flipped, I think this might be something we should leave to the kids. (1:30) Embarcadero. (Galvin)

The Last Exorcism Latest in a long line of Louisiana preachers, genial extrovert Cotton Marcus (Patrick Fabian) isn’t even sure he believes in God anymore — but it’s the family business, and it’s a living. He definitely doesn’t believe in demonic possession, yet has presided over many an "exorcism" if only to fool the psychologically damaged into thinking they’re "cured" of delusional ails. But now he’s decided such hijinks might be more harmful than helpful. So to debunk the whole idea, he takes a documentary filmmaking crew on one last "soul-saving" trek, answering a desperate letter from a widowed farmer (Louis Herthum) whose 16-year-old daughter (Ashley Bell) is believed possessed. Cotton deploys theatrical tricks to rig an alleged purging of Satan’s minion. And it works … but this wouldn’t be a horror movie if that rationalist triumph didn’t turn out to be a false finish, followed by all kinds of inexplicable WTF. German director Daniel Stamm’s first English-language feature (written by Huck Botko and Andrew Gurland) is being positioned by Lionsgate as the next viral word-of-mouth horror sensation a la prior faux-docs The Blair Witch Project (1999) and Paranormal Activity (2007). But the "reality" illusion is more transparent here. Despite some clever buildup tactics, okay twists, and a handful of scares, this ultimately disappoints — a preview audience’s catcalls at its underwhelming fadeout suggested there will be no Last Exorcism 2. (1:27) Shattuck. (Harvey)

*Mesrine: Killer Instinct This first half of a two-part film about notorious French bank robber Jacques Mesrine examines the early life of its subject, before he was a flamboyant, headline-grabbing folk hero. The very first scene uses 70s-style split-screens to revel Mesrine’s violent 1979 death; writer-director Jean-François Richet (2005’s Assault on Precinct 13) then jumps back 15 or so years for a glimpse of our (anti-) hero’s soldiering days in Algeria. Before long, "Jacky" (an outstanding Vincent Cassel, in a César-winning performance) is back in Paris, horrifying his upper-class parents and young wife by choosing the underworld over conventional pencil-pushing. (A near-unrecognizable Gérard Depardieu appears as a mob boss.) Killer Instinct, which is adapted from Mesrine’s own prison-penned autobiography, suffers from some standard biopic problems — it tries to cram in too much, and feels mighty rushed at times. But there’s still plenty of bad, bad behavior to enjoy, including the film’s spectacular last act, a breakneck recreation of one of the daring prison escapes that helped make Mesrine a legend. Continuation Mesrine: Public Enemy No. 1, which beings where this film ends, comes out Sept 3. (1:53) Embarcadero, Shattuck. (Eddy)

Takers This just in: Hayden Christensen still getting work. (1:57) Shattuck.

*The Two Escobars In America, the World Cup ends, and most sports fans turn their attentions elsewhere. In other countries, soccer is a year-round happening that inspires religious devotion. Putting this fact into perspectives both glorious and cruel is The Two Escobars, Jeff and Michael Zimbalist’s involving new doc about the rise of "narco-soccer" in Colombia, circa the coke-crazed 1980s and early 90s. One Escobar, we’ve all heard of: Pablo, a noted drug kingpin who was also a hero to the slum-dwellers who benefited from his donations of housing and, perhaps more importantly, soccer fields. A rabid footy fan himself, Pablo invested in Colombian teams, an influx of cash that helped the national team become one of the strongest in the world. Escobar number two is Andrés, the affable, wholesome defender who served as team captain in the 1994 World Cup. The events that caused both Escobars to meet untimely and brutal deaths are detailed here, by people who knew them well, in a moving, well-edited film that’s as cautionary as it is celebratory. Highly recommended. (1:40) Sundance Kabuki. (Eddy)

ONGOING

*Animal Kingdom More renowned for its gold rush history and Victorian terrace homes than its criminal communities, Melbourne, Australia gets put on the same gritty map as Martin Scorsese’s ’70s-era New York City and Quentin Tarantino’s ’90s Los Angeles with the advent of director-writer David Michôd’s masterful debut feature. The metropolis’ sun-blasted suburban homes, wood-paneled bedrooms, and bleached-bone streets acquire a chilling, slowly building power, as Michôd follows the life and death of the Cody clan through the eyes of its newest member, an unformed, ungainly teenager nicknamed J (James Frecheville). When J’s mother ODs, he’s tossed into the twisted arms of her family: the Kewpie doll-faced, too-close-for-comfort matriarch Smurf (Jacki Weaver), dead-eyed armed robber Pope (Ben Mendelsohn), Pope’s best friend Baz (Joel Edgerton), volatile younger brother and dealer Craig (Sullivan Stapleton), and baby bro Darren (Luke Ford). Learning to hide his responses to the escalating insanity surrounding the Codys’ war against the police — and the rest of the world — and finding respite with his girlfriend, Nicky (Laura Wheelwright), J becomes the focus of a cop (Guy Pearce) determined to take the Codys down — and discovers he’s going to have use all his cunning to survive in the jungle called home. Stunning performances abound — from Frecheville, who beautifully hides a growing awareness behind his character’s monolithic passivity, to the adorably scarifying Weaver — in this carefully, brilliantly detailed crime-family drama bound to land at the top of aficionados’ favored lineups, right alongside 1972’s The Godfather and 1986’s At Close Range and cult raves 1970’s Bloody Mama and 1974’s Big Bad Mama. (2:02) Shattuck, Sundance Kabuki. (Chun)

Army of Crime In 1941 Paris, a group of resistance fighters — mostly foreign-born, many Jewish — form an underground network to sabotage the ever-growing Nazi presence in France. Their schemes range from the clever (playing loud piano to disguise the sound of a printing press) to the violent (grenades tossed under buses). Tension builds as the film progresses, though we learn in the first three minutes which characters will have "Died for France" at the end. In addition to its important historical lesson (with a modern-day nod toward the shifting definition of what makes a terrorist), Army of Crime also boasts a strong, easy-on-the-eyes ensemble cast and a depiction of wartime Paris that favors glamorous nostalgia. (2:13) Sundance Kabuki. (Eddy)

Cats and Dogs: The Revenge of Kitty Galore (1:40) 1000 Van Ness, SF Center.

The Concert (1:47) Clay.

Cyrus It’s tempting to label Mark and Jay Duplass’ Cyrus as "mumblecore goes mainstream." Yes, the mumblecore elements are all there: plentiful moments of awkward humiliation, characters fumbling verbally and sometimes physically in desperate attempts to establish emotional connections, and a meandering, character-driven plot, in the sense that the characters themselves possess precious little drive. The addition of bona fide indie movie stars John C. Reilly, Catherine Keener, and Marisa Tomei — not to mention Hollywood’s chubby-funny guy du jour, Jonah Hill — could lead some to believe that the DIY-loving Duplass brothers (2005’s The Puffy Chair, 2008’s Baghead) have gone from slacker disciples of John Cassavetes (informally known as "Slackavetes") to worshippers at the slickly profane (with a heart) altar of Judd Apatow. But despite the presence of Apatow protégé Hill (2007’s Superbad) in the title role, Cyrus steers clear of crowd-pleasing bombast, instead favoring small, relatively naturalistic moments. That is to say, not much actually happens. Mumblecore? More or less. Mainstream? Not exactly. Despite playing a character with some serious psychological issues, Hill comes off as likeable. Unfortunately the movie is neither as broadly comic nor as emotionally poignant as it needs to be — the two opposing forces seem to cancel each other out like acids and bases. (1:32) Four Star. (Devereaux)

Despicable Me Judging from the adorable, booty-shaking, highly merchandisable charm of its sunny-yellow Percocet-like minions, Despicable Me‘s makers have more than a few fond memories of the California Raisins. That gives you an idea of the 30-second attention-span level at work here. Thanks to Pixar and company, our expectations for animated features are high, but despite the single lob at Lehman Brothers aimed toward the grown-ups, the humor here is pitched straight at the eight and younger crowd: from the mugging, child-like minions to the all-in-good-fun, slightly quease-inducing 3-D roller-coaster ride. Gru (Steve Carell) is Despicable‘s also-ran supervillain — a bit too old and too unoriginal for a game that’s been rigged in the favor of the youthful, annoyingly perky Vector (Jason Segel), who’s managed to swipe the Giza Pyramids and become the world’s number one bad dude. When Vector steals away the crucial shrink ray needed for Gru’s plot to thieve the moon, the latter pulls out the big guns: three adorable orphans who have managed to penetrate Vector’s defenses with their fund-raising cookie sales. It turns out kids have their own insidiously heart-warming way of wrecking havoc on one’s well-laid plans. Filmmakers Pierre Coffin and Chris Renaud do their best to exploit the 3-D medium, but Avatar (2009) this is not. Nor will many adults be able to withstand the onslaught of cute undertaken by all those raisins, I mean, minions. (1:35) SF Center. (Chun)

Dinner for Schmucks When he attracts favorable notice and a possible promotion from his corporate boss, Tim (Paul Rudd) is invited to an annual affair in which executives compete to see who can dig up the freakiest loser dweeb for everyone to snicker at. He literally runs into the perfect candidate: Barry (Steve Carrell), an IRS employee whose hobby is making elaborate tableaux with stuffed dead nice in tiny human clothes. He’s also the sort of person who, in trying to be helpful, inevitably wreaks havoc on the unlucky person being helped. Which means the 24 hours or so before the "Biggest Idiot" contest provide plenty of time for well-intentioned Barry to nearly destroy Tim’s relationship with a girlfriend (Stephanie Szostak), reunite him with Crazy Stalker Chick (Lucy Punch), and imperil his wooing of a multimillion-dollar account. Director Jay Roach (of the Austin Powers and Meet the Fockers series) has a full load of comedy talent on board here. So why are the results so tepid? This remake softens the bite of Francis Veber’s 1998 original French The Dinner Game by making Tim not a yuppie scumbag but a nice guy who just happens to have a jerk’s job (his company seizes ailing firms and liquidates them), and who doesn’t really want to expose hapless Barry to humiliation. But even with that satirical angle removed and a wider streak of sentimentality, it should cough up more laughs than it does. (1:50) 1000 Van Ness, SF Center. (Harvey)

*The Disappearance of Alice Creed The reliably alarming Eddie Marsen (concurrently Life During Wartime‘s pederast) plays bullying Vic, one-half of a criminal duo — with puppyish Danny (Martin Compston) his younger subordinate — who abduct grown child of wealth Alice (Gemma Arterton) for ransom in a carefully-thought-out kidnapping. This simple setup, for the most part very simply set in the two abandoned-apartment-complex rooms where Alice is held captive, allows talented British writer-director J. Blakeson to spring a number of escalating narrative surprises. The whole endeavor is almost too chamber-scaled to justify being seen on the big screen (let alone being shot in widescreen format). But it does have some mighty satisfying tricks up its sleeve. (1:40) Sundance Kabuki. (Harvey)

Eat Pray Love The new film based on Elizabeth Gilbert’s chart-busting memoir, Eat Pray Love, benefits greatly from the lead performance by Julia Roberts, an actor who can draw from her own reserves of pathos when a project has none of its own. The adaptation, about a whiny American author farting around the globe in search of what amounts to spiritual room service, is nothing without her. The journey begins with the Type-A, book contract-inspired premise that Gilbert will travel to three appointed countries over the course of a year in order that, having thrice denied herself absolutely nothing, she might come out the other end a better-balanced human being. The first stop is Italy, where her entire plan is to finally unbutton her jeans and indulge in a celebrated cuisine, as if her home base of Manhattan were a culinary backwater. But this film is all about tired equivalencies, so Italy equals food, and expressive hand gestures, and "the art of doing nothing." India, her next stop, equals enlightenment (her discovery that the guru she’s come to see is currently at an ashram in New York is an irony lost on the movie). And Bali, her final getaway, apparently equals contradictory but flattering aphorisms and thematically hypocritical romances. The sole appeal to a moviegoer here is aspirational. What’s so embarrassing about Eat Pray Love is its insistence that this appeal sprouts from the spiritual quest itself, and not just from the privilege that enables Gilbert to have such an extravagant quest in the first place. But then, self-awareness is supposed to be a obstacle to enlightenment. She’s got nothing to worry about there. (2:30) Empire, Marina, 1000 Van Ness, SF Center, Sundance Kabuki. (Jason Shamai)

The Expendables Exactly what you’re expecting: a completely ludicrous explosion-o-thon about mercenaries hired by Bruce Willis to take down a South American general who’s actually a puppet for evil CIA agent-turned-coke kingpin Eric Roberts. Clearly, Sylvester Stallone (who directed, co-wrote, stars, and even coaxed a cameo out of Schwarzenegger) knows his audience, but The Expendables — bulging with a muscle-bound cast, including Dolph Lundgren, Terry Crews, Jason Statham, and Steve Austin, plus Jet Li, who suffers many a short-guy joke — is content to simply tap every expected rung on the 80s-actioner homage ladder. There’s no self-awareness, no truly witty one-liners, no plot twists, and certainly no making a badass out of any female characters (really, couldn’t the South American general’s daughter have packed some heat, or kicked someone in the balls — anything besides simply heaving her cleavage around?) The only truly memorable thing here is the inclusion of Mickey Rourke as Stallone’s tattoo-artist pal; I would possibly wager that Rourke was allowed to write his own weepy monologue, delivered in a close-up so extreme it’s more mind-searing than any of the film’s many machine-gun brawls. (1:43) 1000 Van Ness, Sundance Kabuki. (Eddy)

The Extra Man The polar opposite of buddy cop action flicks and spoofs a la The Other Guys, with only a faint resemblance to the bromances of Judd Apatow, Adam McKay, Will Ferrell, Seth Rogen, and so on, The Extra Man is a gently weird throwback to another era, much like its title character, Henry Harrison (Kevin Kline). Sweet, cross-dressing-curious teacher and would-be writer Louis Ives (Paul Dano) is drifting though life passively when he stumbles on eccentric playwright Harrison’s room-for-let and his oddball realm of hangers-on. A blustery, prickly, proudly misogynistic collector of Christmas balls, given to spasms of improvisational dancing, Harrison relishes his role as an escort to aged socialites, crankily shucking and jiving to score invites to fancy dinner parties and vacation homes in Florida. When Ives isn’t courting environmental magazine editor Mary (Katie Holmes) or hiding from the fearsome-looking wooly recluse Gershon (John C. Reilly), the mentor-able young man turns out to be more adept at the role than Harrison ever imagined. And like fossilized grande dames in Chanel, literate audiences also might be charmed by director-writer Shari Springer Berman’s unassuming, crushed-out bon mot, based on the novel by Jonathan Ames, to a few mannered, less-than-examined, happily twisted New York City subcultures. (1:45) Opera Plaza. (Chun)

Get Low Born from the true story of Felix Bush, an eccentric Tennessee hermit who invited the world to celebrate his funeral in advance of his own death, Get Low is a loose take on what might inspire a man to do a thing like that. It’s a small story, and unlikely to attract the attention of popcorn-addled viewers in the midst of the summer blockbuster season, but Get Low has a whopper of a character in Felix Bush. Robert Duvall becomes Bush, constructing a quiet man who sees it all and speaks only when he has something to say, and supporting roles from Sissy Spacek and Bill Murray are expectedly solid, but the real surprise is what a strong eye director Aaron Schnieder has. In allowing scenes to unfold on their own terms and in their own time, Schneider gives a real humanity to what could have been a Hallmark movie. (1:42) Albany, Embarcadero, Piedmont. (Galvin)

*The Girl Who Played With Fire Lisbeth Salander is cooler than you are. The heroine of Stieg Larsson’s bestselling book series is fierce, mysterious, and utterly captivating: in the movie adaptations, she’s perfectly realized by Noomi Rapace, who has the power to transform Lisbeth from literary hero to film icon. Rapace first impressed audiences in The Girl With the Dragon Tattoo (2009), a faithful adaptation of Larsson’s premiere novel, and she returns as Lisbeth in The Girl Who Played With Fire. The sequel, as is often the case, isn’t quite on par with the original, but it’s still a page-to-screen success. And while the first film spent equal time on journalist Mikael Blomkvist (Michael Nyqvist), The Girl Who Played With Fire is almost entirely Lisbeth’s story. Sure, there’s more to the movie than the hacker-turned-sleuth — and the actor who plays her — but she carries the film. Rapace is Lisbeth; Lisbeth is Rapace. I’d watch both in anything. (2:09) Lumiere, Shattuck, Smith Rafael. (Peitzman)

*I Am Love I Am Love opens in a chilly, Christmastime Milan and deliberately warms in tandem with its characters. Members of the blue-blood Recchi family are content hosting lavish parties and gossiping about one another, none more than the matriarch Emma (Tilda Swinton). But when prodigal son Edoardo befriends a local chef, Emma finds herself taken by both the chef’s food and his everyman personality, and is reminded of her poor Soviet upbringing. The courtship that follows is familiar on paper, but director Luca Guadagnino lenses with a strong style and small scenes acquire a distinct energy through careful editing and John Adams’ unpredictable score. Swinton portrays Emma’s unraveling with the same gritty gusto she brought to Julia (2008), and her commitment to the role recognizes few boundaries. You’ve probably seen this story before, but it has rarely been this powerful. (2:00) Opera Plaza. (Galvin)

Inception As my movie going companion pointed out, "Christopher Nolan must’ve shit a brick when he saw Shutter Island." In Nolan’s Inception, as in Shutter Island, Leonardo DiCaprio is a troubled soul trapped in a world of mind-fuckery, with a tragic-vengeful wife (here, Marion Cotillard) and even some long-lost kids looming in his thoughts at all times. But Inception, about a team of corporate spies who infiltrate dreams to steal information and implant ideas, owes just as much to The Matrix (1999), Eternal Sunshine of the Spotless Mind (2004), and probably a James Bond flick or two. Familiar though it may feel, at least Inception is based on a creative idea — how many movies, much less summer blockbusters, actually require viewer brain power? If its complex house-of-cards plot (dreams within dreams within dreams) can’t quite withstand nit-picking, its action sequences are confidently staged and expertly directed, including a standout sequence involving a zero-gravity fist fight and elevator ride. Though it’s hardly genius — and Leo-recycle aside — Inception is worth it, if you don’t mind your puzzle missing a few pieces. (2:30) Empire, Marina, 1000 Van Ness, Sundance Kabuki. (Eddy)

*Joan Rivers: A Piece of Work Whether you’re a fan of its subject or not, Ricki Stern and Annie Sundberg’s documentary is an absorbing look at the business of entertainment, a demanding treadmill that fame doesn’t really make any easier. At 75, comedian Rivers has four decades in the spotlight behind her. Yet despite a high Q rating she finds it difficult to get the top-ranked gigs, no matter that as a workaholic who’ll take anything she could scarcely be more available. Funny onstage (and a lot ruder than on TV), she’s very, very focused off-, dismissive of being called a "trailblazer" when she’s still actively competing with those whose women comics trail she blazed for today’s hot TV guest spot or whatever. Anyone seeking a thorough career overview will have to look elsewhere; this vérité year-in-the-life portrait is, like the lady herself, entertainingly and quite fiercely focused on the here-and-now. (1:24) Four Star, Opera Plaza. (Harvey)

*The Kids Are All Right In many ways, The Kids Are All Right is a straightforward family dramedy: it’s about parents trying to do what’s best for their children and struggling to keep their relationship together. But it’s also a film in which Jules (Julianne Moore) goes down on Nic (Annette Bening) while they’re watching gay porn. Director Lisa Cholodenko (1998’s High Art) co-wrote the script (with Stuart Blumberg), and the film’s blend between mainstream and queer is part of what makes Kids such an important — not to mention enjoyable — film. Despite presenting issues that might be contentious to large portions of the country, the movie maintains an approachability that’s often lacking in queer cinema. Of course, being in the gay mecca of the Bay Area skews things significantly — most locals wouldn’t bat an eye at Kids, which has Nic and Jules’ children inviting their biological father ("the sperm donor," played by Mark Ruffalo) into their lives. But for those outside the liberal bubble, the idea of a nontraditional family might be more eye-opening. It’s not a message movie, but Kids may still change minds. And even if it doesn’t, the film is a success that works chiefly because it isn’t heavy-handed. It refuses to take itself too seriously. At its best, Kids is laugh-out-loud funny, handling the heaviest of issues with grace and humor. (1:47) Bridge, California, Piedmont, Presidio, SF Center. (Peitzman)

Lebanon "Das Boot in a tank" has been the thumbnail summary of writer-director Samuel Maoz’s film in its festival travels to date, during which it’s picked up various prizes including a Venice Golden Lion. On the first day of Israel’s 1982 invasion (which Maoz fought in), an Israeli army tank with a crew of three fairly green 20-somethings — soon joined by a fourth with even less battle experience — crosses the border, enters a city already halfway reduced to rubble, and promptly gets its inhabitants in the worst possible fix, stranded without backup. Highly visceral and, needless to say, claustrophobic (there are almost no exterior shots), Lebanon may for some echo The Hurt Locker (2009) in its intense focus on physical peril. It also echoes that film’s lack of equally gripping character development. But taken on its own willfully narrow terms, this is a potent exercise in squirmy combat you-are-thereness. (1:33) Lumiere, Smith Rafael. (Harvey)

Lottery Ticket (1:39) 1000 Van Ness.

*Mao’s Last Dancer Based on the subject’s autobiography of the same name, this Australian-produced drama chronicles the real-life saga of Li Cunxin (played as child, teen, and adult by Huang Wen Bin, Chengwu Guo, and Chi Cao), who was plucked from his rural childhood village in 1972 to study far from home at the Beijing Dance Academy. He attracted notice from Houston Ballet artistic director Ben Stevenson (Bruce Greenwood) during a cultural-exchange visit, and was allowed to go abroad for a Texas summer residency. At first the film looks headed toward well-handled but slightly pat inspirational territory pitting bad China against good America, as it cuts between Li’s grueling training by (mostly) humorless Party ideologues, and his astonishment at the prosperity and freedom in a country he’d been programmed to believe was a capitalist hellhole of injustice and deprivation. (Though as a Chinese diplomat cautions, not untruthfully, he’s only been exposed to "the nice parts.") Swayed by love and other factors, Li created an international incident — tensely staged here — when he chose to defect rather than return home. But Jan Sardi’s script and reliable Aussie veteran Bruce Beresford’s direction refuse to settle for easy sentiment, despite a corny situation or two. Our hero’s new life
isn’t all dream-come-true, nor is his past renounced without serious consequence (a poignant Joan Chen essays his peasant mother). The generous ballet excerpts (only slightly marred by occasional slow-mo gimmickry) offer reward enough, but the film’s greatest achievement is its honestly earning the right to jerk a few tears. (1:57) Albany, Embarcadero, Sundance Kabuki. (Harvey)

Nanny McPhee Returns Emma Thompson is back as the titular Mary Poppins type who’s far from practically perfect, her extreme case of the uglies lessening whenever children in her charge learn a "lesson." The family in need this time belongs to harried Isabel Green (Maggie Gyllenhaal, trying a little too hard like everyone here), who’s got way more than she can handle raising three unruly children and running an English farm while her husband’s away fighting World War II. Making matters worse is the arrival of a horribly bratty nephew and niece fleeing the London Blitz, not to mention the constant pestering of a brother-in-law (Rhys Ifans) who wants the farm sold to cover his secret gambling debts. Enter guess who, restoring order and civility with the thump of her magic walking stick. The first Nanny McPhee (2005) movie, adapted from Christianna Brand’s children’s books by Thompson and directed by Kirk Jones, was an old-fashioned delight adults could thoroughly enjoy. This sequel, again written by Thomson though directed by Susanna White, is roughly what Babe: Pig in the City (1998) was to the original Babe (1995): something endearingly simple and charming turned shrill, overproduced, and charmless, with way too many CGI animals doing stupid things (like porcine synchronized swimming). It’s bad enough that Ralph Fiennes and Ewan McGregor — no doubt beguiled by the earlier film — chose to do thankless cameos in such dross. But it’s pretty unforgivable that Dame Maggie Smith should suffer a career nadir as a senile old dear who at one point happily plops down on a big pat of cow shit. (1:48) 1000 Van Ness, Presidio, Shattuck. (Harvey)

The Other Guys Will Ferrell and Adam McKay can do no wrong in some bro-medy aficionados’ eyes, but The Other Guys is no Talladega Nights: The Ballad of Ricky Bobby (2006) or Anchorman: The Legend of Ron Burgundy (2004). The other two Ferrell-McKay team-ups made short work of men’s jobs, in addition to genre filmmaking tropes, with crisper, cut-to-the-gag punchiness. And despite its laugh-out-loud first quarter — and some surprising TLC references by Michael Keaton, of all people, The Other Guys is about half a genuinely hilarious film that pokes fun at masculinity, as well as, interestingly, whiteness and beyond-the-pale, big-bucks white-collar crime. This lampoon of action buddy-cop flicks is dealt a semi-fatal blow when excess-loving, damage-dealing supercops Samuel Jackson and Dwayne Johnson exit, manically chewing scenery as they go. Two forgotten desktop jocks, forensic accounting investigator-with-a-past Allen (Ferrell) and ragaholic screwup Terry (Mark Wahlberg), must step it up when the dynamic duo dissipates, and go after crooked financier David Ershon (Steve Coogan). The second half of The Other Guys could have used some of the dramatic tension budding between buddy team Jackson-Johnson and reluctant cohorts Ferrell-Wahlberg, especially when Wahlberg begins to get bogged down in single-gear disbelief. But perhaps we should just be grateful for what few yuks we can glean from the atrocities of Great Recession-era robber barons. (1:47) California, 1000 Van Ness, Presidio. (Chun)

Pirahna 3D (1:29) 1000 Van Ness.

Salt Angelina Jolie channels the existential crisis of Jason Bourne and the DIY spirit of MacGyver in a film positing that America’s most pressing concern is extant Russian cold warriors, who are plotting to reestablish their country’s pre-glasnost glory via nuclear holocaust and a Dark Angel–style army of spy kids. Jolie plays CIA agent Evelyn Salt, a woman who can stymie the top-shelf surveillance system at work using her undergarments and fashion a shoulder-mounted rocket out of interrogation-room furniture and cleaning supplies. These talents surface after Salt is accused of being a Russian operative in league with the aforementioned disturbers of the new world order and takes flight, with her agency coworkers (Liev Schreiber and Chiwetel Ejiofor) in hot pursuit. What ensues is a vicious and confounding assault on the highest levels of the U.S. government, most known rules of logic, and the viewer’s patience and powers of suspending disbelief. Salt’s off-the-ranch maneuverings are moderately engaging, particularly in the first leg of the chase, but clunky expository flashbacks, B-movie-grade dialogue, and an absurd plotline slow the momentum considerably. (1:31) 1000 Van Ness, Sundance Kabuki. (Rapoport)

*Scott Pilgrim vs. The World For fans of Bryan Lee O’Malley’s just-completed comics saga Scott Pilgrim, the announcement that Edgar Wright (2004’s Shaun of the Dead, 2007’s Hot Fuzz) would direct a film version was utterly surreal. Geeks get promises like this all the time, all too often empty (Guillermo del Toro’s Hobbit, anyone?). But miraculously, Wright indeed spent the past five years crafting the winning Scott Pilgrim vs. the World. The film follows hapless Toronto 20-something Scott Pilgrim (Michael Cera), bassist for crappy band Sex Bob-omb, as he falls for delivery girl Ramona Flowers (Mary Elizabeth Winstead), only to find he must defeat her seven evil exes — like so many videogame bosses — before he can comfortably date her. As it happens, he’s already dating a high-schooler, Knives (Ellen Wong), who’s not coping well with Scott moving on. Cera plays a good feckless twerp; his performance isn’t groundbreaking, but it dodges the Cera-playing-his-precious-self phenomenon so many have lamented. The film’s ensemble cast maintains a sardonic tone, with excellent turns by Alison Pill, Aubrey Plaza, and newcomer Wong. Jason Schwartzman is perfectly cast as the ultimate evil ex-boyfriend — there’s really no one slimier, at least under 35.The film brilliantly cops the comics’ visual language, including snarky captions and onomatopoetic sound effects, reminiscent onscreen of 1960s TV Batman. Sometimes this tends toward sensory overload, but it’s all so stylistically distinctive and appropriate that excess is easily forgiven. (1:52) California, Four Star, Presidio. (Sam Stander)

Step Up 3D The third installment of the Step Up enterprise graduates performing arts high school and moves to the sidewalks, rooftops, and warehouses of New York City, as well as the occasional venue — part underground club, part ad-plastered sports arena — where packs of street dancers battle and mop up the floor with their rivals, employing only the weaponry of a fierce routine. That, and the fast-forward button in the editing suite — beyond drop kicks and droplets of water coming out of the screen at your face, Step Up 3D unabashedly adopts the choreographed F/X of contemporary action films, manipulating footage to make the dancers look like nimble, ferocious, supernatural creatures with a youthful disdain for gravity and the space-time continuum. There is a plot of sorts, involving a crew called the Pirates; their fearless leader Luke (Rick Malambri); his mysterious lady friend Natalie (Sharni Vinson); an NYU freshman named Moose (Adam Sevani of 2008’s Step Up 2: The Streets), who was, in Luke’s oft-repeated words, "born from a boombox" (or BFAB); and the warehouse wonderland where the Pirates live and train, amid a decor of tape-deck-womb walls and galleries of limited-edition sneakers. It’s best, though, not to follow along too closely on the rare occasions when director Jon Chu (Step Up 2) mistakenly lets more than four lines of earnest dialogue stack up without a dance-scene intervention. The near-continuous wave of choreographed outbursts is like eye candy injected with multiple shots of 5-Hour Energy drink, but those who flinch at the idea of Auto-Tuning dance performance may want to stay home and rent 2000’s Center Stage. (1:46) 1000 Van Ness, SF Center. (Rapoport)

*The Switch Has any hard-working actor ever made as many mediocre, albeit vigorously marketed, movies as Jennifer Aniston? It seems like an age since her last good one, Nicole Holofcener’s Friends with Money (2006), though some might go as far back as 2002’s The Good Girl, her dramatic and cinematic breakthrough. Perhaps that dry spell seems extra long due to Aniston’s tabloid overexposure, or maybe it’s just the feeble conceits (a la 2009’s Love Happens) that Aniston allows herself to get roped into. In any case, armed with a sharp script based on a Jeffrey Eugenides short story and a less-than-perfect but comically well-equipped everyman foil in Jason Bateman, The Switch turns out to be a refreshing break from Aniston’s run of predictability: it’s actually good, girl (if a bit far-fetched that even a neurotic, successful financial whiz could be so emotionally constipated). Heeding her biological alarm clock over the objections of best friend Wally (Bateman), Kassie (Aniston) decides to get artificially inseminated by handsome, smart, and charming donor Roland (Patrick Wilson), but nothing goes according to plan when Wally gets wasted at her insemination party and — no use crying over spilled semen — woozily decides to substitute his own emissions for Roland’s. Funny, tender, heart-strings-tugging shenanigans ensue when Kassie returns to NYC after seven years with her adorable, neurotic mini-Wally Sebastian (Thomas Robinson). Bateman is as reliably excellent as ever. Blades of Glory (2007) directors Will Speak and Josh Gordon put care into the details — from the lighting, to the scene-swiping cameos by Juliette Lewis and Jeff Goldblum, to the on-point yet relatively realistic dialogue, and it shows, making this, along with The Kids Are All Right, a, ahem, seminal year for donor-coms. (1:56) 1000 Van Ness, Shattuck. (Chun)

Tales from Earthsea Drawn from Ursula K. Le Guin’s Earthsea series of fantasy novels, the feature debut of Goro Miyazaki, the legendary Hayao Miyazaki’s son, is the latest to come out of Japan’s Studio Ghibli. It tells the story of angsty patricidal prince-refugee Arren, who finds himself in the company of the wise Archmage Sparrowhawk and must help him and his friends defeat a Maleficent-esque evil sorcerer. But this film’s fantastical world tends too often toward the unengagingly mundane, with a cast of half-baked archetypes battling over overwrought metaphysical concepts. To boot, too many of the weird creatures and unreal elements seem reminiscent of the elder Miyazaki’s creations in films like Princess Mononoke (1997) and Spirited Away (2001). Ghibli is famed for its relentlessly creative productions, but Earthsea misses the mark, even if it is entirely watchable. It’s worth noting that Le Guin herself has written a lengthy piece on the film’s many problems. (1:55) Sundance Kabuki. (Stander)

*Toy Story 3 You’ve got a friend in Pixar. We all do. The animation studio just can’t seem to make a bad movie — even at its relative worst, a Pixar film is still worlds better than most of what Hollywood churns out. Luckily, Toy Story 3 is far from the worst: it’s actually one of Pixar’s most enjoyable and poignant films yet. Waiting 11 years after the release of Toy Story 2 was, in fact, a stroke of genius, in that it amplifies the nostalgia that runs through so many of the studio’s releases. The kids who were raised on Toy Story and its first sequel have now grown up, gone to college, and, presumably, abandoned their toys. For these twentysomethings, myself included, Toy Story 3 is a uniquely satisfying and heartbreaking experience. While the film itself may not be the instant classic that WALL-E (2008) was, it’s near flawless regardless of a viewer’s age. Warm, funny, and emotionally devastating—it’s Pixar as it should be. (1:49) Shattuck. (Peitzman)

Vampires Suck (1:40) 1000 Van Ness.

The Wildest Dream: Conquest of Everest The Everest documentary has, by now, become a genre unto itself. It’s got its own tropes (sweeping shots of the mountain’s face, somber voice-over philosophizing about the human struggle with nature) and its own canon (topped, perhaps, by the harrowing 1998 IMAX hit Everest). The latest entry into this field is National Geographic Entertainment’s The Wildest Dream, which chronicles early-20th century explorer George Mallory’s lifelong — and ultimately life-ending — quest to reach Everest’s summit, and modern mountaineer Conrad Anker’s attempt to recreate his predecessor’s final climb. Director Anthony Geffen unfolds his tale in standard adventure-doc fashion. We get a lot of scratchy footage from Mallory’s climbs, a few risibly awkward dramatic re-creations, and quite a lot of portentous voiceover work. These are worn techniques, to be sure, but that doesn’t make the story told any less compelling. Mallory himself emerges as a particularly fascinating figure — a talented and charming scholar, a devoted husband, and an irresponsible, borderline suicidal obsessive. It’s a shame that we’re only able to observe him at a century’s distance. (1:33) Opera Plaza. (Zach Ritter)

*Winter’s Bone Winter’s Bone has already won awards at the Berlin International Film Festival and the Sundance Film Festival, but it’s the kind of downbeat, low-key, quiet film that may elude larger audiences (and, as these things go, Oscar voters). Like Andrea Arnold’s recent Fish Tank, it tells the story of a teenage girl who draws on unlikely reserves of toughness to navigate an unstable family life amid less-than-ideal economic circumstances. And it’s also directed by a woman: Debra Granik, whose previous feature, 2004’s Down to the Bone, starred Vera Farmiga (2009’s Up in the Air) as a checkout clerk trying to balance two kids and a secret coke habit. Drugs also figure into the plot of the harrowing Winter’s Bone, though its protagonist, Ree Dolly (Jennifer Lawrence), is faced with a different set of circumstances: her meth head father has jumped bail, leaving the family’s humble mountain home as collateral; the two kids at stake are her younger siblings. With no resources other than her own tenacity, Ree strikes out into her rural Missouri community, seeking information from relatives who clearly know where her father is — but ain’t sayin’ a word. It’s a journey fraught with menace, shot with an eye for near-documentary realism and an appreciation for slow-burn suspense; Lawrence anchors a solid cast with her own powerful performance. Who says American independent film is dead? (1:40) Empire, Four Star, Opera Plaza, Shattuck. (Eddy)

Community Congress convened

Jesse Hawthorne Ficks

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August 17, 2010

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news@sfbg.com

About 60 San Francisco citizens voted just before 1 p.m. on Aug. 15 to adopt a progressive platform of approximately 100 policy recommendations they hope will define the agenda of candidates and elected officials in coming years and offer a contrasting vision for the city to that of downtown corporate interests.

Sunday’s culmination of the 2010 Community Congress represented almost a year’s work by some 400 San Franciscans and dozens of community-based organizations, according to the Congress’ draft recommendations. The congress convened all day Aug. 14, at the University of San Francisco’s Fromm Hall, where participants engaged in breakout groups aimed at addressing four distinct local policy categories: health and human services; Muni and public transportation; affordable housing and tenant rights; and community-based economic development.

Recommendations in the four areas were drafted prior to the congress and published by the Guardian (see “Reinvention of San Francisco,” Aug. 4 and “Ideas that work: a plan for a new San Francisco,” Aug. 11), but planning group coordinator Calvin Welch said between a one-quarter and one-third were rewritten and amended during the breakout sessions on Saturday and by the congress as a whole on Sunday. Representatives from the breakout groups are working to finalize all the last-minute amendments and hope to post a final document by on the congress’ website (www.sfcommunitycongress.wordpress.com) by Aug. 20.

“This is a group of left-progressive people trying to articulate a left-progressive view for the city that is distinct from the cynicism of the [San Francisco] Chronicle and [Mayor] Gavin Newsom’s message,” Welch told the Guardian after the vote.

Gail Gilman facilitated the final adoption session on Aug. 15, passing a microphone to those who wished to speak or propose amendments while pushing the group to stick to the schedule. “I think we produced a solid progressive platform that will gain traction in the upcoming supervisors race,” Gilman told the Guardian outside the congress. “We’re hoping to have actionable items implemented over the next five years.”

Some of the congress’ ambitious agenda had to be put on hold, either because consensus couldn’t be reached or groups simply ran out of time. The Muni group’s recommendation to delay the Central Subway Project and use those funds to address “Muni’s backlog of operating, maintenance, and capital improvement needs” was tabled, as was decentralizing control of expenditures in health and human services out of the mayor’s hands. However, several agencies that the congress hopes to create, including a “canopy” entity to manage San Francisco’s public health system, would have direct budgetary control over city departments.

Health and human services group coleader and Bayview-Hunters Point Foundation Executive Director Jacob Moody told the crowd about a question posed early in the congress that informed his group’s recommendations: How do we create a city where people can live, work, and prosper together?

Welch admitted that some of policy recommendations would be difficult to realize and would draw the ire of powerful political groups in San Francisco, but he insisted that creating a municipal bank, an economic redevelopment agency, and a health and human services planning agency, and implementing several of the Muni group’s recommendations, were actionable in the short term.

“Some others would need to wait until the election of a new mayor,” Welch said. “I hope we can get some mayoral candidates to endorse some of these proposals.”

Sunnydale/southeast neighborhood community organizer Sharen Hewitt said that although there were often disagreements at the congress, the most important aspect of the event to her was that everyone learned from the perspectives of others.

“Tension is not always bad,” Hewitt told the Guardian at the event. “Everybody came here with biases and interests. Everybody needs to leave here with more. I’m damn near 60 years old and I grew half an inch today.”

Sunday’s congress and policy platform were modeled after San Francisco’s first Community Congress, which took place in 1975. But Welch told us this congress was entirely new. “To the extent that there is a historical aspect, 35 years ago we tried to figure out a way to bring people together. And 35 years later, young people want to do the same thing.”

“Diamond” Dave Whittaker, a modern Emperor Norton-esque San Francisco personality, closed the congress with a poem. “The basis of real social change is happening here,” he said. “And we need to continue casting a wider net, finding the thread, and letting it flourish.”