New York Times Archives — Page 2 of 31 — San Francisco Bay Guardian Archive 1966

Film Listings: June 18 – 24, 2014

Michael Redmond

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June 17, 2014

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

FRAMELINE

Frameline 38, the San Francisco International LGBT Film Festival, runs June 19-29 at the Castro Theatre, 429 Castro, SF; Roxie Theater, 3117 16th St, SF; Victoria Theatre, 2961 16th St, SF; and Rialto Cinemas Elmwood, 2966 College, Berk. For tickets (most shows $10-15) and schedule, visit www.frameline.org. For commentary, see “Reel Pride.”

OPENING

Borgman Popping out from his underground hidey hole, narrowly escaping organized armed vigilantes — indicating an ongoing, possibly global secret battle this movie is content to leave entirely unexplained — the titular figure (Jan Bijvoet) shambles to a nearby home and demands comfort. Refused, he persists, and housewife Marina (Hadewych Minis) acquiesces — at first on the sly, as husband Richard (Jeroen Perceval) has already beaten their paunchy, disheveled, weird would-be guest. But soon Borgman is insinuating himself with the well-off suburban couple’s three children, gradually warping the family dynamic until he has everyone under his power. You’ve seen this kind of “Enigmatic stranger invades complacent bourgeoisie home, wreaks liberating and/or terrifying havoc” thing before, both in thrillers and in artier parables from Teorema (1968) to The King (2005). There is nothing wildly original about Dutch filmmaker Alex van Warmerdam’s seductive, macabre black comedy in outline, not its satire of oblivious upper-middle-class entitlement or even (perhaps especially) when the too-generous hosts and any unlucky interlopers start getting killed off one by one. You can debate Borgman‘s precise point, or whether it has one at all. But there’s a tart, bracing quality to this cruel absurdist joke that is as perversely delightful as it the film is utterly misanthropic. (1:53) Opera Plaza. (Harvey)

A Coffee in Berlin How do you say “mumblecore” in German? Jan Ole Gerster’s debut feature has certain arty pretensions — it’s shot in black-and-white, and scored with peppy jazz — but it’s more or less a rambling day in the life of law school dropout Niko (Tom Schilling). It happens to be the very day Niko’s golf-loving father decides to stop funding his shiftless son’s slacker lifestyle, though that crisis (which, you know, Lena Dunham built an entire HBO comedy around) receives nearly equal heft as a cutesy ongoing gimmick that sees Niko incapable of getting a cup of coffee anywhere in Berlin. Hipster ennui can be compelling if it has some underlying energy and purpose (see: 2013’s Frances Ha, to which this film has been compared), but A Coffee in Berlin comes up short on both. That said, it does offer an intriguing portrayal of Berlin — a city whose modern-chic façade barely contains the history that haunts it — and some of its supporting characters, particularly Friederike Kempter as a former schoolmate of Niko’s who has outgrown him emotionally by about one thousand percent, provide pleasant enough distractions. (1:28) Opera Plaza, Shattuck. (Eddy)

Fateful Findings Oh my. With the technical sophistication of Birdemic (2008), Doris Wishman-worthy attention to superfluous detail, and the obliviousness of The Room (2008) toward any semblance of narrative or character continuity, this supernatural drama — or, uh, something like that — is making a bid to be the latest so-bad-it’s-surreal midnight movie hit. Writer-director-producer-editor-star Neil Breen, a man of many hats if no apparent talents, plays Dylan, a writer. As a child, he and friend Leah had found a mushroom that turned into a jewelry box (“”Look what I found! A treasure! It’s a magical day!”), and which will come to effect their lives in ways that never make any sense whatsoever. They reunite as re-infatuated adults (Jennifer Autry now playing Leah), which is bad news for the pill-popping wife (Klara Landrat) Dylan is kinda over anyway. Meanwhile, their friends Jim (David Silva) and Amy (Victoria Valene) fight a lot, because he drinks to compensate for their nonexistent sex life, and she’s just incredibly bitchy. Eventually we realize that Dylan is working on a new book that will shockingly expose the rampant global corporate and political corruption that apparently no one has ever noticed before. The climax, which must be seen to be believed, has him triumphantly announcing these (extremely vague) revelations to the cheers of invisible thousands, while disgraced officials are seen committing suicide en masse rather than, you know, retiring to the Canary Islands. There’s a fine line between the hilarious and tortuous that is exactly where Fateful Findings lives. With its flatlined pacing, not-from-this-planet dialogue (Dylan straight facedly tells a dead body “I can’t help you outta this one”), gratuitous nudity, and curious insistence that its characters express emotions by throwing things (laptops, pieces of meat, etc.), this inscrutable vanity project is indeed unique. What it lacks to get you through the (many) boring parts is the compelling personality of a Tommy Wiseau — Breen is (like everyone here) awful, but he’s just a zero onscreen, not a fascinating weirdo. You will want to be drunk for this movie. (1:40) Clay. (Harvey)

Ivory Tower The latest “issue doc” to come down the pipeline is this very timely and incisive look at the cost of higher education from director Andrew Rossi (2011’s Page One: Inside the New York Times). Rossi is a Yale and Harvard Law grad, and he begins his film in the hallowed halls of the latter to frame the question: In the era of skyrocketing tuition, and with the student loan debt hovering at a trillion bucks, is college still worth it? The answer is left open-ended, though with the very strong suggestion that nontraditional education (including community colleges, online learning, and the Silicon Valley-spawned “uncollege” movement) is certainly something worth exploring, particularly for the non-wealthy. Along the way, we do see some positive tales (a kid from the mean streets of Cleveland gets a full-ride scholarship to Harvard; students at rural Deep Springs College follow philosophy discussions with farm work; African American women at Spelman College thrive in an empowering environment), but there’s a fair amount of cynicism here, too, with a hard look at how certain state schools are wooing deep-pocketed out-of-staters with fancy athletic stadiums, luxurious amenities, and a willingness to embrace, however unofficially, their hard-partying reputations. Segments following a student protest at New York’s Cooper Union, a formerly free school forced to consider collecting tuition after a string of financial troubles, echo Frederick Wiseman’s epic At Berkeley (2013), a thematically similar if stylistically very different work. (1:37) California, Embarcadero. (Eddy)

Jersey Boys The musical that turned the back story of Frankie Valli and the Four Seasons — the 1960s hit making machines behind upbeat doo-wop ditties like “Sherry,” “Big Girls Don’t Cry,” “Walk Like a Man,” and a zillion more; you will recognize all of them — into Broadway gold ascends to the big screen thanks to director Clint Eastwood, a seemingly odd choice until you consider Eastwood’s own well-documented love of music. Jersey Boys weaves a predictable tale of show biz dreams realized and then nearly dashed, with a gangster element that allows for some Goodfellas-lite action (a pre-fame Joe Pesci is a character here; he was actually from the same ‘hood, and was instrumental in the group’s formation). With songs recorded live on-set, à la 2012’s Les Misérables, there’s some spark to the musical numbers, but Eastwood’s direction is more solid than spontaneous, with zero surprises (even the big finale, clearly an attempt at a fizzy, feel-good farewell, seems familiar). Still, the cast — including Tony winner John Lloyd Young as Valli, and Christopher Walken as a sympathetic mobster — is likable, with Young in particular turning in a textured performance that speaks to his years of experience with the role. For an interview with cast members Young, Michael Lomenda (who plays original Four Season Nick Massi), and Erich Bergen (as Bob Gaudio, the member who wrote most of the group’s hits), visit www.sfbg.com/pixel_vision. (2:14) Four Star, Marina, Shattuck. (Eddy)

Ping Pong Summer Eighties teen flicks of the My Bodyguard (1980), smart-dweebs-beat-the-bullies ilk are paid homage in Michael Tully’s deadpan satire, which is closer in spirit to the Comedy of Lameness school whose patron saint is Napoleon Dynamite. Radley (Marcello Conte) is an average teen so excited to be spending the summer of 1985 in Ocean City, Md. with his family that he renames himself “Rad Miracle.” He acquires a new best friend in Teddy (Myles Massey), who as the whitest black kid imaginable might make even Rad look cool by comparison. However, they are both dismayed to discover the local center for video gaming and everything else they like is ruled by bigger, older, cuter, and snottier douchebag Lyle Ace (Joseph McCaughtry) and his sidekick. Only kicking Lyle’s ass at ping pong — with some help from a local weirdo (a miscast Susan Sarandon, apparently here because she’s an off screen ping pong enthusiast) — can save Rad’s wounded dignity, and the summer in general. A big step up from Tully’s odd but pointless prior Septien (2011), this has all the right stuff (including a soundtrack packed with the likes of the Fat Boys, Mary Jane Girls, New Edition, Whodini, and Night Ranger) to hilariously parody the era’s inanities. But it’s just mildly amusing — a droll attitude with lots of period detail but not much bite. (1:32) Roxie. (Harvey)

The Rover Future days have never seemed quite so bleak as they are depicted in the wild, wild Aussie west of The Rover — rendered by Animal Kingdom (2010) director David Michod, who co-wrote The Rover with Joel Edgerton. Let’s just say we’re probably not going to see any primo Burner ensembles inspired by this post-apocalyptic yarn: Michod ventures to a plausible future only a decade out, after a global economic collapse, and breaks down the brooding road trip to its hard-boiled bones, setting it in a beauteous, lawless, and unceasingly violent outback. A heist gone wrong leads a small gang of robbers to steal the car belonging to monosyllabic, ruthless mystery man Eric (Guy Pearce). The latter wants his boxy little sedan back, badly, and, in the cat and mouse game that ensues, seems willing to die for the trouble. Meanwhile, one of the gang of thieves — the slow, dreamy Rey (Robert Pattinson), who has been left to die of a gunshot wound in the dirt — turns out to be more of a survivor than anyone imagined when he tracks down the tracker hunting for his brother and cohorts. Michod seems most interested in examining and turning over the ties that bind, in a mean time, an eminently absurdist moment, when everything else has fallen away in the face of sheer survival. Cineastes, however, will appreciate the elemental, existential pleasures of this dog-eat-dog Down Under out-Western, not the least of which include the performances. Pearce’s rework of the Man With No Name exudes intention in the very forward thrust of his stance, and Pattinson breaks his cool — and the confines of typecasting — as a blubbering, babbling, thin-skinned man-child. Clad in the mystic expanses of the South Australia desert, which tip a hat to John Ford Westerns as well as scorched-earth-of-the-mind movies such as El Topo (1970) and Paris, Texas (1984), The Rover is taken to the level of tone poem by the shuddering, moaning cellos of Antony Partos’s impressive, atonal electroacoustic score. (1:42) (Chun)

Think Like a Man Too Kevin Hart and company head to Vegas in this sequel to the 2012 hit comedy based on Steve Harvey’s best-selling relationship tome. (2:02) Shattuck.

ONGOING

Belle The child of a British naval officer and a Caribbean slave, Belle (Gugu Mbatha-Raw) is deposited on the doorstep — well, the estate grounds — of her father’s relatives in 1769 England after her mother dies. Soon she’s entirely orphaned, which makes her a wealthy heiress and aristocratic title holder at the same time that she is something less than human in the eyes of her adopted society. For Belle is black (or more properly, mixed-race), and thus a useless curiosity at best as a well-bred noblewoman of the “wrong” racial makeup. Based on a murky actual historical chapter, Amma Asante’s film is that rare sumptuous costume drama which actually has something on its mind beyond romance and royalty. Not least among its pleasures are a fine supporting cast including Tom Wilkinson, Miranda Richardson, Penelope Wilton, and Emily Watson. (1:45) Embarcadero, Piedmont, Shattuck. (Harvey)

Chef Not to take anything away from the superhero crew, but Chef feels like the closest thing to a labor of love from writer, director, and star Jon Favreau in many a day. As a director, he may have been making doughnuts — fun-filled and teeming with CGI eye candy, but doughnuts nevertheless — when it came to effects-driven blockbusters like 2008’s Iron Man, but this well-meaning play for the heart, by way of the stomach, shows you where Favreau’s head is really at. Chef revolves around Carl Casper (Favreau), a onetime food star, now reduced to serving up predictable crowd-pleasers at the behest of his restaurant’s overbearing owner (Dustin Huffman). It takes the barbs of an influential critic (Oliver Platt) — and an ensuing Twitter war — to set Carl off and send him away on his own, at the coaxing of his glam ex Inez (Sofia Vergara). Hooked up with a dilapidated food truck and former kitchen staffer Martin (John Leguizamo), and aided by ably Tweeting son Percy (Emjay Anthony), Carl ties his dreams — and lost passion — to the classic Cuban sandwich. The ensuing road trip from Miami to LA, and Carl’s journey toward self and a renewed relationship with his son, is a fun (if, in the end, a bit too speedily sketched) vault through the joys of eating your way through America’s new culinary heartland. Amid the volley of sign-of-the-times social-media swinging and cameos by the uncostumed Robert Downey Jr., Scarlett Johansson, and the like, Favreau’s main dish is that a family that eats, cooks, and runs a business together, stays together — child labor laws or no. (1:55) Balboa, 1000 Van Ness, Metreon, Presidio, Sundance Kabuki. (Chun)

Edge of Tomorrow Is it OK to root for Tom Cruise again? (The Oprah thing was almost a decade ago, after all.) The entertaining Edge of Tomorrow, crisply directed by Bourne series vet Doug Liman, takes what’s most irritating about Cruise’s persona (he’s so goddamn earnest) and uses it to great advantage, casting him as military PR guru Cage — repping our armed forces on talk shows amid battles with alien invaders dubbed “Mimics” — whose oiliness masks the fact that he’s terrified of actual combat. When he’s forced to fight by a no-nonsense superior (Brendan Gleeson), he’s gruesomely killed, along with nearly every other human soldier. But wait! Thanks to a particularly close encounter with outer-space pixie dust, he awakens, unharmed, to re-live the day, over and over again (yep, shades of a certain Bill Murray comedy classic). Each “reset” offers Cage a chance to work his way closer to changing the course of the war in humanity’s favor, with key help from a badass (Emily Blunt) whose heroics on the battlefield have earned her the nickname “Full Metal Bitch.” Nothing groundbreaking here — but Edge of Tomorrow manages to make its satisfying plot as important as its 3D explosions, which means it automatically rises above what passes for popcorn fun these days. (1:53) Metreon, 1000 Van Ness, Presidio, Sundance Kabuki. (Eddy)

The Fault in Our Stars I confess: I’m no card-carrying, vlog-flogging Nerdfighter in author John Green’s teen-geek army. But one can admire the passion — and teary romanticism — of the writer, readers, and the breakthrough novel that started it all. Much has been made over the cinematic tweaks to the best-selling YA book, but those seem like small beefs: OK, male romantic lead Gus’s (Ansel Elgort) perhaps-understandable brattiness seems to have been toned down a touch, but we’ll all get the somewhat-subversive push and pull of Green’s love story centered on two cancer-stricken innocents. Sixteen-year-old Hazel (a radiant Shailene Woodley) has been battling cancer almost all her life, fighting back from the brink, and now making her way every day with an oxygen tank and her devoted parents (Laura Dern, Sam Trammel) by her side. Her mordant wit, skeptical attitude, and smarts attract Gus, a handsome teen with a prosthetic leg, at a cancer support group, and the two embark on what seems like the most normal thing in the world — sweet, sweet love — albeit cut with the poignancy of almost-certain doom. Would the girl who calls herself a grenade dare to care for someone she will likely hurt? That’s the real question on her mind when the two reach out to the solitary author (Willem Dafoe) of their favorite book, An Imperial Affliction. The journey the two make leaves them both open to more hurt than either ever imagined, and though a good part of Fault‘s denouement boils down to a major puddle cuddle — with solid performances by all, but particularly Dern and Woodley — even a cynic is likely to get a bit misty as the kids endure all the stages of loss. And learning. (2:05) Balboa, 1000 Van Ness, Presidio, SF Center, Sundance Kabuki. (Chun)

Fed Up Katie Couric narrates, produces, and brings celebrity heft to Stephanie Soechtig’s well-crafted expose on the alarmingly powerful food industry — specifically, revealing how “nutritional standards” put forth by the government over the past 30 years have actually caused the nation’s current obesity epidemic. Fed Up‘s straightforward combination of simple facts (80 percent of food items have added sugar); talking-head experts (Bill Clinton, UCSF’s Dr. Robert Lustig); historical fact-finding (including a segment that convincingly compares today’s food industry to the tobacco industry of yore); and profiles of dangerously overweight teens (all of whom are trying, and failing, to lose weight) adds up to a film that is poised to have An Inconvenient Truth-style impact on viewers — and will hopefully

open enough eyes to make waves beyond movie theaters. (1:32) Embarcadero. (Eddy)

Gore Vidal: The United States of Amnesia Nicholas Wrathall’s highly entertaining documentary pays tribute to one of the 20th century’s most brilliant, original, and cranky thinkers, with extensive input from the man himself before his death in 2012 at age 86. The emphasis here is less on Vidal’s life as a literary lion and often glittering celebrity social life than on his parallel career as a harsh scold of US social injustices and political corruption. (Needless to say, recent history only sharpened his tongue in that department, with George W. Bush dismissed as “a goddamn fool,” and earlier statements such as “This is a country of the rich, for the rich and by the rich” seeming more apt than ever.) He’s a wellspring of wisdoms both blunt and witty, sometimes surprising, as in his hindsight doubts about the virtues of JFK (a personal friend) as a president. We get plenty of colorful archival clips in which he’s seen verbally jousting with such famous foes as William F. Buckley and Norman Mailer, invariably reducing them to stammering fury while remaining exasperatingly unruffled. His “out” homosexuality and outré views on sexuality in general (at odds with an increasingly assimilationist gay community) kept him controversial even among many liberals, while conservatives were further irked by his rock-solid family connections to the ruling elite. In our era of scripted political rhetoric and pandering anti-intellectualism, it’s a joy merely to spend an hour and half in the company of someone so brilliantly articulate on seemingly any topic — but particularly on the perpetually self-mythologizing, money-worshipping state of our Union. (1:29) Opera Plaza, Shattuck. (Harvey)

The Grand Seduction Canadian actor-director Don McKellar (1998’s Last Night) remakes 2003 Quebecois comedy Seducing Doctor Lewis, about a depressed community searching for the town doctor they’ll need before a factory will agree to set up shop and bring much-needed jobs to the area. Canada is still the setting here, with the harbor’s name — Tickle Head — telegraphing with zero subtlety that whimsy lies ahead. A series of events involving a Tickle Head-based TSA agent, a bag of cocaine, and a harried young doctor (Taylor Kitsch) trying to avoid jail time signals hope for the hamlet, and de facto town leader Murray (Brendan Gleeson) snaps into action. The seduction of “Dr. Paul,” who agrees to one month of service not knowing the town is desperate to keep him, is part Northern Exposure culture clash, part Jenga-like stack of lies, as the townspeople pretend to love cricket (Paul’s a fanatic) and act like his favorite lamb dish is the specialty at the local café. The wonderfully wry Gleeson is the best thing about this deeply predictable tale, which errs too often on the side of cute (little old ladies at the switchboard listening in on Paul’s phone-sex with his girlfriend!) rather than clever, as when an unsightly structure in the center of town is explained away with a fake “World Heritage House” plaque. Still, the scenery is lovely, and “cute” doesn’t necessarily mean “not entertaining.” (1:52) Albany, Embarcadero. (Eddy)

Ida The bomb drops within the first ten minutes: after being gently forced to reconnect with her only living relative before taking her vows, novice nun Anna (Agata Trzebuchowska) learns that her name is actually Ida, and that she’s Jewish. Her mother’s sister, Wanda (Agneta Kulesza) — a Communist Party judge haunted by a turbulent past she copes with via heavy drinking, among other vices — also crisply relays that Ida’s parents were killed during the Nazi occupation, and after some hesitation agrees to accompany the sheltered young woman to find out how they died, and where their bodies were buried. Drawing great depth from understated storytelling and gorgeous, black-and-white cinematography, Pawel Pawilowski’s well-crafted drama offers a bleak if realistic (and never melodramatic) look at 1960s Poland, with two polar-opposite characters coming to form a bond as their layers of painful loss rise to the surface. (1:20) Albany, Clay, Piedmont. (Eddy)

Maleficent Fairytale revisionism is all the rage these days, what with the unending power of Disney princesses to latch into little girls everywhere and bring parental units (and their wallets) to their knees. Yet princesses almost seem beside the point in this villain’s-side-of-the-story tale — Maleficent (Angelina Jolie), the queen of the fairies in the magical moors, wronged by Stefan (Sharlto Copley), who saws off her wings in order to win a crown. Accompanied by her shape-shifting minion, crow Diaval (Sam Riley), Maleficent attends the christening of King Stefan’s first-born daughter, Aurora, hot on the heels of three clownish good fairies (Lesley Manville, Imelda Staunton, Juno Temple), and delivers a curse that will have this future Sleeping Beauty (Elle Fanning) prick her finger on a spindle and sink into a deathlike coma until her true love’s kiss. Will that critical smooch be delivered by Prince Bieber, er, Phillip (Brenton Thwaites)? Considering the potential for Disney’s trademark, heart-tugging enchantment to get magically tangled up in girl power, it’s tough to suck up the disappointment in the ooey-gooey, gummy-faced troll-doll aesthetics of the art direction and animation, as well as first-time director Robert Stromberg’s choppy, dashed-through storytelling. Part of the problem is that there’s almost zero threat here, despite its antihero’s devilish presence — is there ever any doubt that a healthy resolution will win out, even at the expense of blood ties? Best to find dangerous pleasures where one can — namely in the vivid Jolie, cheekbones honed to a razor edge, who spits biting remarks at her accursed charge, beneath Joan Crawford-esque eyebrows and horns crying out for club-kid Halloween treatments. (1:37) Metreon, 1000 Van Ness, Shattuck, Sundance Kabuki, Vogue. (Chun)

Obvious Child We first encounter the protagonist of writer-director Gillian Robespierre’s funny, original film — a Brooklyn-dwelling twentysomething named Donna (Jenny Slate), who works at a lefty secondhand bookstore and makes regular (if unpaid) appearances at a local comedy night — onstage mining such underdiscussed topics as the effects of vaginal discharge on your garden-variety pair of underwear. This proves a natural segue to other hefty nuggets of embarrassment gold concerning her love life, to the dismay of boyfriend Ryan (Paul Briganti), auditing from the back of the club. He pretty much deserves it, however, for what he’s about to do, which is break up with her in a nasty, well-populated unisex bathroom, taking time to repeatedly glance at the texts coming through on his phone from Donna’s good friend, with whom he’s sleeping. So when Donna, mid-drowning of sorrows, meets a nice-looking fellow named Max (Jake Lacy) at the bar, his post-fraternity-presidency aesthetic seems unlikely to deter her from a one-night stand. The ensuing trashed make-out dance-off in Max’s apartment to the Paul Simon song of the title is both comic and adorable. The fractured recap of the evening’s condom-free horizontal events that occurs inside Donna’s brain three weeks later, as she hunkers down with her best friend, Nellie (Gaby Hoffmann), in the bookstore’s bathroom after peeing on a stick, is equally hilarious — and unwanted-pregnancy jokes aren’t that easy to pull off. Robespierre’s treatment of this extended windup and of Donna’s decision to have an abortion is a witty, warmhearted retort to 2007’s Knocked Up, a couple generations’ worth of Hollywood rom-com writers, and an entertainment industry that continues to perform its sweaty contortions of storytelling in the gutless cause of avoiding the A-word. (1:15) California, Embarcadero, Sundance Kabuki. (Rapoport)

The Signal Sharing its title with a 2007 film — also a thriller about a mysterious transmission that wreaks havoc in the lives of its protagonists — this offbeat feature from co-writer and director William Eubank belies its creator’s deep affection for, and knowledge of, the sci-fi genre. Number one thing The Signal is not is predictable, but its twists feel organic even as the story takes one hairpin turn after another. MIT buddies Nic (Brenton Thwaites) and Jonah (Beau Knapp) are driving Nic’s girlfriend, Haley (Olivia Cooke), cross-country to California. Complicating the drama of the young couple’s imminent separation is Nic’s deteriorating physical condition (it’s never explained, but the former runner apparently has MS or some other neurological disease). The road trip turns dark when the trio (who also happen to be hackers) realize an Internet troll they’ve tangled with in the past is stalking them. After a brief detour into found-footage horror — fooled ya, Eubank seems to be saying; this ain’t that kind of movie at all! — the kids find themselves embroiled in ever-more-terrifying realities. To give away more would ruin the fun of being shocked for yourself, but think Twilight Zone meets Area 51 meets a certain futuristic trilogy starring Laurence Fishburne, who turns up here to play a very important role in Nic and company’s waking nightmare. (1:37) California, Metreon. (Eddy)

Supermensch: The Legend of Shep Gordon Clearly a film is a vanity project if its primary intent seems to flatter its maker. But what about when it’s a love letter from one rich, entitled celebrity to another? Then the vanity grows complicated, not least by the fact that we’re expected to pay for the privilege of watching one ass kiss another. Anyone who blinked probably missed Super Duper Alice Cooper, which mostly did just one-night showings across the nation in April. That rockumentary was duly “authorized” but awfully entertaining, with the wit to tell its original shock-rocker’s tale entirely through archival footage plus a running oral history of latter-day interviews. Mike Myers’ directorial bow Supermensch: The Legend of Shep Gordon tells the same story for its first half hour — Gordon being the “Jewish kid from Long Island” who stumbled into being Cooper’s manager, shepherding (har) him to fame with an uncanny knack for promotional stunts and image-shaping. He eventually provided those services and more to a highly eccentric roster of talents; co-founded Alive Films; and had the foresight to create the whole “celebrity chef racket” in which they have reality TV shows and hawk their own supermarket products. Supermensch is a professional funny guy’s documentary, which means it can’t help manipulating things (wacky klezmer soundtrack; campy re-enactments; celebrity testimonials from Tom Arnold, Sammy Hagar, and Sylvester Stallone) in ways that beg for approval. Gordon is no doubt a great host, a good cook, a consummate cocksman, and a social and business genius. But watching this movie is like paying to see a $5,000-per-plate benefit dinner via closed circuit TV — as if it were a humbling honor to witness famous people pat each other on the back. (1:24) Opera Plaza. (Harvey)

22 Jump Street In this TV-inspired sequel, “Previously on 21 Jump Street…” is all the backstory we get. 22 wastes no time sending Officers Schmidt (Jonah Hill) and Jenko (Channing Tatum) back to school to solve another case. A few details have changed (they’re in college now, where the drug of choice is “Why Phy”), but the situation is self-consciously boilerplate, which lets the filmmakers cast (ironic) judgment on sequels — and imply the TV show was redundant. College proves hilarious, from the rundown of dorm room essentials to Schmidt’s walk of shame, and the touchstones are sharp and embarrassing. An extended fight between Schmidt and a girl (Jillian Bell, fabulous) twists gender issues and sexual assault into gloriously absurd politics. Best of all is a fairly understated joke in front of the Benjamin Hill School of Film Studies. I laughed as much at 22 as I did at 21, but 22 spends so much time calling out its number-two status that it almost becomes performance art. (1:45) Marina, 1000 Van Ness, SF Center, Shattuck, Sundance Kabuki. (Vizcarrondo)

X-Men: Days of Future Past Bryan Singer, director of the first two X-Men films (2000’s decent X-Men; 2002’s meh X2) returns to helm this latest franchise entry — the fourth sequel in a series that also includes two movies focusing on Hugh Jackman’s Wolverine. That fan-favorite character is front and center in both of Days of Future Past‘s time frames: the present, a bleak dystopia in which robot assassins have wiped out nearly every mutant (save Wolverine, Patrick Stewart’s Professor X, Ian McKellan’s Magneto, and a few others), and most humans along with them; and the past, a key moment in the polyester-laden 1970s in which mutant avenger Mystique (Jennifer Lawrence) inadvertently sets the disastrous future events in motion by killing robot designer Trask (Peter Dinklage). Wolverine time-travels to convince younger versions of the Professor (James McAvoy) and Magneto (Michael Fassbender) to put aside their Himalayan-sized differences to stop her. (Speaking of avengers, there’s a capital-A one here: Quicksilver, a character from both comic-book worlds; he’s portrayed here with giddy mischief by American Horror Story‘s Evan Peters, and is the film’s high point.) Yes, that’s a heady plot, and there are a zillion other characters, but Future Past manages, for the most part, to avoid feeling like an overloaded mess. It’s most entertaining in scenes that show off its characters’ superpowers — clearly, the CG artists had a blast working on this one — which are plentiful enough to make slogging through the ennui-laden moments of downtime worth it.(2:10) 1000 Van Ness, SF Center, Sundance Kabuki. (Eddy) *

Norman Solomon: Obama escalates his war on journalism

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June 8, 2014

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By Norman Solomon

(Norman Solomon is executive director of the Institute for Public Accuracy and co-founder of RootsAction.org. His books include “War Made Easy: How Presidents and Pundits Keep Spinning Us to Death.” Information about the documentary based on the book is at www.WarMadeEasyTheMovie.org.)

In a memoir published this year, the CIA’s former top legal officer John Rizzo says that on the last day of 2005 a panicky White House tried to figure out how to prevent the distribution of a book by New York Times reporter James Risen. Officials were upset because Risen’s book, State of War, exposed what — in his words — “may have been one of the most reckless operations in the modern history of the CIA.”

The book told of a bungled CIA attempt to set back Iran’s nuclear program in 2000 by supplying the Iranian government with flawed blueprints for nuclear-bomb design. The CIA’s tactic might have actually aided Iranian nuclear development.

When a bootlegged copy of State of War reached the National Security Council, a frantic meeting convened in the Situation Room, according to Rizzo. “As best anyone could tell, the books were printed in bulk and stacked somewhere in warehouses.” The aspiring censors hit a wall. “We arrived at a rueful consensus: game over as far as any realistic possibility to keep the book, and the classified information in it, from getting out.”

But more than eight years later, the Obama White House is seeking a different form of retribution. The people running the current administration don’t want to pulp the book — they want to put its author in jail.

The Obama administration is insisting that Risen name his confidential source — or face imprisonment. Risen says he won’t capitulate.

The Freedom of the Press Foundation calls the government’s effort to force Risen to reveal a source “one of the most significant press freedom cases in decades.”

Pentagon Papers whistleblower Daniel Ellsberg says: “The pursuit of Risen is a warning to potential sources that journalists cannot promise them confidentiality for disclosing Executive Branch criminality, recklessness, deception, unconstitutional policies or lying us into war. Without protecting confidentiality, investigative journalism required for accountability and democracy will wither and disappear.”

A recent brief from the Obama administration to the nation’s top court “is unflinchingly hostile to the idea of the Supreme Court creating or finding protections for journalists,” Politico reported. The newspaper added that Risen “might be sent to jail or fined if he refuses to identify his sources or testify about other details of his reporting.”

This threat is truly ominous. As Ellsberg puts it, “We would know less than we do now about government abuses, less than we need to know to hold officials accountable and to influence policy democratically.”

So much is at stake: for whistleblowers, freedom of the press and the public’s right to know. For democracy.

That’s why five organizations — RootsAction.org, The Nation, the Center for Media and Democracy / The Progressive, Fairness & Accuracy In Reporting (FAIR) and the Freedom of the Press Foundation — have joined together to start a campaign for protecting the confidentiality of journalists’ sources. So far, in May, about 50,000 people have signed a petition telling President Obama and Attorney General Eric Holder to end legal moves against Risen.

Charging that the administration has launched “an assault on freedom of the press,” the petition tells Obama and Holder: “We urge you in the strongest terms to halt all legal action against Mr. Risen and to safeguard the freedom of journalists to maintain the confidentiality of their sources.”

The online petition — “We Support James Risen Because We Support a Free Press” — includes thousands of personal comments from signers. Here’s a sampling of what they had to say:

“Freedom of the press and freedom of speech are the cornerstones of our democracy. Stop trying to restrict them.” Jim T., Colorado Springs, Colorado

“Protected sources are essential to a real democracy. Without whistleblowers, there is no truth.” Jo Ellen K., San Francisco, California

“Enough of the government assault on freedom of the press! Whistleblowers are heroes to the American people.” Paul D., Keaau, Hawaii

“It seems our government is out of control. The premise of deriving power from the people would appear to be a quaint notion to most within the three branches. Instead they now view us as subjects that must bend to their will rather than the other way around.” Gary J., Liberty Township, Ohio

“‘Journalism is printing what someone else does not want printed. Everything else is public relations.’ — George Orwell” Todd J., Oxford, Michigan

“As a writer, I support freedom of the press around the world as a vital first step toward regaining control of our compromised democracies.” Patricia R., Whitehorse, YT, Canada

“You promised an open and transparent administration. Please keep that promise.” Willard S., Cary, North Carolina

“Without a free press, we really have nothing.” Robin H., Weehawken, New Jersey

“The Obama administration’s attack on press freedom is an issue of grave concern. Why are we spending billions of dollars going after supposed ‘terrorists’ when the greatest threat to democracy resides right here in Washington, DC.” Karen D., Detroit, Michigan

“Damn you, Obama! You become more like Nixon daily!” Leonard H., Manchester, Michigan

“Congratulations, Mr. Risen!” Marian C., Hollister, California

“The U.S. is becoming an increasingly frightening place to live, more than a little like a police state. President Obama, you have been a huge disappointment. I expected better from you.” Barbara R., Newport, Rhode Island

“Come on, President Obama… you’re a Constitutional scholar. You know better than this. Knock it off.” James S., Burbank, California

“There can be no true freedom of the press unless the confidentiality of sources is protected. Without this, no leads, informants or whistleblowers will be motivated to come forward. Reporters should not be imprisoned for doing their job.” Chris R., North Canton, Ohio

“You took an oath to ‘preserve, protect and defend the Constitution of the United States,’ freedom of the press!” Diane S., San Jose, California

“Whatever became of the progressive Obama and the change you promised? Evidently it was a load of campaign bull puckey, making you just another politician who says whatever it takes to get elected. In other words, you and your administration are a complete sham. As for your constitutional scholarship, it would appear to be in the service of undermining the Constitution a la Bush and Cheney.” Barry E., Bryn Mawr, Pennsylvani

“Without a free press, our republic is paper-mache. Remember John Peter Zenger! We must not shoot the messenger — we must raise the bar for conduct and probity!” Lance K., Chelsea, Massachusetts

“A free press is the only counterbalance to crony capitalism, corrupt legislators, and a pitifully partisan Supreme Court, that continues to destroy our Constitutional protections.” Dion B., Cathedral City, California

“I implore you to RESPECT THE FIRST AMENDMENT.” Glen A., Lacey, Washington

“Did you not learn in grade school that freedom of the press is essential to a free country?” Joanne D., Colorado Springs, Colorado

“We’ve been down this road before. What amazes me is that we condemn other countries for stifling freedom of the press, then turn around and do the same thing to advance our own purposes. Are we proponents of democracy and a free press or not?” William M., Whittier, California

“Journalism is a vital component of a democracy, and it is a core function protected by the freedom of expression enshrined in both international and domestic law. You must stop harassing and persecuting journalists and their sources who are providing a vital public service in prying open the activities of governments that are illegitimately concealed from the public. If the public is not informed of state actions executed in their name, they cannot evaluate and render consent to those actions through the vote. This secrecy therefore subverts democracy, and you must stop using police powers to destroy the whistleblowers who enable government accountability to the public.” Jim S., Gatlinburg, Tennessee

“I support freedom of the press, not the attorney general’s vicious abuse of his position!” Bettemae J., Albuquerque, New Mexico

“Compelling reporters to reveal their sources just means that sources will stop talking to reporters. That will cripple the free press. If you think that’s not important, please resign immediately.” Stephen P., Gresham, Oregon

“As an old woman who remembers the lies of Lyndon Johnson, Richard Nixon, Ronald Reagan, Bill Clinton, George W. Bush (especially) and the current administration, I do not trust my own government to tell me the truth anymore. Freedom of the press is my only chance [to] find out what the truth is. Protect reporters’ sources!” Monica O., Lomita, California

“Without freedom of the press, we might as well kiss democracy goodbye!” Melvin M., Vashon, Washington

“I am ashamed of this administration, its policies and its Department of Justice — what a travesty of criminal turpitude and mass media complicity. ‘Transparency’ — hah! Cheap campaign rhetoric.” Mitch L., Los Altos Hills, California

“Walk the walk or stop talking about democracy. Free press is the basis of our constitution.” Carl D., Manassas, Virginia

“No free press, no democracy!” James F., Moab, Utah

“If you force the media to reveal its sources, no one will ever come forth with a news story or lead again. I’m sure this is precisely what the politicians and big business want. Then there’d be absolutely no accountability. We need an effective shield law rather than persecuting journalists and news organizations for reporting the news.” Jim S., Ladera Ranch, California

“Freedom of the Press is the hallmark of a free society. Your administration has done everything in its power to subvert Freedom of the Press by jailing whistleblowers and reporters who uncover wrong doing. This must stop!” Ed A., Queens, New York

“We have very few real journalists left. Let’s not jail them!” Karen H., West Grove, Pennsylvania

“As the press goes, so goes citizens’ rights.” Kathy F., West Bend, Wisconsin

“I have been shocked at how this administration has treated the American people’s right to know, prosecuting reporters, whistleblowers, and others who have had the temerity to cast light into the dark corners of our government. You bring the whole concept of democracy into disrepute and set a bad example for the rest of the world.” Marjorie P., Montpelier, Vermont

“We need our investigative reporters more now than ever in history. Keep our press free.” Joan R., Novato, California

“Investigative reporting is becoming too rare in the U.S., and compelling J. Risen to reveal his sources will only make such reporting even rarer. Is this your deliberate intent?” Elaine L., Elk Grove, California

“I am responding in support of James Risen. Freedom of the press is one of the cornerstones of our democracy and should never be trampled on by government.” Lois D., San Jacinto, California

“Freedom of the press is more important than some stinking government attempt to find out how bad shenanigans made it into the press. Quit this crap about trying to make a reporter reveal his or her sources. We need good reporting a lot more than lousy stinking politicians trying to shut up the truth.” Ralph M., Bakerstown, Pennsylvania

“Without a free press tyranny will ensue.” Bob P., Holland, Pennsylvania

“I thought Mr. Obama was supposed to be a Constitutional lawyer and swore to uphold it. I thought the Attorney General was supposed to also protect the Constitution. It seems you both have abandoned those duties. Prove you hold the Constitution as the authority from which you derive your own and cease this persecution of a reporter who epitomizes one of the crucial things the Constitution stands for — a truly free press.” Michael S., Tukwila, Washington

“I’ve seen mud more transparent than the Obama admin.” Paul H., Carlton, Oregon

“Wow, this coming from the Obama administration who supposedly is for open govt. Isn’t it a police state when the govt cracks down on reporters for telling the truth? James Risen is a hero who will go to jail before revealing his source and the fact that you want to throw him in jail is the real crime here.” Gayle J., Seattle, Washington

“Shocking.” Peggy K., Soldiers Grove, Wisconsin

“You have way overstepped your authority. I consider myself a moderate, but your aggressive pursuit of journalists and whistleblowers strikes fear in my heart. Your use of intimidation to weaken the press is contributing to the dismantling of our democracy.” Marcia B., Pittsburgh, Pennsylvania

“Quit trying to silence journalists! This is a Vladimir Putin approach to government. Hope and Change? Get Real!” Rich W., Grass Valley, California

“Stop destroying our heroes, the courageous whistleblowers and journalists, including Risen and others who should be thanked, not prosecuted! You know damn well that the People want these people honored!” Nancy G., Palm Desert, California

“Please recognize the need for a journalist to be free of coercion to reveal confidential sources. Bravo to James Risen for having the courage to resist this onerous government intimidation.” Thomas S., Pittsburgh, Pennsylvania

“We are already seeing freedom of the press undermined by consolidation of media ownership. The founding fathers believed that we could only keep this republic if we have free press and an informed public. Stop the suppression of information. Free access to information is not an optional ingredient.” Janelle J., Buffalo, Missouri

“Stop persecuting journalists and whistleblowers. Information is the lifeblood of a democracy.” William C., Sherman Oaks, California

“Our government has become big brother. Journalists must not be forced to name their sources if we are to know the truth.” Carolyn S., Los Angeles, California

“A free press is gone if confidential sources are revealed.” Vincent H., Rutledge, Tennessee

“Frankly, Mr. President, I’m surprised at you, and I have to say, disappointed. This seems like something that happens in totalitarian countries.” Karen B., Felton, California

“Freedom of the press is already under siege because big business controls so much of the message. The Obama administration must respect James Risen’s right to withhold his source.” Patricia B., Marco Island, Florida

“Whistleblowers are vital to keeping our democracy from turning into a police state. And a free press is vital to keeping us informed. Drop this case, and uphold the principles of our Constitution.” Cynthia D., E. Boston, MA

“The press should be free to do its job! How about some of that ‘most transparent administration’ stuff. If an administration has nothing to hide it has nothing to fear.” Mike H., Terre Haute, Indiana

“James Risen is an investigative reporter of high repute who should not be subjected to state harassment and punishment for upholding his pledge of confidentiality to his sources. These encroachments on our Fourth Estate’s watchdog function as a check on the abuse of power must not stand.” Barbara K., Santa Fe, New Mexico

“You both have to stop talking out of both sides of your mouth, i.e. lying. We are fighting for freedom of the press. Stop being enemies to us people.” Judith N., North Bonneville, Washington

“Please don’t trash the Bill of Rights. Protect the freedom and independence of the press. Drop the case against James Risen.” Andrew M., Lower Gwynedd, Pennsylvania

“Daniel Ellsberg was right. James Risen is right.” Leonore J., Toledo, Ohio

“When the light of free press is no more, darkness prevails and evildoers flourish. I know this is what this corrupt government wants but over our dead bodies.” Felix C., San Antonio, Texas

“What Mr. Risen did in this instance, was not criminal. Rather it was EXACTLY what a free press should do, without fear of reprisal. Stop the strong arm tactics.” John S., Trumbull, Connecticut

“The investigative work of journalists sheds light on the world and what is happening. The increasing punishment of journalists is pushing our world and news into a scary age of non-information. Safeguard the confidentiality of journalists and their sources.” Christin B., Barnegat Light, New Jersey

“Stop persecuting journalists and truth tellers.” Phyllis B., Desert Hot Springs, California

Norman Solomon is executive director of the Institute for Public Accuracy and co-founder of RootsAction.org. His books include “War Made Easy: How Presidents and Pundits Keep Spinning Us to Death.” Information about the documentary based on the book is at www.WarMadeEasyTheMovie.org.

(The Bruce blog is written and edited by Bruce B. Brugmann, editor at large of the San Francisco Bay Guardian. He is the former co-founder and co-publisher with his wife Jean Dibble, 1966-2012.)

James Risen is printing the news and raising hell for a damn good cause in the best jounalistic tradition. He needs our support. B3

What’s the hidden message of @HiddenCash?

Sasha Cuttler And Mary Magee

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June 4, 2014

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What’s the hidden message of @HiddenCash?

What are we to make of @HiddenCash, the “anonymous social experiment for good,” created by a wealthy Bay Area man who has told media he just wants to put a smile on people’s faces?

The anonymous donor, who reportedly made his fortune in real estate, has been leaving envelopes stuffed with cash around the Bay Area (and more recently in Los Angeles), posting context clues on Twitter, and watching the social-media fueled treasure hunt unfold as wildly excited winners dash to the cash and swoon, all to mainstream media’s delight.

Whoever this rich guy is, his oddball brand of DIY philanthropy has certainly generated a buzz, with 450,000 Twitter followers amassed in a short time.

But beyond the treasure hunts and online media blitz, @HiddenCash is also playing around with a hefty concept: The value of money. Instead of spending it, he’s giving it out, apparently to ignite some trend of generosity. His timing is interesting, given that income inequality is now higher in San Francisco than anywhere else nationwide.

@HiddenCash Your generosity & good will have brought out the best in people~ thank you. Hope you’re enjoying this as much as the rest of us!

— Linda Bisaillon (@LBisaillon) June 2, 2014

While expressing pure intentions of spreading “love,” “generosity,” and “EPIC fun,” @HiddenCash is waltzing into the public arena from the side of the fence where wealth is growing, not shrinking. Cash does not equal survival to him; instead, he has the luxury of using it as a prop in a grand experiment. Rather than use it to buy stuff, he can use it to produce fleeting moments of joy, buzz, and positive media.

But after a week of jolly experimenation, it seems @HiddenCash started to become overwhelmed by being sought out by cash-strapped souls in desperate need. Critics are deconstructing his actions, because the anonymous millionaire made his fortune in real estate, and many lives have been turned upside down by eviction in San Francisco as of late. Is this experiment being conducted as a way to give back after taking part in that dirty business? We don’t know for sure; @HiddenCash did not respond to a request for an interview.

On the other side of the fence, money problems loom large. The rent is too damn high. Friends and communities are being splintered apart as economic shifts trigger eviction, reconstructing social realities in long-established neighborhoods. Many households don’t have enough to put food on the table.

Against this grim backdrop of the widening wealth gap, @HiddenCash is playing a game that almost resembles a redistribution of wealth. Of course, his actions alone won’t make a dent toward lessening inequality. But in media interviews, @HiddenCash has talked about “starting a movement,” presenting himself as a trailblazer for other rich people who might follow suit.

If you are going to copy our idea, great, as long as you do it responsibly and for the right reasons. And this week we are only here in SF.

— Hidden Cash (@HiddenCash) June 2, 2014

Think for a second about what a wave of @HiddenCash copycats would mean — if more and more rich people simply decided to give freely for the sake of making others happy. It still probably wouldn’t do much to cure inequality, but it might have a positive effect for the donors themselves. This fascinating New York Times piece dives into the effects of unchecked greed, or “wealth addiction.” As the author, a Wall Street banker who became horrified by cash-obsessed culture, wrote:

“Ever see what a drug addict is like when he’s used up his junk? He’ll do anything — walk 20 miles in the snow, rob a grandma — to get a fix. Wall Street was like that. In the months before bonuses were handed out, the trading floor started to feel like a neighborhood in ‘The Wire’ when the heroin runs out.”

Maybe @HiddenCash’s message to the rich is more important than the message he’s sending to treasure hunters. Maybe he’s signaling to the wealthy that money isn’t, in fact, everything.

That’s a movement worth a retweet.

That said, is anyone who benefits from income inequality really going to buy it?

I wouldn’t bet on it.

Film Listings: May 28-June 3, 2014

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May 28, 2014

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Film listings are edited by Cheryl Eddy. Reviewers are Kimberly Chun, Dennis Harvey, Lynn Rapoport, and Sara Maria Vizcarrondo. For rep house showtimes, see Rep Clock. Due to the Memorial Day holiday, theater information was incomplete at presstime.

OPENING

Cold in July See “Where Evil Grows.” (1:49) Embarcadero.

The Dance of Reality His unique vision recently re-introduced to audiences by unmaking-of documentary Jodorowsky’s Dune, cinematic fabulist Alejandro Jodorowsky is back with his first film in a quarter-century. This autobiographical fantasia shows all initial signs of being a welcome yet somewhat redundant retread of his cult-famed early work (1970’s El Topo, 1973’s The Holy Mountain), as Santa Sangre was in 1989. It starts with the filmmaker himself fulminating wisdoms about the spiritual emptiness of a money-centric world, then appearing as guardian angel to his child self (Jeremias Herskovits). Little Alejandro is raised by a bullying, hyper macho father (Brontis Jodorowsky) and warm, indulgent mother (soprano Pamela Flores, singing every line of dialogue) who naturally clash at every turn. Jodorowsky’s stunning eye for bizarre imagery (abetted by DP Jean-Marie Dreujou’s handsome compositions) hasn’t faded, so there are delights to be had even in what fans might consider an over-familiar parade of dwarfs, amputees, anti clerical burlesques (like a dress-up dog beauty contest at church), Chaplinesque circus sentimentality, and other simple if surreal illustrations of society’s eternal victims and overlords. At a certain point, however, the misdeeds of father Jaime force his self-exile. The film’s consequent picaresque allegory of epic suffering toward redemption becomes cheerfully goofy, its symbol-strewn path increasingly funny and sweet rather than burdened by import. A large part of that appeal is due to junior Jodorowsky Brontis, who demonstrates considerable farcical esprit while flashing more full-frontal nudity than Michael Fassbender and Ewan McGregor combined ever dreamed of obliging. Shot in the family’s native Chile on a purported crowd funded budget of $3 million — could Hollywood provide so much original spectacle for 30 times that amount?—The Dance of Reality finds its 84-year-old maker as frisky as a pony, one that provides an endearingly unpredictable ride. (2:10) Opera Plaza, Shattuck. (Harvey)

The Grand Seduction Canadian actor-director Don McKellar (1998’s Last Night) remakes 2003 Quebecois comedy Seducing Doctor Lewis, about a depressed community searching for the town doctor they’ll need before a factory will agree to set up shop and bring much-needed jobs to the area. Canada is still the setting here, with the harbor’s name — Tickle Head — telegraphing with zero subtlety that whimsy lies ahead. A series of events involving a Tickle Head-based TSA agent, a bag of cocaine, and a harried young doctor (Taylor Kitsch) trying to avoid jail time signals hope for the hamlet, and de facto town leader Murray (Brendan Gleeson) snaps into action. The seduction of “Dr. Paul,” who agrees to one month of service not knowing the town is desperate to keep him, is part Northern Exposure culture clash, part Jenga-like stack of lies, as the townspeople pretend to love cricket (Paul’s a fanatic) and act like his favorite lamb dish is the specialty at the local café. The wonderfully wry Gleeson is the best thing about this deeply predictable tale, which errs too often on the side of cute (little old ladies at the switchboard listening in on Paul’s phone-sex with his girlfriend!) rather than clever, as when an unsightly structure in the center of town is explained away with a fake “World Heritage House” plaque. Still, the scenery is lovely, and “cute” doesn’t necessarily mean “not entertaining.” (1:52) Embarcadero. (Eddy)

Maleficent Angelina Jolie plays the iconic villain, with Elle Fanning as Sleeping Beauty, in this live-action Disney fantasy. (1:37) Shattuck.

A Million Ways to Die in the West Director and co-writer Seth MacFarlane also stars in this comedic Western, with Charlize Theron and Liam Neeson. (1:56)

ONGOING

Ai Weiwei: The Fake Case Less of an introduction to the dissident Chinese artist than Alison Klayman’s 2012 Ai Weiwei: Never Sorry, this doc from Andreas Johnsen is more of a fly-on-the-wall affair, following Ai in the months following his arrest and detention for “tax evasion.” The double-entendre title refers to Ai’s company (Fake Design) as well as the trumped-up case against him, clearly intended to punish him for challenging authority. Though he’s on house arrest, he’s allowed to visit art studios and take walks (under constant surveillance); though he’s technically not allowed to talk to foreign journalists, they are certainly eager to chat with him, and we see him cautiously working around that rule. At one point, a reporter asks him why he doesn’t simply move out of China and live somewhere with more freedom. His fiery reply — that he’d be “dead already” if he didn’t express himself — speaks volumes, and suggests that despite his weary appearance here, he’s more determined than ever before. Of related interest: his just-announced exhibit of works on imprisonment, @Large, scheduled to open Sept. 27 on Alcatraz. (1:29) (Eddy)

The Amazing Spider-Man 2 The best thing about The Amazing Spider-Man 2 — the sequel to the 2012 reboot that nobody really wanted in the first place — is the achingly cute chemistry between real-life couple Andrew Garfield (Peter Parker/Spider-Man) and Emma Stone (Gwen Stacy, whose fate is no spoiler to anyone who is familiar with the Spider-Man canon). Can’t deny it; those two are adorbs. But since Spider-Man is supposed to be an action movie, not a romantic comedy, it spends most of its time setting up foes for the webslinger (Jamie Foxx as a nerd zapped into the power-mad Electro; Dane DeHaan as bratty rich kid Harry Osborn), as well as rehashing the mysterious deaths of Peter’s parents, and underlining for approximately the zillionth time the disconnect between the media’s perception of Spider-Man (he’s a menace! He interferes with police work!) and the ecstatic love the people of New York have for the guy — understandable, since he’s in the business of saving their butts on a regular basis. This isn’t a crappy movie by any means; it’s entertaining enough, and the 3D swooping-between-skyscrapers FX have gotten quite dazzling. But there’s still a heavy air of “This again?” that hangs over the whole thing. Doesn’t Marvel have enough dough from the Avengers movies to let Spidey take an extended vacation? (2:20) (Eddy)

Belle The child of a British naval officer and a Caribbean slave, Belle (Gugu Mbatha-Raw) is deposited on the doorstep — well, the estate grounds — of her father’s relatives in 1769 England after her mother dies. Soon she’s entirely orphaned, which makes her a wealthy heiress and aristocratic title holder at the same time that she is something less than human in the eyes of her adopted society. For Belle is black (or more properly, mixed-race), and thus a useless curiosity at best as a well-bred noblewoman of the “wrong” racial makeup. Based on a murky actual historical chapter, Amma Asante’s film is that rare sumptuous costume drama which actually has something on its mind beyond romance and royalty. Not least among its pleasures are a fine supporting cast including Tom Wilkinson, Miranda Richardson, Penelope Wilton, and Emily Watson. (1:45) (Harvey)

Blended (1:57)

Breastmilk Our bodies, ourselves — and our babies and breastmilk — and the thick, rich membrane of biological and cultural complications latched to breastfeeding today all play into director-producer Dana Ben-Ari’s fascinating doc Breastmilk. Though the act of breastfeeding may sound like the most natural thing in the world, many parents encounter a thicket of challenges when choosing to do it, whether it’s due to low milk production or tongue-tied babies, not to mention the judgments and stresses that occur along the way. Showing everything from the intimate first moments of a newborn learning how to latch on to beautifully close-up images of breasts being pumped, Ben-Ari follows diverse crew of moms — privileged, blue-collar, same-sex, and bohemian — many before birth and post-breastfeeding, as well as academics and experts, while unpacking an enthralling set of issues like the guilt around using formula rather than breastmilk; the embarrassment of breastfeeding in public sans “hooter hider” for the male viewer; the insecurities women feel about milk production; the boundaries between maternity and sexuality; and the politics of women of color offering their breastmilk to privileged white adopters. Kudos, too, to Ben-Ari for gratifyingly going, even briefly, toward the idea of the “monstrous,” “leaky” female body; lactation porn; and the “phallic potential” of the breast. (1:31) Roxie. (Chun)

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

Chef Not to take anything away from the superhero crew, but Chef feels like the closest thing to a labor of love from writer, director, and star Jon Favreau in many a day. As a director, he may have been making doughnuts — fun-filled and teeming with CGI eye candy, but doughnuts nevertheless — when it came to effects-driven blockbusters like 2008’s Iron Man, but this well-meaning play for the heart, by way of the stomach, shows you where Favreau’s head is really at. Chef revolves around Carl Casper (Favreau), a onetime food star, now reduced to serving up predictable crowd-pleasers at the behest of his restaurant’s overbearing owner (Dustin Huffman). It takes the barbs of an influential critic (Oliver Platt) — and an ensuing Twitter war — to set Carl off and send him away on his own, at the coaxing of his glam ex Inez (Sofia Vergara). Hooked up with a dilapidated food truck and former kitchen staffer Martin (John Leguizamo), and aided by ably Tweeting son Percy (Emjay Anthony), Carl ties his dreams — and lost passion — to the classic Cuban sandwich. The ensuing road trip from Miami to LA, and Carl’s journey toward self and a renewed relationship with his son, is a fun (if, in the end, a bit too speedily sketched) vault through the joys of eating your way through America’s new culinary heartland. Amid the volley of sign-of-the-times social-media swinging and cameos by the uncostumed Robert Downey Jr., Scarlett Johansson, and the like, Favreau’s main dish is that a family that eats, cooks, and runs a business together, stays together — child labor laws or no. (1:55) (Chun)

Chinese Puzzle Chinese Puzzle is the airy kind of nothing American studios don’t seem capable of making any more: a relatively harmless, ingratiating hang with a rather varied cast of characters running afoul of one another in bottom-line benign ways (save a beating early on). The film concludes Cédric Klapisch’s trilogy, started in 2002’s study-abroad romp L’auberge Espagnole and continued in 2005’s early adulthood crisis Russian Dolls. The final film is just as weightless, and enjoyable to watch, as the preceding pair, and they form a kind of lazy man’s analog to Richard Linklater’s sublime Before films. This is a world of coincidence framed as realism — but if you go to the movies for a laugh, for a diversion, and for a quick getaway to a carefree daydream of what life might be for the shiftless and curiously monied (what’s work?), this might be the kind of date movie you want, maybe even need. (1:57) (Ryland Walker Knight)

Documented Jose Antonio Vargas’ grandparents — who raised him in Mountain View after he was smuggled into America at age 12 from the Philippines — expected him to grow up, blend in, and live a perfectly ordinary life in his new country. But Vargas was a smart kid who grew into an exceptionally intelligent young adult. He pursued a journalism career that earned him coveted reporting gigs for the Washington Post and CNN, among other outlets, as well as a Pulitzer Prize. He’s also gay, a fact that complicated his family’s hopes for a traditional wedding (and subsequent green card). In 2011, weary of guarding a secret he’d shared with only a few close friends, Vargas penned a powerful essay for the New York Times Magazine, revealing “My Life as an Undocumented Immigrant.” Documented, his film with co-director Ann Lupo, chronicles the months before and after Vargas “outed” himself. It’s a highly personal story, especially when the film crew travels to Manila to interview Vargas’ mother. Their geographical separation has become an emotional estrangement so complex she weeps when he refuses to add her on Facebook. But Documented also taps Vargas’ Define American media campaign to broaden its message, interviewing undocumented youths affected by the DREAM Act and sharing in their joy when the bill — providing permanent residency to young, educated immigrants of “good moral character” — finally goes into effect. Unfortunately for Vargas, he’s too old to benefit from the legislation, and though he feels relief at having come clean, he’s still unable to make any traction in his quest for citizenship. (At one point, he actually calls INS to see if anyone’s planning to clamp down, as if finally getting “caught” would be preferable to living in extended limbo.) The only closure of sorts comes when Vargas reconnects with his mother via Skype, but there’s an undercurrent of helplessness to their computer-screen reunion that makes Documented‘s themes feel especially raw and urgent. (1:29) Roxie. (Eddy)

The Double Simon (Jesse Eisenberg) is a lowly clerk who gets nothing but indifference and scorn both at work and in his pitiful private life. Things slip even more insidiously beyond his control with the arrival of James (Eisenberg again), his exact doppelgänger — though no one else seems to notice that — and a climber as ruthlessly efficient as Simon is hapless. Not only does he steal his look-alike’s ideas in a rapid rise to the top, he seems to take great pleasure in kicking Simon further downward. Applying a Kafkaesque gloss to Dostoyevsky’s novella, with stylistic hat-tips to the Coens and Terry Gilliam, Richard Ayoade’s second feature is very different from his prior Submarine (2010) in all ways but one: It, too, is both overwhelmed and rendered fascinating by an excess of high directorial “style” whose self-consciousness infuses every frame and puts quote marks around every emotion. As a result, The Double is a striking objet d’art you’ll either love or hate — or enjoy aesthetically while being annoyed by its sacrifice of depth for a showoff surface. (1:33) (Harvey)

Fading Gigolo Ah, the charm of a well-aged, seasoned perv &ldots; nope, we don’t dare touch the Woody Allen/Dylan Farrow abuse allegations — though those recent headlines flit around the edges of this generally benevolent, almost strangely innocuous charmer, written by and directed John Turturro, who also stars as the curiously blank-faced tabula rasa of a title character. The delights of Mrs. Robinsons have been rhapsodized on film, through the lens of worshipful younger men — less so, their male counterparts, as viewed by other hetero men. The danger of bromance surging into the homoerotic is likely too dire for most, yet somehow bookstore boss Murray (Allen) sees the mysterious, submerged sex appeal in his loyal employee Fioravante (Turturro) and taps him to get involved in a ménage à trois with a society dermatologist (Sharon Stone). The soft-spoken Fioravante turns out to be a smash in the sack with the doc, transforming the opportunistic Murray into a wildly successful pimp as his employee takes on the audacious Selima (Sofia Vergara) and the prim Jewish Orthodox widow Avigal (Vanessa Paradis). The latter character seems to have come straight from another place and time — much like this film, which turns Brooklyn into a something resembling a leaf-strewn European village and recalls odes to revolutionary sexuality in the ’60s. The movie’s lightly absurd comedy is embedded in the fact that Turturro writes himself into the role of the seducer, the pleaser, while wrapped in the skin of pleasant if everyday-looking Joe, although Paradis, a revelation as a deeply repressed devout mother slowly awakening to her body, points to more serious pleasures, lingering below the surface of all of us. (1:30) (Chun)

Fed Up Katie Couric narrates, produces, and brings celebrity heft to Stephanie Soechtig’s well-crafted expose on the alarmingly powerful food industry — specifically, revealing how “nutritional standards” put forth by the government over the past 30 years have actually caused the nation’s current obesity epidemic. Fed Up‘s straightforward combination of simple facts (80 percent of food items have added sugar); talking-head experts (Bill Clinton, UCSF’s Dr. Robert Lustig); historical fact-finding (including a segment that convincingly compares today’s food industry to the tobacco industry of yore); and profiles of dangerously overweight teens (all of whom are trying, and failing, to lose weight) adds up to a film that is poised to have An Inconvenient Truth-style impact on viewers — and will hopefully

open enough eyes to make waves beyond movie theaters. (1:32) (Eddy)

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

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

God’s Pocket The dreary directorial debut of Mad Men star (and occasional episode director) John Slattery begins with a funeral, and it’s not long before we realize the deceased, Leon (Caleb Landry Jones), will be grieved only by his mother (Christina Hendricks). Most of this bleak tale takes place in flashback — racist, jacked-up Leon’s workplace accident (actually a well-deserved blow to the head, wielded by a fellow laborer he’d been threatening) occurs while his boozy-schlub stepfather Mickey (Philip Seymour Hoffman, in one of his final roles) is boosting a refrigerated truck for use in his meat business. When his wife demands an investigation into Leon’s death, Mickey dutifully, if reluctantly, asks some of his ne’er-do-well associates to poke around; one thing leads to another, more blood is shed, and the stolen truck is repurposed for toting around a certain albatross of a human corpse. Set in 1978 and named for the fictional working-class Philly neighborhood that provides its backdrop, God’s Pocket (based on the novel by Pete Dexter, whose other adapted works include The Paperboy and Paris Trout) falls quite short of delivering narrative satisfaction; even its stellar cast (which also includes John Turturro, Eddie Marsan, and Richard Jenkins — the latter as a washed-up journalist who improbably seduces Hendricks’ character) can’t elevate characters that are thinly drawn and murkily motivated. (1:28) (Eddy)

Godzilla Bearing the weight of a 1998 American debut so stinky that devotees of the Japanese original dubbed it “GINO” (for “Godzilla in Name Only”), the King of the Monsters returns for a do-over that smells more like generic summer entertainment than anything else. We begin in 1999, when a pair of scientists (Ken Watanabe and Sally Hawkins) discover a giant skeleton of sorts in the Philippines — just as a deadly accident (or was it?) devastates a Japanese nuclear power plant. Fifteen years later, the scientists are still on the trail of Whatever That Was, while guilty power-plant survivor Bryan Cranston has become a greasy-haired conspiracy theorist, much to the annoyance of his San Francisco-based Navy officer son (Aaron Taylor-Johnson). The humans in Gareth Edwards’ film don’t actually matter much; aside from Cranston and to a much lesser extent Watanabe, none of the characters are interesting or memorable, and the plot — which has Big G lumbering after a pair of “Massive Unidentified Terrestrial Organisms” who decide to incubate their eggs in downtown SF — is also a low-stakes affair. (If you believe for a second that Taylor-Johnson’s doe-eyed wife and son won’t survive the monster attack, I have a busted-up Golden Gate Bridge to sell you.) But the monster design is plenty satisfying, and really, it’s just fine that Godzilla — who wrinkles his snout in annoyance at those pesky MUTOs — is this film’s one and only charismatic presence; dude’s going on a 70-year career at this point. (2:03) (Eddy)

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

Ida The bomb drops within the first ten minutes: after being gently forced to reconnect with her only living relative before taking her vows, novice nun Anna (Agata Trzebuchowska) learns that her name is actually Ida, and that she’s Jewish. Her mother’s sister, Wanda (Agneta Kulesza) — a Communist Party judge haunted by a turbulent past she copes with via heavy drinking, among other vices — also crisply relays that Ida’s parents were killed during the Nazi occupation, and after some hesitation agrees to accompany the sheltered young woman to find out how they died, and where their bodies were buried. Drawing great depth from understated storytelling and gorgeous, black-and-white cinematography, Pawel Pawilowski’s well-crafted drama offers a bleak if realistic (and never melodramatic) look at 1960s Poland, with two polar-opposite characters coming to form a bond as their layers of painful loss rise to the surface. (1:20) Smith Rafael. (Eddy)

Ilo Ilo Set in 1997 Singapore at the onset of the country’s recession, Ilo Ilo focuses on one family, who could be any family: father Teck (Chen Tianwen), who’s been let go from his sales position and is working various hourly jobs, hoping his wife doesn’t find out; pregnant Hwee Leng (a dynamic Yeo Yann Yann), a secretary who’s been the “bad cop” in the relationship so long she’s kind of grown into the role; and bratty Jiale (Koh Jia Ler), a 10-year-old terror who disobeys at home and gets into fights at school. Into this swirl of domestic tension comes Teresa (Angeli Bayani), a housekeeper-nanny who’s left her own family behind in the Philippines in search of a better way of life. It’s hell at first — “Auntie Terry” is no Mary Poppins, but she has the patience of a saint, putting up with Jiale’s antics and Hwee Leng’s ice-queen routine. Slowly, however, she builds a rapport with her young charge, but since Ilo Ilo is firmly interested in realism, there’s no quick fix to the problems that lie beneath the family strife, despite the kid’s obsession with lottery numbers. A remarkably assured debut film from 29-year-old director Anthony Chen, Ilo Ilo picked up the Camera D’Or at Cannes, in addition to multiple other fest prizes. The accolades are well-earned — rarely has a film so effectively and subtly captured the day-to-day frustrations of middle-class financial uncertainty. (1:40) (Eddy)

The Immigrant Ewa (Marion Cotilliard) is an orphaned Polish émigré who’s separated from her sickly sister at Ellis Island in 1921, and scheduled for deportation as an alleged “woman of low morals.” She’s rescued from that by Bruno (Joaquin Phoenix), though he’s not quite the agent of charity he seems — in fact, Ewa doesn’t realize she’s actually been recruited for a prostitution racket he thinly veils as a theatrical troupe. Still, she stays, believing she has no other viable path to freeing her sister from quarantine, she allows her own degradation for money’s sake. This latest collaboration between Phoenix and director-coscenarist James Gray is a handsome period piece that’s done skillfully and tastefully enough to downplay — but not quite hide — the fact that its moral melodrama might as well have been written (as well as set) nearly a century ago. Cotilliard is fine in her best English-language role to date, and Phoenix is compelling as usual; Jeremy Renner is somewhat miscast as a distant-third lead. But whether you find The Immigrant poignant or forced will depend on your tolerance for a script whose every turn is all too predictable. (2:00) (Harvey)

Locke This virtual solo show stars Tom Hardy as Ivan Locke, a 40-ish construction manager driving to London on the eve of “the biggest cement pour” ever attempted in Europe. But he’s driving away from that, to the shrill indignation of superiors who expect his reliable on-site supervision, and the increasingly drunken panic of the flunky (voice of Andrew Scott) he’s deputized to take his place. The reason for this unprecedented dereliction of responsibility is that Ivan is committed to another responsibility, to “take care of my fuckup.” As we gradually realize during his 85-minute drive, that means showing up for the premature birth of the baby he’s sired by a fragile, rather hysterical-sounding woman (Olivia Colman) in the brief sole detour from marital infidelity he’s ever taken. Doing so may well end his career, as well as his long-standing marriage to the mother of his sons. But our protagonist is determined at any cost not to become his own late father (with whom he has imaginary conversations), a wastrel who never made good on his obligations to family or anyone else. Shot repeatedly in real time with multiple cameras over 12 nights, then assembled from 16 full-length takes, Steven Knight’s Locke is a striking experiment that never quite escapes an air of theatrical stunt. In retrospect you realize most of its tension derives not from the core emotional crises, but from narrative red herrings — primarily our terror that anyone multitasking this recklessly behind the wheel is an accident waiting to happen. But the chameleonic Hardy, playing a rather square, middle-class, essentially humorless type unlike any he’s done before, makes this effortfully “decent” man so compelling you can’t look away. If there’s anything this actor can’t do, he hasn’t tried it yet. (1:35) (Harvey)

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

Million Dollar Arm Jon Hamm has it bad — that dark-around-the-edges Mad Men afterglow can’t help but follow him everywhere, even into the arms of Disney in this solid Cinderella-story baseball tale (possibly the best headlining gig he’s had outside SCDP). Hamm’s J.B. Bernstein would certainly have something to hash over with Don Draper: both are down-on-their-luck charmers with the cracks in their facades clearly showing, yet nonetheless intent on doing it their way. J.B. is striking out when it comes to recruiting talent for his new, rapidly sinking sports agency, when he comes up with a genius idea while he and fellow agent Aash (Aasif Mandvi) are watching random sports at the latter’s home: Why not tap into one of the world’s greatest unexploited baseball markets by staging a talent search for an Indian cricket player with Major League pitching potential? Canvassing the country with the help of sleepy scout Ray (Alan Arkin) and baseball-enthusiast translator Amit (Pitobash), J.B. finds his arms ultimately attached to village truck driver Dinesh (Madhur Mittal) and contorting track-and-field thrower Rinku (Suraj Sharma of 2012’s Life of Pi). But how to turn raw talent into professional careers in just months? And moreover, how can the would-be golden boys overcome cultural barriers that a fly ball couldn’t surmount? It’s a tryout for all concerned — including an MLB that’s still striving to expand its reach in Asia, and Hamm, who can be so good as Draper that he’s in increasing danger of being typecast. In the Disney mold, at least, his character achieves fairly happy results. (2:00) (Chun)

Neighbors It’s a mystery why Neighbor‘s marketing teams are intent on creating some kind of social media battle between this comedy’s family and frat: The college boys are clearly outclassed when it comes to uninhibited physical comedy daring, thanks to Seth Rogen and Rose Byrne. They play young parents Kelly and Mac, who are still basking in their new craftsman home and settled state, trying to figure out sex in front — or is it behind? — baby, and how to get to the rave before bedtime, when a frat, led by oft-shirtless hottie Teddy (Zac Efron) and pal Pete (Dave Franco), moves into the house next door. How do you ask them to “keep it down” yet still be cool? The pretzels Mac and Kelly wrap themselves into, in order to still hang with the kids, are about as hilarious as the inevitable battles that break out over the hearts and minds of college administrators (Lisa Kudrow), pals (the hilarious Ike Barinholtz), and wannabe brothers like the loyal Assjuice (Craig Roberts). Still, despite some memorable gags, Neighbors feels like a bit of a squandered opportunity as one fidgets through many of the frat house scenes. Part of the problem is, why would Kelly, Mac, or anyone want to be in good with such an uninteresting group of Greeks? (1:37) (Chun)

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

The Other Woman Cameron Diaz gets top billing — and the title role — in The Other Woman, but Leslie Mann is the real stealth weapon here: the other comedian who bravely dares to go into unseemly crazy-bitch, scatological-Bridesmaids territory, with shrill histrionics, whining, and shrieks hitting registers that threaten to make most men’s heads explode. Coming on like Lucille Ball on crystal, Mann teeters out in the limb in kitten heels — and your enjoyment of The Other Woman depends on whether you love that balancing act or loathe it. Diaz and Mann’s reluctant-then-mutual girl crush is at the heart of this proudly chick flick directed by Nick Cassavetes, who tends to beat his own indie path apart from his involvement in one of the biggest lady draws of all time, The Notebook (2004). The chick magnet and cause for so much chaos is Mark (Nikolaj Coster-Waldau), a sketchy entrepreneur who skims wife Kate’s (Mann) business ideas and toys with power-bitch lawyer Carly (Diaz), as well as his other other woman, perfect-10 Amber (Kate Upton). Coster-Waldau throws himself into the hysteria, as if it were the sole lifeline out of dour King’s Landing, but this is the Mann and Diaz Show, with a smarter-than-average screenplay by Melissa Stack and revenge served up like a self-righteous side dish at a Real Housewives buffet line. And just to show you how far we haven’t come, like those benighted housewives, those assembled aren’t so feminist that they won’t stoop to deliver a bitchy joke at the expense of Upton’s character. (1:49) (Chun)

Palo Alto Adapted from the 2010 short story collection by James Franco, first-time director Gia Coppola’s depressive, aimless tale of disaffected youth tracks the ennuis and misadventures of a handful of Palo Alto teenagers: shy, inexperienced April (Emma Roberts), teetering on the edge of an affair with her soccer coach (Franco); naively promiscuous Emily (Zoe Levin); budding head case Fred (Nat Wolff); and his friend Teddy (Jack Kilmer, son of Val, who plays April’s out-to-lunch stepfather), who ambivalently participates in Fred’s mayhem while pining after April. Adult supervision is nearly Peanuts-level sparse — in other Peninsula households, helicopter parents may be fine-tuning the lives of their children down to the last extracurricular; here, the stoned, distracted elders who occasionally wander in front of the camera are more like flaky, absentee roommates. Meanwhile, their young charges fill the empty hours with copious amounts of alcohol consumption, random property destruction, and a round or two of social crucifixion. The protagonists and their cohorts form a fairly distasteful tableau of privileged, floundering adolescence, eliciting an emotional response in which uneasy concern occasionally overcomes bemused disgust. But the individual stories are virtually weightless, and the characters’ lack of investment in anything, even their own problems, makes it difficult to care too much about their fates. (1:38) (Rapoport)

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

Words and Pictures Words and Pictures is about as bifurcated as its title, while spinning off a central beef that Hepburn and Tracey might have wrapped their madcap bickering ways around at one time. Which is more powerful: language or images, poetry or painting? The age-old debate starts to feel a little creaky by Words’ close, but you can see and hear why the conceit drew such acting thoroughbreds as Juliette Binoche and Clive Owen, playing two passionate, paint-hurling, bottle-foisting artistic types on either side of a divide overseen by Australian director Fred Schepisi (1987’s Roxanne). Owen’s Jack Marcus is an alcoholic, onetime lit-star of an English teacher whose creatively constipated bad boy routine is starting to wear thin when Binoche’s painter Dina Delsanto arrives at his prep school on the pretext of teaching an honors art class. In actuality, she’s taking time away from the NY art scene to figure out a new way to paint while grappling with rheumatoid arthritis. Sparks fly between the two hard-headed combatants, along with punches delivered by some smartly scripted sparring, as they get the students hot and bothered by their debate concerning words vs. pictures. The master-class lessons learned by watching Binoche work, jaw firmly set and intelligent eyes darting as she maps out her next composition, while Owen falls apart, Hemingway-style, are offset by a facile, cozy ending that feels test-audience driven. (1:51) (Chun)

X-Men: Days of Future Past Bryan Singer, director of the first two X-Men films (2000’s decent X-Men; 2002’s meh X2) returns to helm this latest franchise entry — the fourth sequel in a series that also includes two movies focusing on Hugh Jackman’s Wolverine. That fan-favorite character is front and center in both of Days of Future Past‘s time frames: the present, a bleak dystopia in which robot assassins have wiped out nearly every mutant (save Wolverine, Patrick Stewart’s Professor X, Ian McKellan’s Magneto, and a few others), and most humans along with them; and the past, a key moment in the polyester-laden 1970s in which mutant avenger Mystique (Jennifer Lawrence) inadvertently sets the disastrous future events in motion by killing robot designer Trask (Peter Dinklage). Wolverine time-travels to convince younger versions of the Professor (James McAvoy) and Magneto (Michael Fassbender) to put aside their Himalayan-sized differences to stop her. (Speaking of avengers, there’s a capital-A one here: Quicksilver, a character from both comic-book worlds; he’s portrayed here with giddy mischief by American Horror Story‘s Evan Peters, and is the film’s high point.) Yes, that’s a heady plot, and there are a zillion other characters, but Future Past manages, for the most part, to avoid feeling like an overloaded mess. It’s most entertaining in scenes that show off its characters’ superpowers — clearly, the CG artists had a blast working on this one — which are plentiful enough to make slogging through the ennui-laden moments of downtime worth it.(2:10) (Eddy) *

Film Listings: May 21 – 27, 2014

Michael Redmond

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May 20, 2014

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

OPENING

Ai Weiwei: The Fake Case Less of an introduction to the dissident Chinese artist than Alison Klayman’s 2012 Ai Weiwei: Never Sorry, this doc from Andreas Johnsen is more of a fly-on-the-wall affair, following Ai in the months following his arrest and detention for “tax evasion.” The double-entendre title refers to Ai’s company (Fake Design) as well as the trumped-up case against him, clearly intended to punish him for challenging authority. Though he’s on house arrest, he’s allowed to visit art studios and take walks (under constant surveillance); though he’s technically not allowed to talk to foreign journalists, they are certainly eager to chat with him, and we see him cautiously working around that rule. At one point, a reporter asks him why he doesn’t simply move out of China and live somewhere with more freedom. His fiery reply — that he’d be “dead already” if he didn’t express himself — speaks volumes, and suggests that despite his weary appearance here, he’s more determined than ever before. Of related interest: his just-announced exhibit of works on imprisonment, @Large, scheduled to open Sept. 27 on Alcatraz. (1:29) Opera Plaza, Shattuck. (Eddy)

Blended Adam Sandler and Drew Barrymore reunite for their third rom-com; this one’s about single parents who fall in love while on vacation with their respective kids. (1:57) Presidio.

Breastmilk Our bodies, ourselves — and our babies and breastmilk — and the thick, rich membrane of biological and cultural complications latched to breastfeeding today all play into director-producer Dana Ben-Ari’s fascinating doc Breastmilk. Though the act of breastfeeding may sound like the most natural thing in the world, many parents encounter a thicket of challenges when choosing to do it, whether it’s due to low milk production or tongue-tied babies, not to mention the judgments and stresses that occur along the way. Showing everything from the intimate first moments of a newborn learning how to latch on to beautifully close-up images of breasts being pumped, Ben-Ari follows diverse crew of moms — privileged, blue-collar, same-sex, and bohemian — many before birth and post-breastfeeding, as well as academics and experts, while unpacking an enthralling set of issues like the guilt around using formula rather than breastmilk; the embarrassment of breastfeeding in public sans “hooter hider” for the male viewer; the insecurities women feel about milk production; the boundaries between maternity and sexuality; and the politics of women of color offering their breastmilk to privileged white adopters. Kudos, too, to Ben-Ari for gratifyingly going, even briefly, toward the idea of the “monstrous,” “leaky” female body; lactation porn; and the “phallic potential” of the breast. (1:31) Roxie. (Chun)

Chinese Puzzle Chinese Puzzle is the airy kind of nothing American studios don’t seem capable of making any more: a relatively harmless, ingratiating hang with a rather varied cast of characters running afoul of one another in bottom-line benign ways (save a beating early on). The film concludes Cédric Klapisch’s trilogy, started in 2002’s study-abroad romp L’auberge Espagnole and continued in 2005’s early adulthood crisis Russian Dolls. The final film is just as weightless, and enjoyable to watch, as the preceding pair, and they form a kind of lazy man’s analog to Richard Linklater’s sublime Before films. This is a world of coincidence framed as realism — but if you go to the movies for a laugh, for a diversion, and for a quick getaway to a carefree daydream of what life might be for the shiftless and curiously monied (what’s work?), this might be the kind of date movie you want, maybe even need. (1:57) Embarcadero, Shattuck. (Ryland Walker Knight)

Fed Up Katie Couric narrates, produces, and brings celebrity heft to Stephanie Soechtig’s well-crafted expose on the alarmingly powerful food industry — specifically, revealing how “nutritional standards” put forth by the government over the past 30 years have actually caused the nation’s current obesity epidemic. Fed Up‘s straightforward combination of simple facts (80 percent of food items have added sugar); talking-head experts (Bill Clinton, UCSF’s Dr. Robert Lustig); historical fact-finding (including a segment that convincingly compares today’s food industry to the tobacco industry of yore); and profiles of dangerously overweight teens (all of whom are trying, and failing, to lose weight) adds up to a film that is poised to have An Inconvenient Truth-style impact on viewers — and will hopefullyopen enough eyes to make waves beyond movie theaters. (1:32) California, Embarcadero. (Eddy)

Ida The bomb drops within the first ten minutes: after being gently forced to reconnect with her only living relative before taking her vows, novice nun Anna (Agata Trzebuchowska) learns that her name is actually Ida, and that she’s Jewish. Her mother’s sister, Wanda (Agneta Kulesza) — a Communist Party judge haunted by a turbulent past she copes with via heavy drinking, among other vices — also crisply relays that Ida’s parents were killed during the Nazi occupation, and after some hesitation agrees to accompany the sheltered young woman to find out how they died, and where their bodies were buried. Drawing great depth from understated storytelling and gorgeous, black-and-white cinematography, Pawel Pawilowski’s well-crafted drama offers a bleak if realistic (and never melodramatic) look at 1960s Poland, with two polar-opposite characters coming to form a bond as their layers of painful loss rise to the surface. (1:20) Albany, Clay, Smith Rafael. (Eddy)

The Immigrant The latest from James Gray (2007’s We Own the Night) follows a Polish immigrant (Marion Cotillard) who treads uncertain waters after arriving in 1920s NYC. Joaquin Phoenix and Jeremy Renner co-star. (2:00) Piedmont.

Words and Pictures Words and Pictures is about as bifurcated as its title, while spinning off a central beef that Hepburn and Tracey might have wrapped their madcap bickering ways around at one time. Which is more powerful: language or images, poetry or painting? The age-old debate starts to feel a little creaky by Words’ close, but you can see and hear why the conceit drew such acting thoroughbreds as Juliette Binoche and Clive Owen, playing two passionate, paint-hurling, bottle-foisting artistic types on either side of a divide overseen by Australian director Fred Schepisi (1987’s Roxanne). Owen’s Jack Marcus is an alcoholic, onetime lit-star of an English teacher whose creatively constipated bad boy routine is starting to wear thin when Binoche’s painter Dina Delsanto arrives at his prep school on the pretext of teaching an honors art class. In actuality, she’s taking time away from the NY art scene to figure out a new way to paint while grappling with rheumatoid arthritis. Sparks fly between the two hard-headed combatants, along with punches delivered by some smartly scripted sparring, as they get the students hot and bothered by their debate concerning words vs. pictures. The master-class lessons learned by watching Binoche work, jaw firmly set and intelligent eyes darting as she maps out her next composition, while Owen falls apart, Hemingway-style, are offset by a facile, cozy ending that feels test-audience driven. (1:51) Shattuck. (Chun)

X-Men: Days of Future Past Versions of X-Men young and old time-travel to join forces and save the world. (2:10) Marina.

ONGOING

The Amazing Spider-Man 2 The best thing about The Amazing Spider-Man 2 — the sequel to the 2012 reboot that nobody really wanted in the first place — is the achingly cute chemistry between real-life couple Andrew Garfield (Peter Parker/Spider-Man) and Emma Stone (Gwen Stacy, whose fate is no spoiler to anyone who is familiar with the Spider-Man canon). Can’t deny it; those two are adorbs. But since Spider-Man is supposed to be an action movie, not a romantic comedy, it spends most of its time setting up foes for the webslinger (Jamie Foxx as a nerd zapped into the power-mad Electro; Dane DeHaan as bratty rich kid Harry Osborn), as well as rehashing the mysterious deaths of Peter’s parents, and underlining for approximately the zillionth time the disconnect between the media’s perception of Spider-Man (he’s a menace! He interferes with police work!) and the ecstatic love the people of New York have for the guy — understandable, since he’s in the business of saving their butts on a regular basis. This isn’t a crappy movie by any means; it’s entertaining enough, and the 3D swooping-between-skyscrapers FX have gotten quite dazzling. But there’s still a heavy air of “This again?” that hangs over the whole thing. Doesn’t Marvel have enough dough from the Avengers movies to let Spidey take an extended vacation? (2:20) Balboa, Metreon, 1000 Van Ness, Sundance Kabuki. (Eddy)

Belle The child of a British naval officer and a Caribbean slave, Belle (Gugu Mbatha-Raw) is deposited on the doorstep — well, the estate grounds — of her father’s relatives in 1769 England after her mother dies. Soon she’s entirely orphaned, which makes her a wealthy heiress and aristocratic title holder at the same time that she is something less than human in the eyes of her adopted society. For Belle is black (or more properly, mixed-race), and thus a useless curiosity at best as a well-bred noblewoman of the “wrong” racial makeup. Based on a murky actual historical chapter, Amma Asante’s film is that rare sumptuous costume drama which actually has something on its mind beyond romance and royalty. Not least among its pleasures are a fine supporting cast including Tom Wilkinson, Miranda Richardson, Penelope Wilton, and Emily Watson. (1:45) Albany, Embarcadero, Sundance Kabuki. (Harvey)

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

Chef Not to take anything away from the superhero crew, but Chef feels like the closest thing to a labor of love from writer, director, and star Jon Favreau in many a day. As a director, he may have been making doughnuts — fun-filled and teeming with CGI eye candy, but doughnuts nevertheless — when it came to effects-driven blockbusters like 2008’s Iron Man, but this well-meaning play for the heart, by way of the stomach, shows you where Favreau’s head is really at. Chef revolves around Carl Casper (Favreau), a onetime food star, now reduced to serving up predictable crowd-pleasers at the behest of his restaurant’s overbearing owner (Dustin Huffman). It takes the barbs of an influential critic (Oliver Platt) — and an ensuing Twitter war — to set Carl off and send him away on his own, at the coaxing of his glam ex Inez (Sofia Vergara). Hooked up with a dilapidated food truck and former kitchen staffer Martin (John Leguizamo), and aided by ably Tweeting son Percy (Emjay Anthony), Carl ties his dreams — and lost passion — to the classic Cuban sandwich. The ensuing road trip from Miami to LA, and Carl’s journey toward self and a renewed relationship with his son, is a fun (if, in the end, a bit too speedily sketched) vault through the joys of eating your way through America’s new culinary heartland. Amid the volley of sign-of-the-times social-media swinging and cameos by the uncostumed Robert Downey Jr., Scarlett Johansson, and the like, Favreau’s main dish is that a family that eats, cooks, and runs a business together, stays together — child labor laws or no. (1:55) Metreon, Sundance Kabuki. (Chun)

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

Documented Jose Antonio Vargas’ grandparents — who raised him in Mountain View after he was smuggled into America at age 12 from the Philippines — expected him to grow up, blend in, and live a perfectly ordinary life in his new country. But Vargas was a smart kid who grew into an exceptionally intelligent young adult. He pursued a journalism career that earned him coveted reporting gigs for the Washington Post and CNN, among other outlets, as well as a Pulitzer Prize. He’s also gay, a fact that complicated his family’s hopes for a traditional wedding (and subsequent green card). In 2011, weary of guarding a secret he’d shared with only a few close friends, Vargas penned a powerful essay for the New York Times Magazine, revealing “My Life as an Undocumented Immigrant.” Documented, his film with co-director Ann Lupo, chronicles the months before and after Vargas “outed” himself. It’s a highly personal story, especially when the film crew travels to Manila to interview Vargas’ mother. Their geographical separation has become an emotional estrangement so complex she weeps when he refuses to add her on Facebook. But Documented also taps Vargas’ Define American media campaign to broaden its message, interviewing undocumented youths affected by the DREAM Act and sharing in their joy when the bill — providing permanent residency to young, educated immigrants of “good moral character” — finally goes into effect. Unfortunately for Vargas, he’s too old to benefit from the legislation, and though he feels relief at having come clean, he’s still unable to make any traction in his quest for citizenship. (At one point, he actually calls INS to see if anyone’s planning to clamp down, as if finally getting “caught” would be preferable to living in extended limbo.) The only closure of sorts comes when Vargas reconnects with his mother via Skype, but there’s an undercurrent of helplessness to their computer-screen reunion that makes Documented‘s themes feel especially raw and urgent. (1:29) Roxie. (Eddy)

The Double Simon (Jesse Eisenberg) is a lowly clerk who gets nothing but indifference and scorn both at work and in his pitiful private life. Things slip even more insidiously beyond his control with the arrival of James (Eisenberg again), his exact doppelgänger — though no one else seems to notice that — and a climber as ruthlessly efficient as Simon is hapless. Not only does he steal his look-alike’s ideas in a rapid rise to the top, he seems to take great pleasure in kicking Simon further downward. Applying a Kafkaesque gloss to Dostoyevsky’s novella, with stylistic hat-tips to the Coens and Terry Gilliam, Richard Ayoade’s second feature is very different from his prior Submarine (2010) in all ways but one: It, too, is both overwhelmed and rendered fascinating by an excess of high directorial “style” whose self-consciousness infuses every frame and puts quote marks around every emotion. As a result, The Double is a striking objet d’art you’ll either love or hate — or enjoy aesthetically while being annoyed by its sacrifice of depth for a showoff surface. (1:33) Opera Plaza, Shattuck. (Harvey)

Draft Day (2:00) SF Center.

Fading Gigolo Ah, the charm of a well-aged, seasoned perv &ldots; nope, we don’t dare touch the Woody Allen/Dylan Farrow abuse allegations — though those recent headlines flit around the edges of this generally benevolent, almost strangely innocuous charmer, written by and directed John Turturro, who also stars as the curiously blank-faced tabula rasa of a title character. The delights of Mrs. Robinsons have been rhapsodized on film, through the lens of worshipful younger men — less so, their male counterparts, as viewed by other hetero men. The danger of bromance surging into the homoerotic is likely too dire for most, yet somehow bookstore boss Murray (Allen) sees the mysterious, submerged sex appeal in his loyal employee Fioravante (Turturro) and taps him to get involved in a ménage à trois with a society dermatologist (Sharon Stone). The soft-spoken Fioravante turns out to be a smash in the sack with the doc, transforming the opportunistic Murray into a wildly successful pimp as his employee takes on the audacious Selima (Sofia Vergara) and the prim Jewish Orthodox widow Avigal (Vanessa Paradis). The latter character seems to have come straight from another place and time — much like this film, which turns Brooklyn into a something resembling a leaf-strewn European village and recalls odes to revolutionary sexuality in the ’60s. The movie’s lightly absurd comedy is embedded in the fact that Turturro writes himself into the role of the seducer, the pleaser, while wrapped in the skin of pleasant if everyday-looking Joe, although Paradis, a revelation as a deeply repressed devout mother slowly awakening to her body, points to more serious pleasures, lingering below the surface of all of us. (1:30) Embarcadero, Sundance Kabuki. (Chun)

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

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

God’s Pocket The dreary directorial debut of Mad Men star (and occasional episode director) John Slattery begins with a funeral, and it’s not long before we realize the deceased, Leon (Caleb Landry Jones), will be grieved only by his mother (Christina Hendricks). Most of this bleak tale takes place in flashback — racist, jacked-up Leon’s workplace accident (actually a well-deserved blow to the head, wielded by a fellow laborer he’d been threatening) occurs while his boozy-schlub stepfather Mickey (Philip Seymour Hoffman, in one of his final roles) is boosting a refrigerated truck for use in his meat business. When his wife demands an investigation into Leon’s death, Mickey dutifully, if reluctantly, asks some of his ne’er-do-well associates to poke around; one thing leads to another, more blood is shed, and the stolen truck is repurposed for toting around a certain albatross of a human corpse. Set in 1978 and named for the fictional working-class Philly neighborhood that provides its backdrop, God’s Pocket (based on the novel by Pete Dexter, whose other adapted works include The Paperboy and Paris Trout) falls quite short of delivering narrative satisfaction; even its stellar cast (which also includes John Turturro, Eddie Marsan, and Richard Jenkins — the latter as a washed-up journalist who improbably seduces Hendricks’ character) can’t elevate characters that are thinly drawn and murkily motivated. (1:28) Opera Plaza. (Eddy)

Godzilla Bearing the weight of a 1998 American debut so stinky that devotees of the Japanese original dubbed it “GINO” (for “Godzilla in Name Only”), the King of the Monsters returns for a do-over that smells more like generic summer entertainment than anything else. We begin in 1999, when a pair of scientists (Ken Watanabe and Sally Hawkins) discover a giant skeleton of sorts in the Philippines — just as a deadly accident (or was it?) devastates a Japanese nuclear power plant. Fifteen years later, the scientists are still on the trail of Whatever That Was, while guilty power-plant survivor Bryan Cranston has become a greasy-haired conspiracy theorist, much to the annoyance of his San Francisco-based Navy officer son (Aaron Taylor-Johnson). The humans in Gareth Edwards’ film don’t actually matter much; aside from Cranston and to a much lesser extent Watanabe, none of the characters are interesting or memorable, and the plot — which has Big G lumbering after a pair of “Massive Unidentified Terrestrial Organisms” who decide to incubate their eggs in downtown SF — is also a low-stakes affair. (If you believe for a second that Taylor-Johnson’s doe-eyed wife and son won’t survive the monster attack, I have a busted-up Golden Gate Bridge to sell you.) But the monster design is plenty satisfying, and really, it’s just fine that Godzilla — who wrinkles his snout in annoyance at those pesky MUTOs — is this film’s one and only charismatic presence; dude’s going on a 70-year career at this point. (2:03) Four Star, Marina, Metreon, 1000 Van Ness, Sundance Kabuki. (Eddy)

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

Heaven is for Real (1:40) 1000 Van Ness.

Ilo Ilo Set in 1997 Singapore at the onset of the country’s recession, Ilo Ilo focuses on one family, who could be any family: father Teck (Chen Tianwen), who’s been let go from his sales position and is working various hourly jobs, hoping his wife doesn’t find out; pregnant Hwee Leng (a dynamic Yeo Yann Yann), a secretary who’s been the “bad cop” in the relationship so long she’s kind of grown into the role; and bratty Jiale (Koh Jia Ler), a 10-year-old terror who disobeys at home and gets into fights at school. Into this swirl of domestic tension comes Teresa (Angeli Bayani), a housekeeper-nanny who’s left her own family behind in the Philippines in search of a better way of life. It’s hell at first — “Auntie Terry” is no Mary Poppins, but she has the patience of a saint, putting up with Jiale’s antics and Hwee Leng’s ice-queen routine. Slowly, however, she builds a rapport with her young charge, but since Ilo Ilo is firmly interested in realism, there’s no quick fix to the problems that lie beneath the family strife, despite the kid’s obsession with lottery numbers. A remarkably assured debut film from 29-year-old director Anthony Chen, Ilo Ilo picked up the Camera D’Or at Cannes, in addition to multiple other fest prizes. The accolades are well-earned — rarely has a film so effectively and subtly captured the day-to-day frustrations of middle-class financial uncertainty. (1:40) Four Star. (Eddy)

Legends of Oz: Dorothy’s Return (1:28) Metreon, 1000 Van Ness.

Locke This virtual solo show stars Tom Hardy as Ivan Locke, a 40-ish construction manager driving to London on the eve of “the biggest cement pour” ever attempted in Europe. But he’s driving away from that, to the shrill indignation of superiors who expect his reliable on-site supervision, and the increasingly drunken panic of the flunky (voice of Andrew Scott) he’s deputized to take his place. The reason for this unprecedented dereliction of responsibility is that Ivan is committed to another responsibility, to “take care of my fuckup.” As we gradually realize during his 85-minute drive, that means showing up for the premature birth of the baby he’s sired by a fragile, rather hysterical-sounding woman (Olivia Colman) in the brief sole detour from marital infidelity he’s ever taken. Doing so may well end his career, as well as his long-standing marriage to the mother of his sons. But our protagonist is determined at any cost not to become his own late father (with whom he has imaginary conversations), a wastrel who never made good on his obligations to family or anyone else. Shot repeatedly in real time with multiple cameras over 12 nights, then assembled from 16 full-length takes, Steven Knight’s Locke is a striking experiment that never quite escapes an air of theatrical stunt. In retrospect you realize most of its tension derives not from the core emotional crises, but from narrative red herrings — primarily our terror that anyone multitasking this recklessly behind the wheel is an accident waiting to happen. But the chameleonic Hardy, playing a rather square, middle-class, essentially humorless type unlike any he’s done before, makes this effortfully “decent” man so compelling you can’t look away. If there’s anything this actor can’t do, he hasn’t tried it yet. (1:35) California, Metreon. (Harvey)

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

Million Dollar Arm Jon Hamm has it bad — that dark-around-the-edges Mad Men afterglow can’t help but follow him everywhere, even into the arms of Disney in this solid Cinderella-story baseball tale (possibly the best headlining gig he’s had outside SCDP). Hamm’s J.B. Bernstein would certainly have something to hash over with Don Draper: both are down-on-their-luck charmers with the cracks in their facades clearly showing, yet nonetheless intent on doing it their way. J.B. is striking out when it comes to recruiting talent for his new, rapidly sinking sports agency, when he comes up with a genius idea while he and fellow agent Aash (Aasif Mandvi) are watching random sports at the latter’s home: Why not tap into one of the world’s greatest unexploited baseball markets by staging a talent search for an Indian cricket player with Major League pitching potential? Canvassing the country with the help of sleepy scout Ray (Alan Arkin) and baseball-enthusiast translator Amit (Pitobash), J.B. finds his arms ultimately attached to village truck driver Dinesh (Madhur Mittal) and contorting track-and-field thrower Rinku (Suraj Sharma of 2012’s Life of Pi). But how to turn raw talent into professional careers in just months? And moreover, how can the would-be golden boys overcome cultural barriers that a fly ball couldn’t surmount? It’s a tryout for all concerned — including an MLB that’s still striving to expand its reach in Asia, and Hamm, who can be so good as Draper that he’s in increasing danger of being typecast. In the Disney mold, at least, his character achieves fairly happy results. (2:00) 1000 Van Ness, Presidio, SF Center, Shattuck, Vogue. (Chun)

Neighbors It’s a mystery why Neighbor‘s marketing teams are intent on creating some kind of social media battle between this comedy’s family and frat: The college boys are clearly outclassed when it comes to uninhibited physical comedy daring, thanks to Seth Rogen and Rose Byrne. They play young parents Kelly and Mac, who are still basking in their new craftsman home and settled state, trying to figure out sex in front — or is it behind? — baby, and how to get to the rave before bedtime, when a frat, led by oft-shirtless hottie Teddy (Zac Efron) and pal Pete (Dave Franco), moves into the house next door. How do you ask them to “keep it down” yet still be cool? The pretzels Mac and Kelly wrap themselves into, in order to still hang with the kids, are about as hilarious as the inevitable battles that break out over the hearts and minds of college administrators (Lisa Kudrow), pals (the hilarious Ike Barinholtz), and wannabe brothers like the loyal Assjuice (Craig Roberts). Still, despite some memorable gags, Neighbors feels like a bit of a squandered opportunity as one fidgets through many of the frat house scenes. Part of the problem is, why would Kelly, Mac, or anyone want to be in good with such an uninteresting group of Greeks? (1:37) Four Star, Metreon, 1000 Van Ness, Presidio, Shattuck, Sundance Kabuki. (Chun)

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

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

The Other Woman Cameron Diaz gets top billing — and the title role — in The Other Woman, but Leslie Mann is the real stealth weapon here: the other comedian who bravely dares to go into unseemly crazy-bitch, scatological-Bridesmaids territory, with shrill histrionics, whining, and shrieks hitting registers that threaten to make most men’s heads explode. Coming on like Lucille Ball on crystal, Mann teeters out in the limb in kitten heels — and your enjoyment of The Other Woman depends on whether you love that balancing act or loathe it. Diaz and Mann’s reluctant-then-mutual girl crush is at the heart of this proudly chick flick directed by Nick Cassavetes, who tends to beat his own indie path apart from his involvement in one of the biggest lady draws of all time, The Notebook (2004). The chick magnet and cause for so much chaos is Mark (Nikolaj Coster-Waldau), a sketchy entrepreneur who skims wife Kate’s (Mann) business ideas and toys with power-bitch lawyer Carly (Diaz), as well as his other other woman, perfect-10 Amber (Kate Upton). Coster-Waldau throws himself into the hysteria, as if it were the sole lifeline out of dour King’s Landing, but this is the Mann and Diaz Show, with a smarter-than-average screenplay by Melissa Stack and revenge served up like a self-righteous side dish at a Real Housewives buffet line. And just to show you how far we haven’t come, like those benighted housewives, those assembled aren’t so feminist that they won’t stoop to deliver a bitchy joke at the expense of Upton’s character. (1:49) 1000 Van Ness, Presidio, SF Center. (Chun)

Palo Alto Adapted from the 2010 short story collection by James Franco, first-time director Gia Coppola’s depressive, aimless tale of disaffected youth tracks the ennuis and misadventures of a handful of Palo Alto teenagers: shy, inexperienced April (Emma Roberts), teetering on the edge of an affair with her soccer coach (Franco); naively promiscuous Emily (Zoe Levin); budding head case Fred (Nat Wolff); and his friend Teddy (Jack Kilmer, son of Val, who plays April’s out-to-lunch stepfather), who ambivalently participates in Fred’s mayhem while pining after April. Adult supervision is nearly Peanuts-level sparse — in other Peninsula households, helicopter parents may be fine-tuning the lives of their children down to the last extracurricular; here, the stoned, distracted elders who occasionally wander in front of the camera are more like flaky, absentee roommates. Meanwhile, their young charges fill the empty hours with copious amounts of alcohol consumption, random property destruction, and a round or two of social crucifixion. The protagonists and their cohorts form a fairly distasteful tableau of privileged, floundering adolescence, eliciting an emotional response in which uneasy concern occasionally overcomes bemused disgust. But the individual stories are virtually weightless, and the characters’ lack of investment in anything, even their own problems, makes it difficult to care too much about their fates. (1:38) California, Embarcadero, Smith Rafael, Sundance Kabuki. (Rapoport)

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

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

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

Home brew

Michael Redmond

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May 13, 2014

0

cheryl@sfbg.com

FILM Jose Antonio Vargas’ grandparents — who raised him in Mountain View after he was smuggled into America at age 12 from the Philippines — expected him to grow up, blend in, and live a perfectly ordinary life in his new country. He’d work a “menial job,” as both of them had, and eventually legalize his immigration status by marrying an American woman.

Thing is, Vargas was a smart kid who grew into an exceptionally intelligent young adult. He pursued a journalism career that earned him coveted reporting gigs for the Washington Post and CNN, among other outlets, as well as a Pulitzer Prize. He’s also gay, and while marriage equality laws are thankfully evolving, that fact complicated his family’s hopes for a traditional wedding (and subsequent green card). In 2011, weary of guarding a secret he’d shared with only a few close friends, the 30-year-old Vargas penned a powerful essay for the New York Times Magazine, revealing “My Life as an Undocumented Immigrant.”

Documented, his film with co-director Ann Lupo, chronicles the months before and after Vargas “outed” himself. It’s a highly personal story, especially when the film crew travels to Manila to interview Vargas’ mother. Their geographical separation (she can’t get a visa to see her son in the US, nor can he leave the country to visit her) has become an emotional estrangement so complex she weeps when he refuses to add her on Facebook. But Documented also taps Vargas’ Define American media campaign to broaden its message, interviewing undocumented youths affected by the DREAM Act and sharing in their joy when the bill — providing permanent residency to young, educated immigrants of “good moral character” — finally goes into effect.

Unfortunately for Vargas, who continues to push back in high-profile ways even after he’s declared his status (particularly poignant: scenes at a Mitt Romney rally, where a grandmotherly type asks him, “Why don’t you just become legal?”, as if it’s as simple as buying a car or getting a haircut), he’s too old to benefit from the DREAM legislation. He’s a “walking uncomfortable conversation,” as he calls himself in a lecture excerpted throughout the film; though he feels relief at having come clean, he’s still unable to make any traction in his citizenship quest. At one point, he phones INS (“Deportation. How can I help you?”) to see if anyone’s planning to clamp down, as if finally getting “caught” would be preferable to living in extended limbo. The only closure of sorts comes when Vargas reconnects with his mother via Skype, but there’s an undercurrent of helplessness to their computer-screen reunion that makes Documented‘s themes feel especially raw and urgent.

MOUNTAIN VIEWS

Back for its second year, the Himalayan Film Festival unspools over two days, starting Fri/16 in SF with Christoph Schwaiger’s Kamlahari. The rest of the fest, including Kesang Tseten’s Who Will Be a Gurkha, takes place Sat/17 as part of Berkeley’s weekend-long Himalayan Fair.

Kamlahari is a social-justice doc that would be right at home in the Human Rights Watch Film Festival. Filmmaker Schwaiger travels to Nepal’s Teraï region to investigate families that sell their daughters to work in wealthier households, an old tradition that persists despite the fact that child labor is now illegal. The girls are treated cruelly by their “landladies” and are deprived of education and medical care; if and when they’re allowed to return home, their home life may be no less abusive, and their relationships with the family members who pressed them into servitude are strained.

The film’s charismatic center is Urmila Chaudari, a kamlahari from ages six to 17. “My story is one of many stories,” she says, but she’s actually quite extraordinary: After pursuing her education, she became an advocate for girls in Nepal, rescuing them from bondage and working with NGOs to set up safe places for them to live and “find a way back to childhood.” Urmila’s dignified mien and mastery of English makes her an ideal spokesperson, and we follow her as she visits a human-rights conference in Norway and the UN in New York. “It is a first victory for us that everyone is hearing our story,” she says.

Boys in Nepal may be in less danger of becoming household slaves, but their options are also limited. Some dream of joining a special British Army unit, the Brigade of the Gurkhas, established in 1815 and praised for its heroism (and general badassery) in both World Wars. (These days, gurkhas fight in places like Afghanistan, for pay that well exceeds anything offered by the Indian or Nepalese armies.) If the title of Nepalese director Tseten’s film, Who Will be a Gurhka, reminds you of a reality-show competition, that’s not far off, since the film follows the grueling selection (lots of intense physical training, but brain power is also tested) as thousands of wannabes are winnowed to hundreds, then to just under 200.

Gurkha archives provide Tseten with black-and-white footage showing eerily identical selection camps held in decades past, but at just 75 minutes the director misses the chance to go deeper — more history and context, perhaps via interviews with current or retired gurkhas, would add some welcome perspective. Who Will be a Gurkha would also benefit from engaging with, rather than simply observing, its subjects. None of the boys are singled out enough for us to root for them; we learn about their motivations mostly via nervously-blurted answers during interviews with the selection committee, and their personal lives during random conversation snippets, leaving the viewer without focal points amid the film’s sea of hopeful young faces. *

DOCUMENTED opens Thu/15 at the Roxie and Fri/16 in Bay Area theaters.

HIMALAYAN FILM FESTIVAL

Fri/16-Sat/17, $10-$20 (festival pass, $40)

Ninth Street Independent Film Center

145 Ninth St, Suite 250, SF

Himalayan Fair Grounds

Live Oak Theater

1301 Shattuck, Berk www.himalayanfilmfest.com

Lawsuits target Airbnb rentals

Michael Redmond

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April 29, 2014

4

LAWSUITS TARGET AIRBNB RENTALS

The San Francisco City Attorney’s Office last week filed a pair of lawsuits against local landlords who illegally rent out apartments on a short-term basis, units that had been cleared of tenants using the Ellis Act. Meanwhile, the San Francisco Tenants Unions has hired attorney Joseph Tobener to file more such lawsuits, and he is preparing to file at least seven lawsuits involving 20 units.

The lawsuits are the latest actions in a fast-moving crackdown on Airbnb and other online companies that facilitate short-term apartment rentals that violate city laws against converting apartments into de facto hotel rooms, including VRBO.com and Homeaway.com.

Board of Supervisors President David Chiu recently introduced legalization that would legalize, limit, and regulate such rentals, a measure that will be considered this summer. That legislation comes on the heels of Airbnb’s decision to stop stonewalling the city (and us at the Guardian, which has been raising these issues for the last two years) by agreeing to start paying the transient occupancy taxes it owes to the city for its transactions and creating new terms of service that acknowledge its business model may violate local laws in San Francisco and elsewhere (see “Into thin air,” 6/6/13).

As we’ve reported, City Attorney Dennis Herrera has been working with tenant groups and others on a legal action aimed at curtailing the growing practice of landlords using online rental services to skirt rent control laws and other tenant protection, removing units from the permanent housing market while still renting them out at a profit.

“In the midst of a housing crisis of historic proportions, illegal short-term rental conversions of our scarce residential housing stock risks becoming a major contributing factor,” Herrera said in a public statement. “The cases I’ve filed today target two egregious offenders. These defendants didn’t just flout state and local law to conduct their illegal businesses, they evicted disabled tenants in order to do so. Today’s cases are the first among several housing-related matters under investigation by my office, and we intend to crack down hard on unlawful conduct that’s exacerbating—and in many cases profiting from—San Francisco’s alarming lack of affordable housing.”

Tobener tells the Guardian that the San Francisco Tenants Union hired him to discourage local landlords from removing units from the market. “The San Francisco Tenants Union is just fed up with the loss of affordable housing,” Tobener told us. “It’s not about the money, it’s about getting these units back on the market.” (Steven T. Jones)

SF LOOKS TO MARIN FOR RENEWABLES

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

The move is seen largely as an effort to circumvent Mayor Ed Lee’s opposition to implementing a controversial renewable energy plan called CleanPowerSF (see “Revisionist future,” April 15).

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

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

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

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

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

BEACH FIRES CONTAINED

The National Parks Service is once again moving to limit and maybe even ban fires on Ocean Beach, replaying an episode from 2007 that was temporarily solved by volunteers and artistic new fire rings placed by the group Burners Without Borders, despite a lack of follow-through by NPS’s Golden Gate National Recreation Area.

Citing complaints about burning toxic materials, leaving messes, and people drinking on the beach (gasp!), the GGNRA this week announced a summer pilot program that would include moving the curfew up from 10pm to 9pm, installing a dozen new fire rings, and improved public outreach and monitoring of the conditions on the beach.

“We [have] over the years seen a rising problem over safety and general breaking of park rules like broken bottles. And with incidents of assault and underage drinking, mostly occurring during the night, GGNRA Area Director Howard Levitt told the Guardian.

But Tom Price, who helped create the 2007 compromise, said GGNRA never kept its end of the bargain — such as installing more rings to supplement the half-dozen created by artists, or creating visible signage so visitors would know what the rules area — and now it’s acting in a rapid, unilateral, and unreasonable way to ban beach fires.

“They never did the outreach or education or put out more fire rings,” Price said, urging people to let GGNRA know they support allowing fires on Ocean Beach, one of just two spots within GGNRA jurisdiction where they’re allowed (Muir Beach is the other). “The Parks Service has to be reasonable, and banning fires after 9pm in not reasonable.” (Steven T. Jones and Bryan Augustus)

TAX WEALTH, PIKETTY SAYS

French economist Thomas Piketty got a warm welcome in San Francisco last week when nearly 200 people turned out to hear him discuss what is fast-becoming the defining book of this new Gilded Era of escalating disparities in wealth: Capital in the 21st Century.

“The book has been so popular that Harvard University Press has run out,” The Green Arcade owner Patrick Marks said in introducing Piketty at a the April 22 event held across Market Street from the bookstore, in the McRoskey Mattress Company, in order to accommodate the large crowd.

Indeed, Capital has recently been lauded by a string of influential publications, ranging from The Nation through The New York Times to the Wall Street Journal, all acknowledging this as perhaps the most exhaustive study on wealth data ever collected — and a clear-eyed warning that capitalism isn’t the self-correcting system that its biggest boosters claim it is.

Piketty’s work shows how when the return on capital is greater than the annual growth rate of the overall economy, which is usually the case (except when interrupted temporarily by the major wars of the 20th Century, or the 90 percent tax rate on the highest US incomes after World War II), that dynamic consolidates wealth in ever-fewer hands, which is bad for the health of the economic system. The only real cure, Piketty concludes, is a progressive global tax on wealth. Yet Piketty tries to avoid being too prescriptive, choosing to let his research speak for itself. “All I’m trying to do is present this book so everyone can make up his own mind,” Piketty told the gathering. In fact, he thinks the cure he outlines at the end of his book is less important than what comes before it: “You can disagree with everything in Part IV and still find interest in Parts I, II, and III.” (Steven T. Jones)

Piketty discusses Capital and inequality in San Francisco

Sasha Cuttler

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April 23, 2014

24

Piketty discusses Capital and inequality in San Francisco

French economist Thomas Piketty got a warm welcome in San Francisco last night [Tues/22] when nearly 200 people turned out to hear him discuss what is fast-becoming the defining book of this new Gilded Era of escalating disparities in wealth: Capital in the 21st Century.

“The book has been so popular that Harvard University Press has run out,” The Green Arcade owner Patrick Marks said in introducing Piketty at an event held across Market Street from the bookstore, in the McRoskey Mattress Company, in order to accommodate the large crowd.

Indeed, Capital has recently been lauded by a string of influential publications, ranging from The Nation through The New York Times to the Wall Street Journal, all acknowledging this as perhaps the most exhaustive study on wealth data ever collected — and a clear-eyed warning that capitalism isn’t the self-correcting system that its biggest boosters claim it is.

Piketty’s work shows how when the return on capital is greater than the annual growth rate of the overall economy, which is usually the case (except when interrupted temporarily by the major wars of the 20th Century, or the 90 percent tax rate on the highest US incomes after World War II), that dynamic consolidates wealth in ever-fewer hands, which is bad for the health of the economic system.

The only real cure, Piketty concludes, is a progressive global tax on wealth. Yet Piketty tries to avoid being too prescriptive, choosing to let his research speak for itself. “All I’m trying to do is present this book so everyone can make up his own mind,” Piketty told the gathering. In fact, he thinks the cure he outlines at the end of his book is less important than what comes before it: “You can disagree with everything in Part IV and still find interest in Parts I, II, and III.”

Piketty is critical of his economics profession for focusing too much on abstract theories and mathematical modeling while avoiding the real world calculations of how wealth is distributed and its implications, which he says should be the central question for economists.

He says wealth is more important than income to gauging how we live, which is why he has culled and analyzed most available gauges of global wealth distribution going back to the French Revolution of 1789. “The book is trying to shift the discussion from the study of income to the study of wealth,” he said.

That analyis is particularly illuminating for the United States, which is now experiencing one of the most rapid and extreme consolidations of wealth in history. “It is clear the rise of inequality in the US has been much more spectacular than in Europe,” he said.

Yet Piketty can’t bring himself to criticize capitalism itself, even as his work makes clear this inherent flaw in the system. Indeed, he writes critically of the “lazy rhetoric of anticapitalism” and declares in the book’s introduction, “I have no interest in denouncing inequality or capitalism per se.”

I asked Piketty about that point and about why he’s unwilling to support calls for a more fundamental transformation of the global economic system. He repeated points made in his book about coming of age during the fall of communism in 1989, feeling no sympathy for autocratic leftist regimes, and accepting private property as a basis for the economic system.

I pressed him with follow-up questions about how global warming and other externalities of capitalism seem to be call for new economic models, but he resisted going anywhere that might be seen as ideological. That didn’t play well with the San Francisco audience — indeed, about a dozen people came up to me afterward to compliment my line of questioning — but it has probably helped innoculate Piketty against criticisms that might undermine the impact of his work.

In fact, Capital in the 21st Century seems to destroy many of the faith-based economic fallacies that drive much of the political discourse in the US, from our persistent belief in trickle-down economics to the obsession with our national debt, which conservatives use to promote austerity measures that punish the poor.

Such austerity agendas don’t make sense to Piketty, who says they won’t work now any better than the did in 19th Century Great Britain, which funded its wars with public debt rather than higher taxes, thus devoting too much of the national income to paying interest to the wealthy bond holders.

“A progressive tax on public wealth is a better way to reduce public debt at a faster pace,” Piketty said in the same matter-of-fact style that he uses to apply data-driven analysis to controversial political realms. “I believe in progressive taxation of wealth, but that requires coordination among countries.”

Similarly, Piketty says he is not daunted by the political difficulties in implementing a global tax on wealth, which seems all but impossible to most political observers.

“I’m not terribly impress by people who say this can’t happen,” Piketty said of his proposed global tax on wealth, noting how the conventional thinking used to be that a progressive income tax, like the one adopted in the US in 1913, could never happen. “I am not as pessimistic as a lot of people seem to believe.”

Rep Clock: April 23 – 29, 2014

Michael Redmond

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April 22, 2014

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Schedules are for Wed/23-Tue/29 except where noted. Director and year are given when available. Double and triple features marked with a •. All times pm unless otherwise specified.

ANSWER COALITION 2969 Mission, SF; www.answersf.org. $5-10. Gold Fever (2013), Wed, 7.

ARTISTS’ TELEVISION ACCESS 992 Valencia, SF; www.atasite.org. $6-10. “Selected III,” presented by Film London Artists’ Moving Image Network (FLAMIN) and videoclub, Fri, 8. “Other Cinema:” “Contested San Francisco,” Sat, 8:30. “Small Press Traffic:” Lisa Robertson and Jeff Derksen, Sun, 5.

BALBOA THEATRE 3630 Balboa, SF; cinemasf.com/balboa. $10. “Popcorn Palace:” Watership Down (Rosen, 1978), Sat, 10am. Matinee for kids.

CASTRO 429 Castro, SF; (415) 621-6120, www.castrotheatre.com. $8.50-11. •Rancho Notorious (Lang, 1952), Wed, 7, and Johnny Guitar (Ray, 1954), Wed, 8:45. San Francisco International Film Festival, Thu and Tue. See complete schedule and ticket info at festival.sffs.org. •Mauvais Sang (Carax, 1986), Fri, 7, and Wild at Heart (Lynch, 1990), Fri, 9:10. Frozen (Buck and Lee, 2013), Sat-Sun, 1. Presented sing-along style; advance tickets ($10-16) at www.ticketweb.com. •Top Gun (Scott, 1986), Sat, 7, and Cocktail (Donaldson, 1988), Sat, 5, 9:05. •The Narrow Margin (Fleischer, 1952), Sun, 5:30, 9:10, and Emperor of the North (Aldrich, 1973), Sun, 7.

CHRISTOPHER B. SMITH RAFAEL FILM CENTER 1118 Fourth St, San Rafael; (415) 454-1222, www.cafilm.org. $6.50-$10.75. times. A Fragile Trust: Plagiarism, Power, and Jayson Blair at the New York Times (Grant, 2013), Wed, 7. Alan Partridge (Lowney, 2013), call for dates and times. The Wrecking Crew (Tedesco, 2014), Sun, 7. This event, $15.

CLAY 2261 Fillmore, SF; www.landmarktheatres.com. $10. “Midnight Movies:” The Rocky Horror Picture Show (Sharman, 1975), Sat, midnight. With the Bawdy Caste performing live.

DELANCEY STREET THEATER 600 the Embarcadero, SF; www.filmfestsfbay.org. $5-15. “Reel Recovery Film Festival,” films about addiction, alcoholism, behavioral disorders, treatment, and recovery, Thu-Sun.

ELLEN DRISCOLL PLAYHOUSE 325 Highland, Piedmont; www.diversityfilmseries.org. Free. Inequality for All (Kornbluth, 2013), Wed, 6:30.

JOE GOODE ANNEX 401 Alabama, SF; www.joegoode.org. $7-10. “Film Night at the Annex,” rare archival performance footage and interview footage from the past 27 years of Joe Goode Performance Group, Fri, 8.

MECHANICS’ INSTITUTE 57 Post, SF; milibrary.org/events. $10. “CinemaLit Film Series: Remembering Philip Seymour Hoffman:” Doubt (Shanley, 2008), Fri, 6.

MISSION CULTURAL CENTER FOR LATINO ARTS 2868 Mission, SF; www.missionculturalcenter.org. $10. “Venezuelan Cinema,” three short films, Sat, 2, 4:30.

OSHER MARIN JCC 200 N. San Pedro, San Rafael; www.marinjcc.org. Free (registration required to rsvp@c4dp.org or call 415-457-2464). Crime After Crime (Potash, 2011), Tue, 7.

PACIFIC FILM ARCHIVE 2575 Bancroft, Berk; (510) 642-5249, bampfa.berkeley.edu. $5.50-9.50. “Film 50: History of Cinema:” My Own Private Idaho (Van Sant, 1991), Wed, 3:10. “Diamonds of the Night: Jan Nemec:” Ferrari Dino Girl (2009), Wed, 7. San Francisco International Film Festival, April 25-May 8. See complete schedule and ticket info at festival.sffs.org.

PARAMOUNT THEATRE 2025 Broadway, Oakl; www.ticketmaster.com. $5. Mildred Pierce (Curtiz, 1945), Fri, 8.

ROXIE 3117 and 3125 16th St, SF; (415) 863-1087, www.roxie.com. $6.50-11. “Arab Shorts #3,” Wed, 7. Faust (Sokurov, 2011), Wed-Thu, 6:30, 9:15. “Future Filmmakers: Pictures of Bayview,” Sat, 2. Rubén Salazar: Man in the Middle (Rodriguez, 2014), Sat, 5 and 7. Benefit for El Tecolote newspaper.

TANNERY 708 Gilman, Berk; berkeleyundergroundfilms.blogspot.com. Donations accepted. “Berkeley Underground Film Society:” “Cartoon Carnival #4: Food Frolics,” Sat, 7:30; The Hunters (Gardner and Marshall, 1962), Sun, 7:30.

VICTORIA 1961 16th St, SF; www.bicyclefilmfestival.com. “Bicycle Film Festival 2014: San Francisco,” international films about bikes, Fri-Sat.

VORTEX ROOM 1082 Howard, SF; Facebook: The Vortex Room. $10. “Night of the Vortex Room”: •Night of Bloody Horror (Houck Jr., 1969), Thu, 9, and Night of the Bloody Apes (Cardona, 1968), Thu, 11.

YERBA BUENA CENTER FOR THE ARTS 701 Mission, SF; www.ybca.org. $8-10. “Human Rights Watch Film Festival 2014:” Camp 14 — Total Control Zone (Wiese, 2012), Thu, 7:30; An Unreal Dream: The Michael Morton Story (Reinert, 2013), Sun, 2. *

Rep Clock: April 16 – 22, 2014

Michael Redmond

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April 15, 2014

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Schedules are for Wed/16-Tue/22 except where noted. Director and year are given when available. Double and triple features marked with a •. All times pm unless otherwise specified.

ARTISTS’ TELEVISION ACCESS 992 Valencia, SF; www.atasite.org. $6-10. “Periwinkle Cinema: Bits and Pieces,” short films, Wed, 8. “Sista Sinema”: The New Black (Richen, 2013), Fri, 8. Other Cinema: “Erik Davis’ Rick Griffin and the Flying Eyeball,” Sat, 8:30. “Landscapes/Durations/Distances: Films of Lois Patiño,” Sun, 7:30.

BALBOA THEATRE 3630 Balboa, SF; cinemasf.com/balboa. $10. “Popcorn Palace:” Mysterious Island (Endfield, 1961), Sat, 10am. Matinee for kids.

BERKELEY FELLOWSHIP OF UNITARIAN UNIVERSALISTS 1924 Cedar, Berk; www.bfuu.org. $5-10 (no one turned away). “Save the Post Office presents Films from the 1930s: The New Deal in Action, Pt. 1,” Fri, 7:30.

CASTRO 429 Castro, SF; (415) 621-6120, www.castrotheatre.com. $8.50-11. •Je t’aime je t’aime (Resnais, 1968), Wed, 7, and The Great Beauty (Sorrentino, 2013), Wed, 8:45. •Sorcerer (Friedkin, 1977), Thu, 7, and Midnight Express (Parker, 1978), Thu, 9:15. “Midnites for Maniacs: Kill or Be Killed:” •The Running Man (Glaser, 1987), Fri, 7:20, and Battle Royale (Fukasaku, 2000), Fri, 9:20. This double bill, $12. •The Killing (Kubrick, 1956), Sat, 7, and The Getaway (Peckinpah, 1972), Sat, 8:40. Frozen (Buck and Lee, 2013), Sat-Sun, 1 (also Sun, 5). Presented sing-along style; advance tickets ($10-16) at www.ticketweb.com.

CHRISTOPHER B. SMITH RAFAEL FILM CENTER 1118 Fourth St, San Rafael; (415) 454-1222, www.cafilm.org. $6.50-$10.75. times. Alan Partridge (Lowney, 2013), April 18-24, call for times. Gospel (Leivick and Ritzenberg, 1983), Sun, 7.

CLAY 2261 Fillmore, SF; www.landmarktheatres.com. $10. “Midnight Movies:” The Big Lebowski (Coen and Coen, 1998), Fri-Sat, midnight.

KORET AUDITORIUM SF Public Library, 100 Larkin, SF; www.sfgreenfilmfest.org. Free. Watershed: Exploring a New Water Ethic for the New West (Decena, 2012), Tue, 6.

MECHANICS’ INSTITUTE 57 Post, SF; milibrary.org/events. $10. “CinemaLit Film Series: Remembering Philip Seymour Hoffman:” Before the Devil Knows You’re Dead (Lumet, 2007), Fri, 6.

MISSION CULTURAL CENTER FOR LATINO ARTS 2868 Mission, SF; www.missionculturalcenter.org. Free. “Carmen for Families: The Movie!,” screening of SF Opera’s “Opera-In-An-Hour” series, Sat, 1 and 3.

PACIFIC FILM ARCHIVE 2575 Bancroft, Berk; (510) 642-5249, bampfa.berkeley.edu. $5.50-9.50. “Film 50: History of Cinema:” Contempt (Godard, 1963), Wed, 3:10. “Diamonds of the Night: Jan Nemec:” Toyen (2005), Wed, 7; Martyrs of Love (1967), Fri, 7. “Jokers Wild: American Comedy, 1960-1989:” Planes, Trains, and Automobiles (Hughes, 1987), Thu, 7; Beetlejuice (Burton, 1988), Fri, 8:30. “The Brilliance of Satyajit Ray:” The Middleman (1975), Sat, 6. “Jean-Luc Godard: Expect Everything from Cinema:” Weekend (1967), Sat, 8:30. “Documentary Voices:” Leviathan (Castaing-Taylor and Paravel, 2012), Tue, 7.

RHYTHMIX CULTURAL WORKS 2513 Blanding, Alameda; www.rhythmix.org. Free. Gasland Part II (Fox, 2013), Thu, 8.

ROXIE 3117 and 3125 16th St, SF; (415) 863-1087, www.roxie.com. $6.50-11. “Arab Shorts #2,” Wed, 7. “Neighborhood Nightz:” A Fragile Trust: Plagiarism, Power, and Jayson Blair at the New York Times (Grant, 2013), Thu, 7. Faust (Sokurov, 2011), April 18-24, 6:30, 9:15 (also Sat-Sun, 3:30). Harry Potter and the Philosopher’s Stone (Columbus, 2001), Sun, 4:20. Special 4/20 screening for audiences 18 and over only.

TANNERY 708 Gilman, Berk; berkeleyundergroundfilms.blogspot.com. Donations accepted. “Berkeley Underground Film Society:” “LOOP Presents: Old School New Light:” •“Nutritional Quackery” (1961) and “Ruth Stout’s Garden” (1976), Sat, 7:30; Picnic on the Grass (Renoir, 1959), Sun, 7:30.

VICTORIA THEATRE 2961 16th St, SF; www.brownpapertickets.com. $15-35. Jesus Christ Superstar (Jewison, 1973), presented sing-along style, Fri, 7. With the second annual Chunky Jesus Contest. Proceeds benefit the San Francisco Trans March.

VORTEX ROOM 1082 Howard, SF; Facebook: The Vortex Room. $10. “Night of the Vortex Room”: •Night of the Living Dead (Romero, 1968), Thu, 9, and Night of the Creeps (Dekker, 1968), Thu, 11.

YERBA BUENA CENTER FOR THE ARTS 701 Mission, SF; www.ybca.org. $8-10. “Human Rights Watch Film Festival 2014:” Rafea: Solar Mama (Noujaim and Eldaief, 2012), Thu, 7:30; Tall As the Baobab Tree (Teicher, 2012), Sun, 2. *

Save the world, work less

Michael Redmond

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April 15, 2014

56

steve@sfbg.com

Save the world, work less. That dual proposition should have universal appeal in any sane society. And those two ideas are inextricably linked by the realities of global climate change because there is a direct connection between economic activity and greenhouse gas emissions.

Simply put, every hour of work we do cooks the planet and its sensitive ecosystems a little bit more, and going home to relax and enjoy some leisure time is like taking this boiling pot of water off the burner.

Most of us burn energy getting to and from work, stocking and powering our offices, and performing the myriad tasks that translate into digits on our paychecks. The challenge of working less is a societal one, not an individual mandate: How can we allow people to work less and still meet their basic needs?

This goal of slowing down and spending less time at work — as radical as it may sound — was at the center of mainstream American political discourse for much of our history, considered by thinkers of all ideological stripes to be the natural endpoint of technological development. It was mostly forgotten here in the 1940s, strangely so, even as worker productivity increased dramatically.

But it’s worth remembering now that we understand the environmental consequences of our growth-based economic system. Our current approach isn’t good for the health of the planet and its creatures, and it’s not good for the happiness and productivity of overworked Americans, so perhaps it’s time to revisit this once-popular idea.

Last year, there was a brief burst of national media coverage around this “save the world, work less” idea, triggered by a report by the Washington DC-based Center for Economic and Policy Research, entitled “Reduced Work Hours as a Means of Slowing Climate Change.”

“As productivity grows in high-income, as well as developing countries, social choices will be made as to how much of the productivity gains will be taken in the form of higher consumption levels versus fewer work hours,” author David Rosnick wrote in the introduction.

He notes that per capita work hours were reduced by 50 percent in recent decades in Europe compared to US workers who spend as much time as ever on the job, despite being a world leader in developing technologies that make us more productive. Working more means consuming more, on and off the job.

“This choice between fewer work hours versus increased consumption has significant implications for the rate of climate change,” the report said before going on to study various climate change and economic growth models.

It isn’t just global warming that working less will help address, but a whole range of related environmental problems: loss of biodiversity and natural habitat; rapid depletion of important natural resources, from fossil fuel to fresh water; and the pollution of our environment with harmful chemicals and obsolete gadgets.

Every day that the global workforce is on the job, those problems all get worse, mitigated only slightly by the handful of occupations devoted to cleaning up those messes. The Rosnick report contemplates only a slight reduction in working hours, gradually shaving a few hours off the week and offering a little more vacation time.

“The paper estimates the impact on climate change of reducing work hours over the rest of the century by an annual average of 0.5 percent. It finds that such a change in work hours would eliminate about one-quarter to one-half of the global warming that is not already locked in (i.e. warming that would be caused by 1990 levels of greenhouse gas concentrations already in the atmosphere),” the report concludes.

What I’m talking about is something more radical, a change that meets the daunting and unaddressed challenge that climate change is presenting. Let’s start the discussion in the range of a full day off to cutting our work hours in half — and eliminating half of the wasteful, exploitive, demeaning, make-work jobs that this economy-on-steroids is creating for us, and forcing us to take if we want to meet our basic needs.

Taking even a day back for ourselves and our environment will seem like crazy-talk to many readers, even though our bosses would still command more days each week than we would. But the idea that our machines and other innovations would lead us to work far less than we do now — and that this would be a natural and widely accepted and expected part of economic evolution — has a long and esteemed philosophical history.

Perhaps this forgotten goal is one worth remembering at this critical moment in our economic and environmental development.

HISTORY LESSON

Author and historian Chris Carlsson has been beating the “work less” drum in San Francisco since Jimmy Carter was president, when he and his fellow anti-capitalist activists decried the dawning of an age of aggressive business deregulation that continues to this day.

They responded with creative political theater and protests on the streets of the Financial District, and with the founding of a magazine called Processed World, highlighting how new information technologies were making corporations more powerful than ever without improving the lives of workers.

“What do we actually do all day and why? That’s the most basic question that you’d think we’d be talking about all the time,” Carlsson told us. “We live in an incredibly powerful and overarching propaganda society that tells you to get your joy from work.”

But Carlsson isn’t buying it, noting that huge swaths of the economy are based on exploiting people or the planet, or just creating unproductive economic churn that wastes energy for its own sake. After all, the Gross Domestic Product measures everything, the good, the bad, and the ugly.

“The logic of growth that underlies this society is fundamentally flawed,” Carlsson said. “It’s the logic of the cancer cell — it makes no sense.”

What makes more sense is to be smart about how we’re using our energy, to create an economy that economizes instead of just consuming everything in its path. He said that we should ask, “What work do we need to do and to what end?”

We used to ask such questions in this country. There was a time when working less was the goal of our technological development.

“Throughout the 19th century, and well into the 20th, the reduction of worktime was one of the nation’s most pressing issues,” professor Juliet B. Schor wrote in her seminal 1991 book The Overworked American: The Unexpected Decline of Leisure. “Through the Depression, hours remained a major social preoccupation. Today these debates and conflicts are long forgotten.”

Work hours were steadily reduced as these debates raged, and it was widely assumed that even greater reductions in work hours was all but inevitable. “By today, it was estimated that we could have either a 22-hour week, a six-month workyear, or a standard retirement age of 38,” Schor wrote, citing a 1958 study and testimony to Congress in 1967.

But that didn’t happen. Instead, declining work hours leveled off in the late 1940s even as worker productivity grew rapidly, increasing an average of 3 percent per year 1948-1968. Then, in the 1970s, workers in the US began to work steadily more hours each week while their European counterparts moved in the opposite direction.

“People tend to think the way things are is the way it’s always been,” Carlsson said. “Once upon a time, they thought technology would produce more leisure time, but that didn’t happen.”

Writer David Spencer took on the topic in a widely shared essay published in The Guardian UK in February entitled “Why work more? We should be working less for a better quality of life: Our society tolerates long working hours for some and zero hours for others. This doesn’t make sense.”

He cites practical benefits of working less, from reducing unemployment to increasing the productivity and happiness of workers, and cites a long and varied philosophical history supporting this forgotten goal, including opposing economists John Maynard Keynes and Karl Marx.

Keynes called less work the “ultimate solution” to unemployment and he “also saw merit in using productivity gains to reduce work time and famously looked forward to a time (around 2030) when people would be required to work 15 hours a week. Working less was part of Keynes’s vision of a ‘good society,'” Spencer wrote.

“Marx importantly thought that under communism work in the ‘realm of necessity’ could be fulfilling as it would elicit and harness the creativity of workers. Whatever irksome work remained in realm of necessity could be lessened by the harnessing of technology,” Spencer wrote.

He also cited Bertrand Russell’s acclaimed 1932 essay, “In Praise of Idleness,” in which the famed mathematician reasoned that working a four-hour day would cure many societal ills. “I think that there is far too much work done in the world, that immense harm is caused by the belief that work is virtuous, and that what needs to be preached in modern industrial countries is quite different from what always has been preached,” Russell wrote.

Spencer concluded his article by writing, “Ultimately, the reduction in working time is about creating more opportunities for people to realize their potential in all manner of activities including within the work sphere. Working less, in short, is about allowing us to live more.”

JOBS VS. WORK

Schor’s research has shown how long working hours — and the uneven distribution of those hours among workers — has hampered our economy, hurt our environment, and undermined human happiness.

“We have an increasingly poorly functioning economy and a catastrophic environmental situation,” Schor told us in a phone interview from her office at Boston College, explaining how the increasingly dire climate change scenarios add urgency to talking about how we’re working.

Schor has studied the problem with other researchers, with some of her work forming the basis for Rosnick’s work, including the 2012 paper Schor authored with University of Alabama Professor Kyle Knight entitled “Could working less reduce pressures on the environment?” The short answer is yes.

“As humanity’s overshoot of environmental limits become increasingly manifest and its consequences become clearer, more attention is being paid to the idea of supplanting the pervasive growth paradigm of contemporary societies,” the report says.

The United States seems to be a case study for what’s wrong.

“There’s quite a bit of evidence that countries with high annual work hours have much higher carbon emissions and carbon footprints,” Schor told us, noting that the latter category also takes into account the impacts of the products and services we use. And it isn’t just the energy we expend at work, but how we live our stressed-out personal lives.

“If households have less time due to hours of work, they do things in a more carbon-intensive way,” Schor said, with her research finding those who work long hours often tend to drive cars by themselves more often (after all, carpooling or public transportation take time and planning) and eat more processed foods.

Other countries have found ways of breaking this vicious cycle. A generation ago, Schor said, the Netherlands began a policy of converting many government jobs to 80 percent hours, giving employees an extra day off each week, and encouraging many private sector employers to do the same. The result was happier employees and a stronger economy.

“The Netherlands had tremendous success with their program and they’ve ended up with the highest labor productivity in Europe, and one of the happiest populations,” Schor told us. “Working hours is a triple dividend policy change.”

By that she means that reducing per capita work hours simultaneously lowers the unemployment rate by making more jobs available, helps address global warming and other environmental challenges, and allows people to lead happier lives, with more time for family, leisure, and activities of their choosing.

Ironically, a big reason why it’s been so difficult for the climate change movement to gain traction is that we’re all spending too much time and energy on making a living to have the bandwidth needed to sustain a serious and sustained political uprising.

When I presented this article’s thesis to Bill McKibben, the author and activist whose 350.org movement is desperately trying to prevent carbon concentrations in the atmosphere from passing critical levels, he said, “If people figure out ways to work less at their jobs, I hope they’ll spend some of their time on our too-often neglected work as citizens. In particular, we need a hell of a lot of people willing to devote some time to breaking the power of the fossil fuel industry.”

That’s the vicious circle we now find ourselves in. There is so much work to do in addressing huge challenges such as global warming and transitioning to more sustainable economic and energy systems, but we’re working harder than ever just to meet our basic needs — usually in ways that exacerbate these challenges.

“I don’t have time for a job, I have too much work to do,” is the dilemma facing Carlsson and others who seek to devote themselves to making the world a better place for all living things.

To get our heads around the problem, we need to overcome the mistaken belief that all jobs and economic activity are good, a core tenet of Mayor Ed Lee’s economic development policies and his relentless “jobs agenda” boosterism and business tax cuts. Not only has the approach triggered the gentrification and displacement that have roiled the city’s political landscape in the last year, but it relies on a faulty and overly simplistic assumption: All jobs are good for society, regardless of their pay or impact on people and the planet.

Lee’s mantra is just the latest riff on the fabled Protestant work ethic, which US conservatives and neoliberals since the Reagan Era have used to dismantle the US welfare system, pushing the idea that it’s better for a single mother to flip our hamburgers or scrub our floors than to get the assistance she needs to stay home and take care of her own home and children.

“There is a belief that work is the best form of welfare and that those who are able to work ought to work. This particular focus on work has come at the expense of another, far more radical policy goal, that of creating ‘less work,'” Spencer wrote in his Guardian essay. “Yet…the pursuit of less work could provide a better standard of life, including a better quality of work life.”

And it may also help save us from environmental catastrophe.

GLOBAL TIPPING POINT

The Intergovernmental Panel on Climate Change, the top research body on the issue recognized by the United Nations, recently released its fifth report summarizing and analyzing the science and policies around climate change, striking a more urgent tone than in previous reports.

On April 13 at a climate conference in Berlin, the panel released a new report noting that greenhouse gas emissions are rising faster than ever and urgent action is needed in the next decade to avert a serious crisis.

“We cannot afford to lose another decade,” Ottmar Edenhofer, a German economist and co-chairman of the committee that wrote the report, told The New York Times. “If we lose another decade, it becomes extremely costly to achieve climate stabilization.”

After the panel released an earlier section of the report on March 31, it wrote in a public statement: “The report concludes that responding to climate change involves making choices about risks in a changing world. The nature of the risks of climate change is increasingly clear, though climate change will also continue to produce surprises.”

The known impacts will be displaced populations in poor countries inundated by rising seas, significant changes to life-supporting ecosystems (such as less precipitation in California and other regions, creating possible fresh water shortages), food shortages from loss of agricultural land, and more extreme weather events.

What we don’t yet know, these “surprises,” could be even scarier because this is such uncharted territory. Never before have human activities had such an impact on the natural world and its delicate balances, such as in how energy circulates through the world’s oceans and what it means to disrupt half of the planet’s surface area.

Researchers have warned that we could be approaching a “global tipping point,” in which the impact of climate change affects other systems in the natural world and threatens to spiral out of control toward another mass extinction. And a new report funded partially by the National Science Foundation and NASA’s Goodard Space Center combines the environmental data with growing inequities in the distribution of wealth to warn that modern society as we know it could collapse.

“The fall of the Roman Empire, and the equally (if not more) advanced Han, Mauryan, and Gupta Empires, as well as so many advanced Mesopotamian Empires, are all testimony to the fact that advanced, sophisticated, complex, and creative civilizations can be both fragile and impermanent,” the report warned.

It cites two critical features that have triggered most major societal collapses in past, both of which are increasingly pervasive problems today: “the stretching of resources due to the strain placed on the ecological carrying capacity”; and “the economic stratification of society into Elites [rich] and Masses (or ‘Commoners’),” which makes it more difficult to deal with problems that arise.

Both of these problems would be addressed by doing less overall work, and distributing the work and the rewards for that work more evenly.

SYSTEMIC PROBLEM

Carol Zabin — research director for the Center for Labor Research and Education at UC Berkeley, who has studied the relation between jobs and climate change — has some doubts about the strategy of addressing global warming by reducing economic output and working less.

“Economic activity which uses energy is not immediately correlated with work hours,” she told us, noting that some labor-saving industrial processes use more energy than human-powered alternatives. And she also said that, “some leisure activities could be consumptive activities that are just as bad or worse than work.”

She does concede that there is a direct connection between energy use and climate change, and that most economic activity uses energy. Zabin also said there was a clear and measurable reduction in greenhouse gas emissions during the Great Recession that began with the 2008 economic crash, when economic growth stalled and unemployment was high.

“When we’re in recessions and output and consumption slow, we see a reduction in impact on the climate,” Zabin said, although she added, “They’re correlated, but they’re not causal.”

Other studies have made direct connections between work and energy use, at least when averaged out across the population, studies that Rosnick cited in his study. “Recent work estimated that a 1 percent increase in annual hours per employee is associated with a 1.5 percent increase in carbon footprint,” it said, citing the 2012 Knight study.

Zabin’s main stumbling block was a political one, rooted in the assumption that American-style capitalism, based on conspicuous consumption, would continue more or less as is. “Politically, reducing economic growth is really, really unviable,” she told us, noting how that would hurt the working class.

But again, doesn’t that just assume that the pain of an economic slowdown couldn’t be more broadly shared, with the rich absorbing more of the impact than they have so far? Can’t we move to an economic system that is more sustainable and more equitable?

“It seems a little utopian when we have a problem we need to address by reducing energy use,” Zabin said before finally taking that next logical step: “If we had socialism and central planning, we could shut the whole thing down a notch.”

Instead, we have capitalism, and she said, “we have a climate problem that is probably not going to be solved anyway.”

So we have capitalism and unchecked global warming, or we can have a more sustainable system and socialism. Hmm, which one should we pick? European leaders have already started opting for the latter option, slowing down their economic output, reducing work hours, and substantially lowering the continent’s carbon footprint.

That brings us back to the basic question set forth in the Rosnick study: As productivity increases, should those gains go to increase the wages of workers or to reduce their hours? From the perspective of global warming, the answer is clearly the latter. But that question is complicated in US these days by the bosses, investors, and corporations keeping the productivity gains for themselves.

“It is worth noting that the pursuit of reduced work hours as a policy alternative would be much more difficult in an economy where inequality is high and/or growing. In the United States, for example, just under two-thirds of all income gains from 1973-2007 went to the top 1 percent of households. In that type of economy, the majority of workers would have to take an absolute reduction in their living standards in order to work less. The analysis of this paper assumes that the gains from productivity growth will be more broadly shared in the future, as they have been in the past,” the study concludes.

So it appears we have some work to do, and that starts with making a connection between Earth Day and May Day.

EARTH DAY TO MAY DAY

The Global Climate Convergence (www.globalclimateconvergence.org) grew out of a Jan. 18 conference in Chicago that brought together a variety of progressive, environmental, and social justice groups to work together on combating climate change. They’re planning “10 days to change course,” a burst of political organizing and activism between Earth Day and May Day, highlighting the connection between empowering workers and saving the planet.

“It provides coordinated action and collaboration across fronts of struggle and national borders to harness the transformative power we already possess as a thousand separate movements. These grassroots justice movements are sweeping the globe, rising up against the global assault on our shared economy, ecology, peace and democracy. The accelerating climate disaster, which threatens to unravel civilization as soon as 2050, intensifies all of these struggles and creates new urgency for collaboration and unified action. Earth Day to May Day 2014 (April 22 — May 1) will be the first in a series of expanding annual actions,” the group announced.

San Mateo resident Ragina Johnson, who is coordinating events in the Bay Area, told us May Day, the international workers’ rights holiday, grew out of the struggle for the eight-hour workday in the United States, so it’s appropriate to use the occasion to call for society to slow down and balance the demands of capital with the needs of the people and the planet.

“What we’re seeing now is an enormous opportunity to link up these movements,” she told us. “It has really put us on the forefront of building a new progressive left in this country that takes on these issues.”

In San Francisco, she said the tech industry is a ripe target for activism.

“Technology has many employees working 60 hours a week, and what is the technology going to? It’s going to bottom line profits instead of reducing people’s work hours,” she said.

That’s something the researchers have found as well.

“Right now, the problem is workers aren’t getting any of those productivity gains, it’s all going to capital,” Schor told us. “People don’t see the connection between the maldistribution of hours and high unemployment.”

She said the solution should involve “policies that make it easier to work shorter hours and still meet people’s basic needs, and health insurance reform is one of those.”

Yet even the suggestion that reducing work hours might be a worthy societal goal makes the head of conservatives explode. When the San Francisco Chronicle published an article about how “working a bit less” could help many people qualify for healthcare subsidies under the Affordable Care Act (“Lower 2014 income can net huge health care subsidy,” 10/12/13), the right-wing blogosphere went nuts decrying what one site called the “toxic essence of the welfare state.”

Chronicle columnist Debra Saunders parroted the criticism in her Feb. 7 column. “The CBO had determined that ‘workers will choose to supply less labor — given the new taxes and other incentives they will face and the financial benefits some will receive.’ To many Democrats, apparently, that’s all good,” she wrote of Congressional Budget Office predictions that Obamacare could help reduce hours worked.

Not too many Democratic politicians have embraced the idea of working less, but maybe they should if we’re really going to attack climate change and other environmental challenges. Capitalism has given us great abundance, more than we need and more than we can safely sustain, so let’s talk about slowing things down.

“There’s a huge amount of work going on in society that nobody wants to do and nobody should do,” Carlsson said, imagining a world where economic desperation didn’t dictate the work we do. “Most of us would be free to do what we want to do, and most of us would do useful things.”

And what about those who would choose idleness and sloth? So what? At this point, Mother Earth would happily trade her legions of crazed workaholics for a healthy population of slackers, those content to work and consume less.

Maybe someday we’ll even look back and wonder why we ever considered greed and overwork to be virtues, rather than valuing a more healthy balance between our jobs and our personal lives, our bosses and our families, ourselves and the natural world that sustains us.

Watchdogs in action

Michael Redmond

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March 11, 2014

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news@sfbg.com

The Society of Professional Journalists, Northern California, will honor the following James Madison Freedom of Information Award winners during a March 20 banquet. Details on their work and the dinner are available at www.spjnorcal.org.

VOICE FOR PRISONERS

Throughout his 29-year journalism career, Peter Sussman, a retired San Francisco Chronicle editor, advocated for greater media access to prisoners and fought to uphold the rights of inmate journalists. In the 1980s, federal prison officials cracked down on inmate Dannie “Red Hog” Martin for writing to Sussman to share what life was like behind bars.

The retaliation spurred an epic battle over free speech within prison walls, and Sussman responded by publishing Martin’s regular writings about prison life, and later co-authoring a book with him titled Committing Journalism: The Prison Writings of Red Hog.

In the mid-’90s, Sussman fought state prison officials’ restrictions on media interviews with prisoners. He also helped write and sponsor statewide legislation to overturn limits restricting media access to prisons. Sussman will receive the Norwin S. Yoffie Award for Career Achievement.

GUIDING ASPIRING JOURNALISTS

Beverly Kees Educator Award winner Rob Gunnison is a former instructor and administrator at UC Berkeley’s Graduate School of Journalism, where he arrived after spending 15 years covering government and politics in Sacramento for the San Francisco Chronicle.

As a longtime instructor of a course called “Reporting and Writing the News,” Gunnison has continued to educate hungry young journalists on how to seek public records and carry out investigative reporting projects.

EXPOSING ATROCITIES

Peter Buxton will be honored with the FOI Whistleblower/Source Award. In 1972, Buxton played a key role in alerting the press to the ongoing operation of the Tuskegee syphilis experiments, where African American sharecroppers were intentionally exposed to the disease, without treatment or their knowledge, so researchers could study its progression.

By the time the story was related to the press, 28 men had died of syphilis, and 100 others had died of related complications. That leak helped spur Congressional hearings on the practice beginning in 1973, ultimately spurring a complete overhaul of federal regulations. A class-action lawsuit was filed, resulting in a $10 million settlement.

EXPOSING BART’S SCHEME

Reporter Tom Vacar of KTVU pushed for records determining whether replacement drivers that BART was training to help break last year’s labor strike were qualified to safely operate the trains, eventually finding that they had been simply rubber-stamped by the California Public Utilities Commission.

Those findings proved gravely significant on Oct. 21 when two workers on the tracks were killed by a BART train operated at the time by an uncertified trainee, an accident still being investigated by the National Transportation Safety Board.

STANDING FOR SUNSHINE

California Sen. Leland Yee is once again being honored by SPJ Norcal for his work on sunshine issues, including last year criticizing Gov. Jerry Brown and other fellow Democrats who had sought to weaken the California Public Records Act, instead seeking to strengthen the ability of the courts to enforce the law.

FIGHTING THE CITY

Freelance journalist Richard Knee’s Distinguished Service Award caps a 12-year fight for open government in a city eager to stash its skeletons securely in closets.

Knee is a longtime member of the San Francisco’s Sunshine Ordinance Task Force, created in 1994 to safeguard the city’s Sunshine Ordinance, and he has fought to maintain its power and relevance.

Over the years, many city agencies have fought against the task force, from the City Attorney’s Office to a group of four supervisors who claimed the task force was wasting public money, a struggle that is still ongoing.

BADGES AND ACCOUNTABILITY

The Lake County News and its co-founders Elizabeth Larson and John Jensen will received a News Media Award for a protracted legal battle with local law enforcement for a simple journalistic right: interview access.

The scrappy local paper detailed allegations that Lake County Sheriff Frank Rivero and his deputies wrongfully detained suspects on trumped up charges, made threats, conducted warrantless home searches, and violated suspects’ civil rights.

Rivero’s office responded by blacklisting the paper from interviews, a fundamental building block of news coverage. The paper sued the Lake County Sheriff’s Department, eventually winning its battle to obtain the right to keep asking the sheriff the tough questions.

PROTECTING THEIR SOURCES

When Saratoga High School student Audrie Potts committed suicide in September 2012, her parents alleged she was pushed over the edge by cyber bullying over photos of Potts at a party. High school journalists Samuel Liu, Sabrina Chen, and Cristina Curcelli of The Saratoga Falcon scooped the sensational national media outlets that descended on the story, but they were subpoenaed by the Potts family to reveal their sources.

They refused, citing California’s shield law in a successful legal defense that strengthened the rights of student journalists. As Liu said, “We are not willing to destroy our journalistic integrity by giving up our confidential sources, we got this information on the condition of anonymity, from people that trusted us.”

BUYING FRIENDS AT CITY HALL

Bay Guardian News Editor Rebecca Bowe and Reporter Joe Fitzgerald Rodriguez are being honored with a Journalist Award for “Friends in the Shadows,” (10/8/13) our investigation of the shady ways that developers and other powerful players buy influence at City Hall.

“Their detailed and thorough account explored a trail of money through myriad city agencies and departments,” the awards committee wrote, noting how the paper “used public records, interviews and independent research to probe how developers, corporations and city contractors use indirect gifts to city agencies to buy influence.”

NEWS FROM INSIDE

For accomplishing “extraordinary journalism under extraordinary circumstances,” The San Quentin News is being honored with a News Media Award. It is California’s only inmate-produced newspaper, and one of the few in existence worldwide.

The San Quentin News publishes about 20 pages monthly, and has a press run of 11,500 for inmates, correctional officers, staff, and community members. It’s distributed to 17 other prisons throughout California.

Under the scrutiny of prison authorities, the inmate journalists and volunteers wound up covering a historic prison hunger strike, the overcrowding of the prison population, and the denial of compassionate release for a dying inmate, an octogenarian with a terminal illness.

EXPOSING TORTURERS

The Western Hemisphere Institute for Security Cooperation (WHINSEC), better known as the name it held prior to 2001, the School of the Americas, is a combat training school for Latin American soldiers and commanders, with many graduates going on to commit human rights atrocities.

School of the Americas Watch founder Judith Litesky, a former nun, and Theresa Cameranesi, filed a lawsuit in federal court in San Francisco seeking the list of those who had gone though courses that include counter insurgency techniques, sniper training, psychological warfare, military intelligence and interrogation tactics.

Last year, the pair won a significant victory when a federal judge in Oakland ruled that the government could not cite national security reasons in withholding the names. Although the case is ongoing, they are being honored with a Citizen Award.

FIGHTING CORPORATE SNOOPS

In 2008, journalists from The New York Times and BusinessWeek looked to Terry Gross of Gross Belsky Alonso for legal counsel in a case against Hewlett-Packard. In a staggering display of corporate snooping, the tech giant had illegally obtained private telephone records of the journalists, in an attempt to gain access to the identities of their sources.

Gross has also defended journalists against police in cases regarding media access for breaking-news events, and he’s helped to expand the rights of online journalists. This year, Gross will receive the FOI Legal Counsel Award.

BAD BRIDGE, GOOD JOURNALIST

Sacramento Bee Senior Investigative Reporter Charles Piller will be honored with a Journalist Award for exposing corrosion problems in the long delayed, cost-plagued eastern span of the San Francisco-Oakland Bay Bridge. His breaking story and subsequent follow-ups revealed Caltrans’ inadequate corrosion testing, as well as inadequate responses to bridge inspectors who for more than two years warned Caltrans of water leaks and corrosion — only to go unheeded.

SUNSHINE COLUMNIST

Editorial and Commentary Award winner Daniel Borenstein, who writes for the Bay Area News Group, issued a strong response to a legislative attack on California’s Public Records Act last year, ultimately helping to defeat proposed changes that would have gutted the law.

“Without the state Public Records Act, we would never know about the Oakley City Manager’s $366,500 taxpayer-funded mortgage scheme, the Washington Township hospital CEO’s $800,000-plus annual compensation or the retired San Ramon Valley fire chief’s $310,000 yearly pension,” Borenstein wrote in one of his columns. “We would be ignorant of broken bolts on the Bay Bridge, the cover-up of Moraga teachers sexually abusing students, a BART train operator who collected salary and benefits totaling $193,407, the former BART general manager who received $420,000 the year after she was fired or the Port of Oakland executives who spent $4,500 one night at a Texas strip club.”

“Are Alt Weeklies Over?” Hell no! We’re needed now more than ever.

Sasha Cuttler

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March 5, 2014

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“Are Alt Weeklies Over?” Hell no! We’re needed now more than ever.

The New York Times yesterday ran an insightful and widely circulated op-ed from a fellow alt-weekly editor, Baynard Woods of Baltimore City Paper, that emphasized the important role that a staff of full-time alt-weekly journalists play in urban life, a niche that neither big daily papers nor online-only outlets can replicate.

“An alt weekly has a staff of paid reporters and editors whose jobs are not only to know the city, but to love it, to hate it, and to be an integral part of it, cajoling, ridiculing, praising and skewering city officials, artists and entrepreneurs alike, while giving voices to the ‘city folk,’” Woods wrote after ruing the economic forces that have hobbled our profession and given rise to the article’s headline: “Are Alt Weeklies Over?”

As someone who has worked for four alt-weeklies in California after starting my career at daily newspapers, I can attest to the unique and valuable role that they played in each of those cities: San Luis Obispo, Monterey, Sacramento, and San Francisco. Eschewing the tired and unattainable goal of “objective journalism,” the alt-weeklies help provide a bottom-up framing of local issues and serve as a check on the dominant economic and political forces.

When I made the transition from dailies to alt-weeklies in 1995, I felt like a whole new world had been opened up for me, a feeling that I’ve heard expressed by many others in my business. Daily newspaper writers generally hew to the orthodoxy of their local Chamber of Commerce in economic coverage, while political news tends to split the difference between the two major political parties.

But in a dynamic world with major long-term problems that aren’t being addressed in a serious way — from global warming and environmental degradation to extreme wealth disparities and lack of investment in critical public infrastructure — sometimes the Chamber, the Democrats, and the Republicans are all wrong.

Saying so often falls to the alt-weekly writers and editors who can speak with a clear and true voice, and who can back up their perspective with years of diligent reporting to support it. When the Guardian says PG&E corrupts our political system, that’s not a statement of opinion, but a conclusion backed up by dozens of well-reported articles going back decades. In this instantaneous yet forgetful society we’re creating, that kind of institutional knowledge is invaluable.

That’s especially true when it comes to city life and the struggles we cover all day, every day, something that writers who strive for clicks from readers around the world can’t provide. Locally based reporters working local beats with adequate resources is essential to civic accountability.

For example, it’s easy for us to see how the current displacement crisis will change San Francisco in unacceptable ways, and to see the echoes of previous political moments — the freeway revolts of the ‘60s, the anti-Manhattanization struggles of the ‘70s, resistance to trickle down economics in the ‘80s, warnings about the last dot-com economic cleansing in the ‘90s — in this current political moment. So we amplify the many voices crying out for reform and we’re willing to call our untrustworthy politicians and business leaders on their bullshit. We’re not afraid to call the liars “liars.”

“Alt weeklies can be harsh in their criticism, whether it’s aimed at a blowhard politician or an overrated artist. Some people say we’re too eager to charge people with selling out, with trafficking in an insular cultural elitism. But alt weeklies don’t simply delight in being mean; they are harsh because they care about the city and what goes on in it,” Woods wrote.

We at the Guardian love San Francisco, and we’re going to keep fighting for its soul — and the panopoly of inspired and inspiring people who feed that soul — with everything we’ve got, and neither the people who fund our paychecks nor those who populate our blogs are going to deter us from that mission.

Norman Solomon: The problem with Obama denouncing a breach of international law in Ukraine

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March 4, 2014

5

International law is suddenly very popular in Washington. President Obama responded to Russian military intervention in the Crimea by accusing Russia of a “breach of international law.” Secretary of State John Kerry followed up by declaring that Russia is “in direct, overt violation of international law.”

Unfortunately, during the last five years, no world leader has done more to undermine international law than Barack Obama. He treats it with rhetorical adulation and behavioral contempt, helping to further normalize a might-makes-right approach to global affairs that is the antithesis of international law.

Fifty years ago, another former law professor, Senator Wayne Morse, condemned such arrogance of power. “I don’t know why we think, just because we’re mighty, that we have the right to try to substitute might for right,” Morse said on national TV in 1964. “And that’s the American policy in Southeast Asia — just as unsound when we do it as when Russia does it.”

Today, Uncle Sam continues to preen as the globe’s big sheriff on the side of international law even while functioning as the world’s biggest outlaw.

Rather than striving for an evenhanded assessment of how “international law” has become so much coin of the hypocrisy realm, mainline U.S. media are now transfixed with Kremlin villainy.

On Sunday night, the top of the New York Times home page reported: “Russian President Vladimir V. Putin has pursued his strategy with subterfuge, propaganda and brazen military threat, taking aim as much at the United States and Europe as Ukraine itself.” That was news coverage.

Following close behind, a Times editorial appeared in print Monday morning, headlined “Russia’s Aggression,” condemning “Putin’s cynical and outrageous exploitation of the Ukrainian crisis to seize control of Crimea.” The liberal newspaper’s editorial board said that the United States and the European Union “must make clear to him that he has stepped far outside the bounds of civilized behavior.”

Such demands are righteous — but lack integrity and credibility when the same standards are not applied to President Obama, whose continuation of the Bush “war on terror” under revamped rhetoric has bypassed international law as well as “civilized behavior.”

In these circumstances, major U.S. media coverage rarely extends to delving into deviational irony or spotlighting White House hypocrisy. Yet it’s not as if large media outlets have entirely excluded key information and tough criticism.

For instance, last October the McClatchy news service reported that “the Obama administration violated international law with top-secret targeted-killing operations that claimed dozens of civilian lives in Yemen and Pakistan,” according to reports released by Amnesty International and Human Rights Watch.

Last week, just before Obama leapt to high dudgeon with condemnation of Putin for his “breach of international law,” the Los Angeles Times published an op-ed piecethat provided illuminating context for such presidential righteousness.

“Despite the president’s insistence on placing limits on war, and on the defense budget, his brand of warfare has helped lay the basis for a permanent state of global warfare via ‘low footprint’ drone campaigns and special forces operations aimed at an ever-morphing enemy usually identified as some form of Al Qaeda,” wrote Karen J. Greenberg, director of the Center on National Security at Fordham University’s law school.

Greenberg went on to indicate the scope of the U.S. government’s ongoing contempt for international law: “According to Senator Lindsey Graham (R-S.C.), the Obama administration has killed 4,700 individuals in numerous countries, including Pakistan, Yemen and Somalia. Obama has successfully embedded the process of drone killings into the executive branch in such a way that any future president will inherit it, along with the White House ‘kill list’ and its ‘terror Tuesday’ meetings. Unbounded global war is now part of what it means to be president.”

But especially in times of crisis, as with the current Ukraine situation, such inconvenient contradictions go out the mass-media window. What remains is an Orwellian baseline, melding conformist ideology and nationalism into red-white-and-blue doublethink.

Norman Solomon is co-founder of RootsAction.org and founding director of the Institute for Public Accuracy. His books include “War Made Easy: How Presidents and Pundits Keep Spinning Us to Death.” Information about the documentary based on the book is at www.WarMadeEasyTheMovie.org

(The Bruce blog is written and edited by Bruce B. Brugnann, editor at large of the Bay Guardian. He is the former editor and co-founder and co-publisher of the Bay Guardian with his wife Jean Dibble, 1966-2012. B3)

I always believed that the right song at the right moment could change history. Pete Seeger, folksinger, 1919-2014

Neighborhood news hole

Michael Redmond

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March 4, 2014

2

joe@sfbg.com

The San Francisco Chronicle and the San Francisco Examiner are the city’s largest mainstream newspapers, but their reporting staffs have been gutted by layoffs over the last couple decades, leaving hyperlocal blogs and community newspapers to fill the reporting gaps. But now it appears the hyperlocal blogs, a good source of neighborhood news, are also facing hard times.

A memo released last week revealed a striking split that could affect media coverage in the Mission District: hyperlocal news site Mission Local is being dropped by its main fiscal sponsor, the University of California Berkeley Graduate School of Journalism.

“It’s now time for Mission Local to take the next step and re-launch itself as an independent, stand-alone media operation,” J-School Dean Edward Wasserman wrote in a department-wide memo. “That means ending its role in the J-School’s curriculum.”

Mission Local is a journalism lab for the UC Berkeley graduate students, covering everything in the Mission District from the Tamale Lady to Google bus riders. It’s popular in the neighborhood, reaching as many as 100,000 unique visitors a month. In keeping with its locale, the website is available in English and Spanish.

The UC Berkeley graduate students serve as the site’s reporters and a little bit of everything else, from advertising sales to audience-building. That was a problem, Wasserman wrote.

“That’s not really what we do,” he wrote. “Those are specialized areas, and the J-School doesn’t have the instructional capacity to teach them to a Berkeley standard of excellence.”

But the main issue seems to be cost. “It’s an expensive undertaking,” he wrote. This and other hyperlocal sites were initially funded with grants from the Ford Foundation, but UC Berkeley started picking up the tab when they ran out, among other fundraising avenues.

Lydia Chavez, a professor at the J-School and the head of Mission Local, told the Guardian she disagreed with Wasserman’s decision, and with his reasoning.

“To be clear, I would have preferred to have Mission Local and the other hyper locals at the core of the school’s curriculum,” she said. And as for cost, she contests that Mission Local raised many funds on its own — Mission Local’s cost to UC Berkeley was minimal, she said.

But tales of Mission Local’s demise would be exaggerated. Alex Mullaney is the editor in chief of the Ingleside Light, a neighborhood paper in the Ingleside District. He speculated that Mission Local’s financial independence may thin out the staff, but it could help it find its footing editorially.

“I think it’s probably best for the publication,” Mullaney told us. “It could gain permanent staffers rather than students, who are fleeting.”

Mullaney’s paper is a testament to the power having a permanent presence in the neighborhood. Walking in the Ingleside district, he waves at shop owners he knows, and walking into The Ave Bar for him is like a homecoming, as bartenders and patrons alike give him warm, drunken hellos.

Most local papers are similarly embedded in their communities, sometimes leading to stories that are picked up by larger papers. The Ingleside Light was the first to report on the rise of Internet gambling cafes, and subsequent rise in crime, in the Excelsior. The Examiner later picked up the story, publishing the neighborhood’s plight to the city at large.

Eventually the SFPD moved in and broke up one of the largest gambling Internet cafes, Net Stop, a victory for the neighborhood.

It’s safe to say Mullaney has his thumb on the pulse of the Ingleside, but although he partners with City College and San Francisco State students, he has two stable freelancers.

Similarly entrenched in their neighborhood, the West Side Observer ran a column from Laguna Honda Hospital whistleblower Derek Kerr for years, who famously outed money scandals there. The Central City Extra in the Tenderloin continues to report on the conflicts and successes of Twitter’s new presence in the area.

Though neighborhood papers have always been part of the city, the past few years have seen a rise in financially independent hyperlocal neighborhood blogs, whose ranks Mission Local will now join. From Haighteration to Mission Mission, Richmond Blog SF to Castro Biscuit, they cover almost every nook and cranny of San Francisco. Even a Muni line has exclusive coverage in the form of the N-Judah Chronicles.

Roy McKenzie, 31, is a web developer who runs Castro Biscuit. Though the blog had humble beginnings, lately it’s taken on heavy stories such as Sup. Scott Wiener’s campaign funding, alleging he took big bucks from developers with interest in evicting tenants.

“When I wrote that I thought I’d get some blowback. The money is dirty not in that it’s being laundered, but it’s tied to people who are tainted through evictions,” McKenzie said. Castro Biscuit first took off with his early and extensive coverage of the Castro nudist controversy. McKenzie says he covers stories he feels will be on everyone’s lips, which he susses out through his love of the Castro.

“This is my neighborhood, I live here, and it’s more interesting than you think,” he said.

Mission Local does the same. It spent over a year fact checking the Chronicle’s coverage of Mission vacancies, exploring the arguments for and against opening a new outlet of the chain American Apparel in the neighborhood.

Castro Biscuit though isn’t McKenzie’s main job, but a hobby, he said, which doesn’t spell financial wonders for Mission Local.

Perhaps a better comparison would be the Mission’s El Tecolote, which fundraises through its parent nonprofit, Accion Latina. It holds art gallery openings, fundraisers, and parties throughout the Mission, and even in the backyard patio of its newsroom on 24th street.

Chavez reported nationally for The New York Times and Los Angeles Times, but feels equally protective of the Mission neighborhood as McKenzie does of the Castro. She told us she isn’t willing to walk away from Mission Local despite any funding challenges.

“The Mission is now ground zero for so much that is happening in the city and the country that if I walked away from it now,” she told the Guardian, “it would be like walking away from a terrific story.”

Lord Huron bring their complex mythology to The Fillmore

Steven T. Jones

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March 2, 2014

0

By Stephen Sparks

In a recent profile in the New York Times, Ben Schneider, who was Lord Huron until he gathered childhood friends to form a quintet, revealed that the inspiration for the band’s track listing — and really their existence — is the western novelist George Ranger Johnson. Johnson is the author of ten novels, including Ghost on the Shore, Time to Run, and an unfinished eleventh, Setting Sun.

The only catch is that, well, Johnson doesn’t exist. His books, though convincingly documented online, were never written.

Schneider admits to dreaming up the novelist as a way of establishing a mythology for his musical project. It’s a clever move, harkening back to the days when record companies would spring for elaborate record sleeves or CD inserts. It also brings to mind more conceptually minded bands like Pink Floyd — though the comparison between the two ends there.

While this cleverness is admirable and makes for a good story, it becomes meaningless if you put a bunch of people in a room to listen to a band that fails to live up to its premise. Image is important, but sound trumps all. Lord Huron is a solid combination of being both interesting and compelling musically.

With their jangly guitars and locomotive rhythm — their Noise Pop kick-off show [Wed/26] started off with the chugga-chugga of a train, before the band launched into “Ends of the Earth” — Lord Huron give the impression, despite their output being limited to just a couple of EPs and one full-length album, of having been around for ages. Maybe it’s the evocative romanticism of the lyrics: Schneider sings of wandering through lonely, remote places as if such hadn’t vanished decades ago; of disappearing women and melancholy vistas capable of inspiring poets. Or it could be the congruence between the band’s dusty, old West vibe and their timeless blazers. They seem like they’d be as at home in a saloon as they were at The Fillmore.

Yet no matter how they mythologize themselves, they’re not a country and western band. Lord Huron exists in a comfortable place somewhere between Johnny Cash and My Morning Jacket. They sound familiar, friendly. Maybe this accounts for the diversity of concertgoers and helps explains why everyone, young and old, crooned along with Schneider as he opened the show with his crooning “Oooh-oh-oh-oooh” from the “Ends of the Earth.”

And while the band really hit their stride four songs in, and from then on played with chemistry and restrained enthusiasm, there was nevertheless a lack of something — carelessness? — that kept the show from being remarkable. Whether it’s shyness or professionalism, there was some distance between the band and the audience. It never felt like either side entirely engaged. This isn’t to say the show wasn’t solid, only that it was subdued.

But then, with so much distance in their songs — all those wide open, endless desert tracks and remote islands — perhaps this distance is built into the mythology.

UC Berkeley drops hyperlocal news website Mission Local

Erica Hanna

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February 25, 2014

30

UC Berkeley drops hyperlocal news website Mission Local

A memo released today revealed a striking split that could affect media coverage in the Mission district: hyperlocal news site Mission Local is being dropped by its main fiscal sponsor, the University of California Berkeley Graduate School of Journalism.

“It’s now time for Mission Local to take the next step and re-launch itself as an independent, stand-alone media operation,” J-School Dean Edward Wasserman wrote in a department-wide memo. “That means ending its role in the J-School’s curriculum.”

The website is one of a trio of hyperlocal news websites run by the UC Berkeley Graduate School of Journalism, including Oakland North and Richmond Confidential. It is still unclear if the other websites will be affected as well, though the memo says they will be the center of future discussion among faculty.

Mission Local is a journalism lab for the UC Berkeley graduate students, covering everything in the Mission District from the Tamale Lady to the eye-rolling of Google public relations employees. They’re popular in the neighborhood, and even present the website in a Spanish-language format.

The UC Berkeley graduate students serve as the site’s reporters and a little bit of everything else, from advertising and sales to audience-building. That was a problem, Wasserman wrote.

“That’s not really what we do,” he wrote. “Those are specialized areas, and the J-School doesn’t have the instructional capacity to teach them to a Berkeley standard of excellence.”

But the main issue seems to be cost. “It’s an expensive undertaking,” he wrote. The sites were initially funded with grants from the Ford Foundation, but UC Berkeley started picking up the tab when they ran out, among other fundraising avenues. Wasserman was also concerned that working for a hyperlocal newspaper away from campus pulls students away from campus activities.

The PDF above is the memo sent to students and faculty of the UC Berkeley Graduate School of Journalism department concerning Mission Local.

Lydia Chavez, a professor at the J-School and the head of Mission Local told the Guardian she disagreed with Wasserman’s decision.

“To be clear, I would have preferred to have Mission Local and the other hyper locals at the core of the school’s curriculum,” she said.

But tales of Mission Local’s demise would be exaggerated.

Chavez, a reporter who’s written for the New York Times, the Los Angeles Times, op-ed pieces in the San Francisco Examiner and more, isn’t willing to walk away from Mission Local despite the challenges.

The journalism bug, it seems, bit her hard.

“The Mission is now ground zero for so much that is happening in the city and the country that if I walked away from it now, it would be like walking away from a terrific story,” she wrote to the Guardian in an email.

“Mission Local will remain alive and innovative,” she wrote.

We’ll follow up with this story as it develops, and are planning a look into the state of hyperlocal journalism in San Francisco. Look for it in next week’s print edition of the San Francisco Bay Guardian.

The memo in full:

J-School Community:

The Mission Local hyperlocal site has been a vibrant and valuable part of the School of Journalism since it was created five years years ago. It has developed well beyond its initial scope as an incubator for J200 students, and under Prof. Lydia Chavez’s imaginative, impeccably professional and tireless leadership has become the premier place for the community it serves to learn about itself and talk about its future.

It’s now time for Mission Local to take the next step and re-launch itself as an independent, stand-alone media operation. That means ending its role in the J-School’s curriculum. While Prof Chavez would have liked to see the school keep the site, she is ready to assume responsibility for the site, and we expect that it will continue under her ownership.

My reasons for spinning off ML are several.

First, it’s an expensive undertaking, which obliges us to operate a remote site on a year-round basis, even when the curricular value to our students is limited or even, at times, non-existent (as when we pay non-students to keep the site from going dark.)

Second, it draws students away far from North Gate at the very moment we’re bulking up and enriching the curricular and co-curricular offerings here—new required courses, more speakers, town hall meetings, reinvigorated career services, generally pumped-up intellectual life. From the perspective of Mission Local’s needs, renewed activity in North Gate is a distraction, and I think that unintentionally does our students a disservice.

Third, the natural evolution of the site itself is toward being an integrated media operation, and that requires sustained attention to marketing, audience-building, ad sales, miscellaneous revenue-generation, community outreach, special events, partnerships, and 1,001 other publishing activities that are essential to any site’s commercial success.

That’s not really what we do. Those are specialized areas, and the J-School doesn’t have the instructional capacity to teach them to a Berkeley standard of excellence. What’s more, our students wouldn’t have the curricular bandwidth to learn them—not unless we pared back other areas, and redefined our core mission as something other than journalism education.

(Let me add that as part of our larger curricular rethinking, I’m hopeful we will be introducing, and requiring, more business-side instruction than we currently offer, but ML’s needs are still of a different order of magnitude.)

Whether other changes are in the works for J200 is up in the air at the moment. The curriculum committee is in the process of considering alternative approaches to J200, and the roles of Oakland North and Richmond Confidential as teaching labs are among the matters the faculty will discuss.

Mission Local has produced dozens of loyal alums, many of them strong enthusiasts who recall their experience there with affection and gratitude. Let me assure them—and you—that as we weigh the future of J200 it’s with the intention of improving on what we’ve done in the past, and making sure the future offers opportunities here at least as rewarding and memorable as theirs have been.

Let me conclude with a word of profound thanks to Prof. Chavez. While I respect and admire her loyalty to the Mission, I very much look forward to her getting more deeply involved in the exciting work that’s going on in North Gate.

Regards,
Edward Wasserman, Dean

Find some poetry

Michael Redmond

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February 25, 2014

0

arts@sfbg.com

In a world populated by all too many singer-songwriters, where guitar ballads seem to have exhausted all their possibilities, Mark Kozelek continues to confound and disarm audiences. From his harmonically rich open-tunings, to his spacious, deeply resonant vocals, there’s a lush quality to Kozelek’s recorded output that’s rarely found in such unadorned, acoustically driven music. It’s no wonder, then, that his formative recordings with Red House Painters in the ’90s made room for a singer-songwriter’s approach on the 4AD label, defined by its densely-layered, heavily electronic atmospherics.

Kozelek’s subsequent recordings as Sun Kil Moon have gradually pared the layers down further. Ghosts of the Great Highway (2003) traded the dreamy, slowcore tendencies of the Red House Painters’ discography for a more physical, earthbound approach, reflected in its overarching theme of boxers throughout history. Its 14-minute opus, “Duk Koo Kim” remains Kozelek’s most full-bodied, musically vibrant work to date. April (2008) leaned more heavily on extended compositions, maintaining the luminous, shimmering quality of his previous work, despite its starker instrumentation. With the introduction of his own label, Caldo Verde Records, Kozelek — who’ll be performing at Noise Pop March 1 — was given the leeway to pursue other avenues, from full albums of AC/DC and Modest Mouse covers to a collection of live releases that continues to grow with jam band-worthy prolificacy.

The release of Admiral Fell Promises (2010) marked a significant turning point in Kozelek’s career, with a nylon-string acoustic guitar providing its sole instrumentation, while 2012’s Among the Leaves announced a jarring shift in his lyrical style, finding inspiration in an off-the-cuff, stream-of-consciousness approach, a focus on the mundane, and a tendency towards blunt honesty: most infamously, deriding his audience as a bunch of “guys in tennis shoes.” These past couple records have found Kozelek in a transitional period, grasping for something slightly beyond his reach and, as a result, they weren’t as deeply satisfying or rewarding as his best work.

With the release of this year’s Benji, however, all is forgiven. Here, the desolate instrumentation and frank lyricism of his recent output is instilled with a greater sense of purpose. It’s Kozelek’s most autobiographical work to date, as well as his saddest. Death looms over each song. Good people die in freak accidents before their time, while criminals die of old age. Despite his determination to “find some poetry to make some sense of this, and give some deeper meaning,” as stated on the record’s opening track “Carissa,” the banalities found on Among the Leaves continue to show themselves. Panera Bread is mentioned at least twice, while a trip to Berkeley’s Greek Theatre can’t be recounted without a reference to the back pain-inducing walk up that steep hill.

This thematic balance between tragedy, profundity, and the utterly mundane brings the listener into Kozelek’s thought process in the rawest, most unrefined way imaginable. His lyrical style here is jarringly straightforward, approaching character studies with blunt language, and little need for metaphor. Bruce Springsteen’s Nebraska is an obvious comparison, in its bleakly worded yet ultimately dignified portrayals of humanity at its messiest and most desperate.

“Richard Ramirez Died Today of Natural Causes” tells the story of the California serial killer dying on his own terms, while “Pray for Newtown” eulogizes shooting victims who met their ends too soon. “Dogs” explores the dark side of young love, in all its humiliation and emotional turmoil, with startling intimacy and brutal honesty. The boomer-rock of “I Love My Dad” mercifully, yet briefly, lightens the mood, while the record’s 10-minute centerpiece, “I Saw the Film the Song Remains the Same” strikes a gorgeous balance between the central themes of brooding meditations on death, and casual observations of life.

https://www.youtube.com/watch?v=UgaquGird4w

“The way this song drifts in and out of different realities and memories is a lot like the movies,” Kozelek wrote in a recent piece for the New York Times, “weaving documentary, imagination and memory throughout, always coming back to the music.”

“I loved the thunder of John Bonham’s drums,” Kozelek sings, describing his experience watching Led Zeppelin’s The Song Remains the Same at the theater as a teenager, “but even more I liked ‘No Quarter”s low Fender Rhodes hum.” In reflecting upon his preference for Zeppelin’s balladry over its rock pyrotechnics, he draws a connection to the melancholy that has defined his life from a young age. From the deaths of relatives and mere acquaintances that continue to haunt him, to his first record deal, with the similarly downcast 4AD label that helped reinforce his identity, Kozelek expands on one small anecdote to encompass the profundities of life, with a deftness of prose that his entire career has seemingly been working toward.

In spite of occasional contributions from singer-songwriter Will Oldham, former Sonic Youth drummer Steve Shelley, and Advance Base keyboardist Owen Ashworth, Kozelek’s nylon-string fingerpicking remains squarely at the heart of this record, along with the ever-increasing rasp of his voice. More than any album in Kozelek’s deep catalog, Benji lends itself intuitively to his solo live strategy, making this coming Saturday’s Noise Pop appearance at the Great American Music Hall absolutely essential to understanding the inspiration and motivation behind one of the Bay Area’s finest living songwriters.

Noise Pop: An Evening with Mark Kozelek of Sun Kil Moon & Red House Painters

Sat/1, 8pm, $28

Great American Music Hall

859 O’Farrell, SF

415-885-0750

www.slimspresents.com

Spooked

Michael Redmond

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February 25, 2014

0

rebecca@sfbg.com

The world’s largest computer security conference, RSA, got underway in the Moscone Convention Center on Feb. 24. It’s a huge deal: Speakers will include former Secretary of State Condoleezza Rice, and closing remarks will be given by comedian Stephen Colbert.

Started in 1991, the RSA Conference has grown exponentially. But this year, 13 digital security experts have canceled their scheduled talks in protest of recent revelations that RSA cooperated with the National Security Agency to use a flawed tool for safeguarding sensitive information.

Speakers who are boycotting include technology experts from Google and various security firms. They’re concerned about allegations that RSA, a pioneer in the security software industry, agreed to incorporate a flawed encryption formula into a widely used security product in accordance with a secret $10 million NSA contract.

“In my opinion, RSA has a serious trust issue,” said Jeffrey Carr, CEO of a security firm called Taia Global Inc. and one of the speakers who has decided to cancel his talk and boycott the conference. “I think they’ll just let it die down. There’s been little uproar, even among the security people,” he added.

Carr authored a blog post explaining his decision. He also organized a “town hall” debate, part of an event series called Suits and Spooks, to be held at the Ritz Carlton in San Francisco on Feb. 27, featuring commentary from security industry representatives as well as insiders from the national intelligence community.

RSA used the encryption algorithm as a default for its security products, meaning users would have had to actively switch to a different formula to avoid exposure to the security threat.

According to a Reuters article published in December, the NSA arranged the contract as part of a campaign to embed breakable encryption software into security products that are widely used to safeguard personal devices.

Previous reporting by The New York Times, based on documents leaked by former NSA contractor Edward Snowden, showed that the NSA had generated the weak encryption formula to create a “backdoor.”

EMC, the parent company that owns RSA, issued a response in December that didn’t specifically address the allegations. The company stated that in 2004, when it agreed to use the algorithm, “the NSA had a trusted role in the community-wide effort to strengthen, not weaken, encryption.”

But Carr said researchers within the security industry had suggested the algorithm might be flawed as early as 2006, and RSA did not abandon its use until after the Snowden leaks were publicized.

Other speakers who are boycotting have issued statements publicly condemning RSA. “Your company has issued a statement on the topic, but you have not denied this particular claim. Eventually, NSA’s random number generator was found to be flawed on purpose, in effect creating a back door. You had kept on using the generator for years despite widespread speculation that NSA had backdoored it,” wrote chief researcher Mikko Hypponen of the Finnish company F-Secure.

“As my reaction to this, I’m canceling my talk at the RSA Conference USA 2014 in San Francisco in February 2014,” Hypponen went on. “Aptly enough, the talk I won’t be delivering at RSA 2014 was titled ‘Governments as Malware Authors.'”

Meanwhile, Colbert is also taking some heat for agreeing to speak at the RSA conference.

“We know you, Stephen, and we know you love a good ‘backdoor’ joke as much as we do — but this kind of backdoor is no laughing matter,” activists from Fight for the Future wrote in a petition urging him to join the other speakers who are boycotting the RSA conference. “Companies need to know that they can’t betray our trust without repercussions. We want to hear your speech, but give it somewhere else!”

Speakers boycotting security conference to protest collaboration with NSA

Sasha Cuttler And Mary Magee

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February 21, 2014

17

Speakers boycotting security conference to protest collaboration with NSA

On Feb. 24, the world’s largest computer security conference, RSA, will commence at San Francisco’s Moscone Center. It’s a huge deal: Speakers will include Former U.S. Secretary of State Condoleezza Rice, and closing remarks will be given by comedian Stephen Colbert.

Started in 1991, the RSA Conference has grown exponentially. But this year, 13 digital security experts have canceled their scheduled talks in protest of recent revelations that RSA cooperated with the National Security Agency to use a flawed tool for safeguarding sensitive information.

Speakers who are boycotting include technology experts from Google and various security firms. They’re concerned about allegations that RSA, a pioneer in the security software industry, agreed to incorporate a flawed encryption formula into a widely used security product in accordance with a secret $10 million NSA contract.

“In my opinion, RSA has a serious trust issue,” said Jeffrey Carr, CEO of a security firm called Taia Global Inc. and one of the speakers who has decided to cancel his talk and boycott the conference. “I think they’ll just let it die down. There’s been little uproar, even among the security people,” he added.

Carr authored a blog post explaining his decision. He also organized a “town hall” debate, part of an event series called Suits and Spooks, to be held at the Ritz Carlton in San Francisco on Feb. 27 featuring commentary from security industry representatives as well as insiders from the national intelligence community.

RSA used the encryption algorithm as a default for its security products, meaning users would have had to actively switch to a different formula to avoid exposure to the security threat.

According to a Reuters article published in December, the NSA arranged the contract as part of a campaign to embed breakable encryption software into security products that are widely used to safeguard personal devices.

Previous reporting by the New York Times, based on documents leaked by former NSA contractor Edward Snowden, showed that the NSA had generated the weak encryption formula to create a “backdoor.”

EMC, the parent company that owns RSA, issued a response in December that didn’t specifically address the allegations. The company stated that in 2004, when it agreed to use the algorithm, “the NSA had a trusted role in the community-wide effort to strengthen, not weaken, encryption.”

But Carr said researchers within the security industry had suggested the algorithm might be flawed as early as 2006, and RSA did not abandon its use until after the Snowden leaks were publicized.

Other speakers who are boycotting have issued statements publicly condemning RSA.

“Your company has issued a statement on the topic, but you have not denied this particular claim. Eventually, NSA’s random number generator was found to be flawed on purpose, in effect creating a back door. You had kept on using the generator for years despite widespread speculation that NSA had backdoored it,” wrote chief researcher Mikko Hypponen of the Finnish company F-Secure.

“As my reaction to this, I’m cancelling my talk at the RSA Conference USA 2014 in San Francisco in February 2014,” Hypponen went on. “Aptly enough, the talk I won’t be delivering at RSA 2014 was titled ‘Governments as Malware Authors.'”

Meanwhile, Colbert is also taking some heat for agreeing to speak at the RSA conference.

“We know you, Stephen, and we know you love a good ‘backdoor’ joke as much as we do—but this kind of backdoor is no laughing matter,” activists from Fight for the Future wrote in a petition urging him to join the other speakers who are boycotting the RSA conference. “Companies need to know that they can’t betray our trust without repercussions. We want to hear your speech, but give it somewhere else!”

“Monologos de la Vagina” An artistic and cultural triumph at the Brava theater in the Mission

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February 17, 2014

86

I had just settled into my seat Friday night at the Brava Theater in the Mission to see the opening night production of “Monologos de la Vagina” and the San Francisco debut of Eliana Lopez as a performer and producer.

This would be an interesting evening, I mused, because the play is being performed in Spanish and I speak only a word or two of Spanish. The play, known in English as the “Tne Vagina Monologs,” was written by Eve Ensler. It opened in 1994 for a five year run off Broadway and has been produced internationally in many variations. It became, as the New York Times put it, “probably the most important piece of political theater of the last decade.” .

Art Agnos, the ex-mayor who is leading the battle to stop the Manhattanization of the waterfront, was attending the performance with his wife Sherry. He tapped me on the shoulder and said quietly, Bruce, they filed a lawsuit this afternoon to block our waterfront initiative. They, he explained, were the developers, the Building Trades and Construction Union, and the San Francisco Giants. We chatted for a few moments about the impact of the suit and what must be done quickly to stop it in court.

This was, I thought, a quintessential San Francisco moment.

Here were Sherry and Art, coming to the Brava Theater, deep in the heart of the Mission at 2781 24^th St., on the very day that the waterfront gang were bringing up their big guns to knock out a people’s initiative aimed at saving the waterfront on the other end of town. The timing was exquisite and the political and community points became eminently clear as the evening wore on.

The Warriors’ arena proposal, as Art and his allies have argued, is merely a loss leader for a monstrous condos-for-millionaires project by a Los Angeles developer that would do serious short and long term damage to one of the most valuable pieces of property in the world. And it’s on public property on the waterfront and would involve enormous public subsidies for the duration. The Giants, quiet till now, have their own highrise agenda.

By contrast, here were Eliana, the Brava Theater, and her merry band of monologists working to do good, lots of good, by producing the first professional Spanish-speaking production of the Monologs in San Francisco—and its message that illuminated women’s sensuality and the social stigma of rape and abuse. In the process they were helping to save a lovely old Mission theater building and institution and helping the Mission District, which needs all the help it can get these days.

Neighborhood theaters like Brava are an endangered species in San Francisco and its home base in the Mission is under relentless eviction and gentrification pressure. San Francisco is the only major urban municipality in California that is not seeing an increase in its Latin population..

Eliana became famous in her native Venezuela as a star in television soap operas, but her real passion is live theater. Her father is a theater director in Caracas and live theater is in her bones. She feels strongly that San Francisco needs more and better access to Spanish-speaking theater and Brava is a wonderful venue for her to indulge her passion. She and her husband, Sheriff Ross Mirkarimi, live with their son Theo, 4, on the edge of the Mission, only three blocks from the theater.

I found that the good thing about seeing the Monologos without knowing the language was that I could still get a lot out of the play and the production The lady from Venezuela can act—and did so beautifully and with charm, gusto, and style. And she can perform in both English and Spanish, as she has done in other Monolog productions. .

She can also produce, mounting a professional production that could play on any stage in San Francisco or Caracas or points in between. And she is also a splendid promoter and public face of the play and the theater, appearing regularly on Spanish programs on radio and television and in public appearances. Her six person ensemble included two actors who have performed the Monologs in Spanish in Miami and New York: Alba Roversi and Marisol Correra. Eliana performed with Alba in Caracas.

The actors worked together nicely, obviously enjoyed each other and the dialog, played to each other’s strengths, and got their points across with expressive gestures and voice inflections and humor and poignancy. They loved the play and got a big kick out of performing at the Brava Theater. The audience loved the ladies and their performance and gave them a standing ovation. Alas, the play was only for the three day Valentine’s Day weekend.

Bravo, Eliana. Bravo. Keep on rolling, as we say in English. B3

A newspaper is not just for reporting the news as is, but to make people mad enough to do something about it. Mark Twain (The motto of Random Lengths, an alternative newspaper published by James Allen in San Pedro, Calif.)

(The Bruce blog is written and edited by Bruce B. Brugmann, editor at large of the Bay Guardian. He was the editor and co-founder and co-publisher with his wife Jean Dibble of the Guardian, 1966-2012)

Guardian honored for investigation of buying influence at City Hall

Sasha Cuttler

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February 13, 2014

33

Guardian honored for investigation of buying influence at City Hall

Bay Guardian News Editor Rebecca Bowe and Staff Writer Joe Fitzgerald Rodriguez are being honored by the Society of Professional Journalists with a James Madison Freedom of Information Award for “Friends in the Shadows,” our investigation of the shady ways that developers and other powerful players buy influence at City Hall.

The package of articles, prepared for the Guardian’s 47th anniversary issue of Oct. 6, used extensive public records to show how contributions to the city’s various “Friends Of…” organizations create cozy relationships between regulators and the regulated, donations that are often designed to skirt public disclosure requirements.

“Their detailed and thorough account explored a trail of money through myriad city agencies and departments,” the awards committee wrote, noting how the paper “used public records, interviews and independent research to probe how developers, corporations and city contractors use indirect gifts to city agencies to buy influence.”

The Guardian will profile the other winners in our annual Freedom of Information Issue on March 12, and all the winners will be honored at SPJ’s James Madison Awards banquet on March 20. The full press release follows:

FOR IMMEDIATE RELEASE

JAMES MADISON AWARD WINNERS FOR SUNSHINE AND FIRST AMENDMENT WORK ANNOUNCED BY NORCAL SPJ CHAPTER

SAN FRANCISCO – Retired San Francisco Chronicle editor Peter Sussman, known for histireless pursuit of an end to restrictions on media access to prisoners, his support of the inmate journalists’ rights, and for his many other contributions to journalism, has been named winner of the Norwin S. Yoffie Award for Career Achievement Award by the Society of Professional Journalists Northern California chapter.

Sussman will be honored along with other winners of the chapters’ James Madison Freedom of Information Awards on Thursday, March 20 in San Francisco. Other winners include three high school journalists who honored confidential agreements with sources by beating back a subpoena for their notes, an online newspaper that successfully sued for its right to basic law enforcement information after being blacklisted by a county sheriff it had angered by reporting on his past, and an investigative journalist who used more than 100,000 pages of documents to report on potential structural problems on the new eastern span of the Bay Bridge.

The 29^th Annual James Madison Awards will be presented to champions of the First Amendment and freedom of information on Thursday, March 20, 2014, at a banquet at the San Francisco City Club.

Besides Sussman, whose award is named for the late editor of the San Rafael Independent Journal and co-founder of the SPJ NorCal’s Freedom of Information Committee who was a staunch advocate for transparency, the honorees are:

Rob Gunnison, a former instructor and Director of School Affairs at UC Berkeley’s Graduate School of Journalism will be honored with the Beverly Kees Educator Award for his years of mentoring aspiring journalists and for the re-establishment of required course work on access to public records. The award is named for a former SPJ NorCal president who was an educator and nationally recognized journalist.

In a year when whistleblowers have been both applauded and excoriated, Peter Buxton will be honored with the FOI Whistleblower/Source Awardfor his historic 1972 role in exposing to a reporter the evils of the Tuskegee syphilis experiments. From 1932 to 1972 African-American sharecroppers who thought they were getting medical care went untreated for syphilis so the government could study the disease’s progression.

State Senator Leland Yee of San Francisco will receive the Public Official recognition award for his courage to oppose his own Democratic Party leaders and the governor in 2013 with public criticism of efforts to weaken the California Public Records Act by loosening disclosure requirements for local governments.

The Lake County News and its co-foundersElizabeth Larson and John Jensen will receive theNews Media Award, for their successful legal fight to force the county sheriff to end a news blacklist of the paper after a series of hard-hitting, critical articles about his conduct in office.

Attorney Terry Gross of Gross Belsky Alonso, will receive the FOI Legal Counsel Award in recognition of his years of work to expand the rights of online journalists and to protect reporters who were victims of corporate email snooping and to redress the illegal police detention of reporters during protests in Oakland and Berkeley, among many causes.

Freelance journalist Richard Knee will receive a Distinguished Service Award for 12 years of service on San Francisco’s Sunshine Ordinance Task Force, an 11-member body that monitors City Hall’s compliance with open-government laws. He has served two decades on the SPJ NorCal FOI Committee and he helped in a successful ballot-measure campaign to strengthen the Sunshine law in 1998-99.

Reporter Tom Vacar of KTVU Channel 2 will receive a Journalist Award for his story exposing false claims by BART and BART unions that the California Public Utilities Commission certifies BART train operators. Using the California Public Records Act, Vacar forced the CPUC to disclose it does not certify, review, test or train operators, but is no more than a rubber stamp for BART operator certification.

The San Quentin News will be honored with aNews Media Award for accomplishing extraordinary journalism under extraordinary circumstances. In the only inmate-produced paper in California, and under the scrutiny of prison authorities, the inmate journalists and volunteers covered a prison hunger strike, overcrowding and denial of compassionate release for a dying inmate.

Samuel Liu, Sabrina Chen and Cristina Curcelli, reporters at The Saratoga Falcon, at Saratoga High School, will receive the Student Journalist—High School Award for their resistance to subpoenas for their notes and for protecting their sources by invoking California’s reporter shield law as they covered cyberbullying claims and the suicide of a classmate.

Judith Liteky, a former nun, and Theresa Cameranesi, will receive the Citizen Award, for pressing a Freedom of Information Act (FOIA) lawsuit against the Department of Defense to win a precedent-setting ruling that the government may not withhold on national security grounds the names and military unit information of graduates and instructors at the former School of the Americas, now known as the Western Hemisphere Institute for Security Cooperation.

News Editor Rebecca Bowe and staff writerJoe Fitzgerald Rodriguez of the San Francisco Bay Guardian will receive Journalist Awards for extensive use of public records, independent research and interviews to produce a detailed account of financial “gifts” given to some city agencies that are used to curry favor out of the limelight.

Aaron Swartz, a computer programmer who launched a method of secure communication between journalists and their sources, will be honored posthumously with the Public Service Award. Swartz died in January 2013 at the age of 26, but his work on the journalist-source software ‘Strongbox’ has flourished.

Senior investigative reporter Charles Piller ofThe Sacramento Bee will be honored with theJournalist Award for breaking the story that the tendons connecting the skyway portion of the new eastern span of the San Francisco-Oakland Bay Bridge were corroded and could potentially fail. His digging led to the revelation that engineers had warned for two years of the danger.

Columnist and editorial writer Daniel Borenstein of the Bay Area News Group will receive the Editorial & Commentary Award for his strong editorials that helped beat back a legislative attack on California’s Public Records Act. He also produced a string of columns critical of school districts that failed to report suspicious behavior and he challenged the lack of disclosure during BART labor negotiations.

The awards banquet will be held at the City Club of San Francisco, 155 Sansome Street, 9^th floor, 1½ blocks from the Montgomery St. BART station. A no-host reception at 5:30 pm will be followed at 6:30pmby the dinner and awards ceremony. Tickets are $50 for SPJ members and students, and $70 for other attendees. Full table hosting opportunities and program sponsorships are also available.

To purchase tickets please go tohttps://www.eventbrite.com/e/29th-annual-james-madison-freedom-of-information-awards-banquet-tickets-10528851077

The James Madison Freedom of Information Award is named for the creative force behind the First Amendment and honors local journalists, organizations, public officials, educators and private citizens who have fought for public access to government meetings and records and promoted the public’s right to know and freedom of expression. The awards dinner is held annually during the week of Madison’s birthday, which was March 16, 1751.

Award winners are selected by SPJ NorCal’s Freedom of Information Committee.

Background information, including a complete list and description of winners is attached. Additional information is available from FOI Committee co-chairs Thomas Peele or Geoffrey King at the email addresses listed above.

###

2014 JAMES MADISON HONOREES

NORWIN S. YOFFIE CAREER ACHIEVEMENT AWARD

Peter Sussman has spent most of his career as a vocal advocate for journalistic ethics and freedom of information, and as an editor for the San Francisco Chronicle. But he is perhaps best known for his dogged advocacy for news media access to prisoners and as an advocate for prisoners’ right to practice journalism. He began pushing for media access to inmates when federal prison officials punished convicted bank robber Dannie “Red Hog” Martin for writing to Sussman in the 1980s. It began an epic fight for freedom of speech, and from 1986 to 1992 the Chronicle, with Sussman as his editor, published Martin’s articles about prison life. Sussman co-authored a book with Martin, “Committing Journalism: The Prison Writings of Red Hog.” During his stint as SPJ chapter president from 1995-1997, state prison officials issued “emergency” restrictions on media interviews with prisoners. During the ensuing national media attention, Sussman became the natural spokesman on the issue. For years after that he helped write and sponsor bills in Sacramento that would overturn the media access limits. He also helped to write the SPJ Code of Ethics. And in his spare time he edited “Decca,” a collection of letters by Jessica Mitford, muckraking journalist and memoirist.

BEVERLY KEES EDUCATOR AWARD

Rob Gunnison spent two decades as a journalist for United Press International and the San Francisco Chronicle, giving him the kind of hands-on experience journalism students covet. Gunnison taught at the UC Berkeley Graduate School of Journalism from 1999 to 2013, mentoring dozens of students in the realities of news gathering. In the years before he left, Gunnison also served as the Director of School Affairs. He guided the school through trying periods of transition and pushed to reinstate requirements that students understand and are able to use public records laws. He has been an outstanding influence to aspiring journalists with his passion for reporting, his humility and approachability. He instilled optimism in the face of a rapidly shifting and often hostile media climate.

.

WHISTLEBLOWER AWARD

Peter Buxton played a historic role as a whistleblower in 1972 by exposing the decades-long experimentation on the effects of untreated syphilis on hundreds of African-American sharecroppers. Although penicillin was a proven cure for syphilis, for 40 years, the government allowed the men to suffer and die, and to expose their wives and children to the disease, and left it untreated to monitor its course. As a young venereal disease researcher for the U.S. Public Health Service in Alabama, Buxton met with doctors and tried to force the issue of treatment, only to be mocked and refused. He left the service for the UC Hastings School of Law but, haunted by the plight of the men, he reached out to a journalist about the government’s experiment. As a result of his action, Congress reformed laws on human research, Medical Ethics Committees were required to have non-physician members and the victims were given $10 million in reparations. In 1997 President Bill Clinton apologized to the victims and their survivors: “The United States Government did something that was profoundly, morally wrong… clearly racist.”

JOURNALIST AWARD

Reporter Tom Vacar of KTVU Channel 2 pursued a critical safety story at the height of the Bay Area Rapid Transit (BART) strike in 2013: Were substitute drivers, drawn from supervisor ranks, qualified to operate the trains? BART and the union told him the California Public Utilities Commission certified the train operators. But he was stonewalled when he asked the CPUC to explain how it certified operators. It was not until Vacar pressed for documentation, using the state Public Records Act, that he learned BART provided no more than a rubber stamp for drivers. He exposed the false claims of certification, showing the CPUC did not certify, review, test or train operators. In fact, after two BART workers were killed on the tracks by a passing train, he discovered the CPUC did not even have copies of training materials.

PUBLIC OFFICIAL AWARD

Despite the risk of infuriating his own Democratic party leadership and Governor Jerry Brown, Senator Leland Yee of San Francisco spoke out early against the governor’s plan to weaken the California Public Records Act. A proposal, slipped into the 2013-2014 state budget would have allowed the open records law to be essentially optional for cities and other local agencies. Yee became the lone Democrat in the state Legislature to cry foul early. With public sentiment on his side, Yee ultimately prevailed. The governor and the legislature backed away from the plan when faced with a flood of opposition from newspaper editorials, environmentalists and conservatives.

DISTINGUISHED SERVICE AWARD

Freelance journalist Richard Knee has been a fixture on the SPJ NorCal’s FOI Committee for more than two decades. He played a major role in the successful effort to strengthen San Francisco’s Sunshine Ordinance in 1998-99. And since 2002 he has served on the city’s Sunshine Ordinance Task Force, an 11-member body that monitors how well (or poorly) City Hall complies with local and state open-government laws. He has not been afraid to lock horns with powerful politicians suspected of sunshine-law violations, including former Board of Supervisors President Aaron Peskin and current Supervisor Scott Wiener.

NEWS MEDIA AWARD

Lake County News co-founder Elizabeth Larson first confronted a candidate for sheriff, Frank Rivero, in 2010, with evidence of his arrest record in Florida. When Rivero won the election, Larson learned he was under investigation for changing a story about shooting a man in 2008 while working as a deputy. His credibility was so undermined from the shooting statements that Rivero could not testify in court, without defendants being informed of his history under a legal precedent called the Brady rule. When Larson used the open-records law to expose Rivero’s status as a Brady violation risk, he retaliated by blacklisting the Lake County News from routine media information. Larson and her husband, John Jensen, took Rivero to court and in March 2013, with the help of attorney Paul Boylan of Davis, they won restoration of access to public media information and the county had to pay $110,000 to cover the pair’s legal fees.

STUDENT JOURNALISTS—HIGH SCHOOL AWARD

Samuel Liu, Sabrina Chen and Cristina Curcelli, reporters for Saratoga High School’s The Saratoga Falcon, questioned the accuracy of news accounts that attributed the tragic suicide of a schoolmate to virulent cyberbullying by fellow students. National headlines said students passed around photos of an alleged sexual assault on the girl during a party. Liu, Chen and Curcelli wanted to discover what was accurate. They interviewed more than 50 people, some on condition of anonymity. In sharp contrast to the national headlines, they reported “roughly 10 people” saw the illicit photos and they “never went on Facebook.” But on the first day back to school in 2013 the three were handed subpoenas demanding their emails, notes and names of sources from a lawyer for the girl’s family, which was suing the school. All three successfully resisted the subpoenas by invoking California’s reporter Shield Law. In so doing, they highlighted that the Shield Law is for all journalists, not just those working for pay. Guylyn Cummins, lawyer for the students, pointed out the Shield Law applies to student journalists, who do not lose their constitutional rights when they step onto campus.

JOURNALIST AWARD

Rebecca Bowe, San Francisco Bay Guardian news editor, and staff writer Joe Fitzgerald Rodriguez used public records, interviews and independent research to probe how developers, corporations and city contractors use indirect gifts to city agencies to buy influence. Their investigation found that donations are not made directly to regulators where disclosure laws would leave them easily tracked. Instead, millions of dollars are funneled through private nonprofits, sometimes dubbed “Friends of” committees, such as Friends of City Planning or Friends of Animal Care and Control. Bowe and Rodriguez found that a mechanism allows large amounts of cash to flow in shadowy donations that make it difficult to see who is behind the money. Their detailed and thorough account explored a trail of money through myriad city agencies and departments.

NEWS MEDIA AWARD

The San Quentin News has accomplished extraordinary journalism under extraordinary circumstances. It is the only inmate-produced newspaper in California, begun in 1940 by warden Clinton Duffy. These prison reporters, along with volunteers from the outside, raise the curtain of secrecy that shrouds those who live behind the walls. Although under the scrutiny of prison authorities, they reported on last year’s prisoners’ hunger strike, prison overcrowding, the controversial handling of a deadly Valley Fever outbreak in the prisons and a feature on the refusal of a Superior Court judge to grant compassionate release to an 81-year-old inmate dying of cancer. They handle reporting with tenacity, sensitivity and thoroughness.

CITIZEN AWARD

Judith Liteky, a former nun, and Theresa Cameranesi, sued in federal court in San Francisco to gain public release of the names of students and instructors at the U.S. military school known for its role in training military officers later linked to human rights abuses. Liteky was a founding member of the non-profit School of Americas Watch, formed after the 1990 murder of six priests and their housekeeper and her daughter in San Salvador. The massacre was linked to 19 Salvadoran military officers trained at the former U.S. Army School of the Americas. The two women sued the Department of Defense to force resumption of what had been routine release of student names. In 2013 they won a significant victory. An Oakland federal judge, in a precedent-setting decision, ruled the government could not withhold the names on a national security basis. Although the legal fight is not over, this ruling alone curbs the government’s ability to restrict access to internationally sensitive information.

LEGAL COUNSEL AWARD

Attorney Terry Gross of Gross Belsky Alonso, in San Francisco, has spent years working to expand the rights of online journalists, to vindicate reporters wrongly arrested during protests and to protect reporters whose phone records were subject to corporate snooping. Last year, Gross secured a $99,000 settlement for photojournalist Jane Tyska after former Oakland Unified School District Police Chief Art Michel detained her while she covered a protest. In 2012, he won a $162,500 settlement and restraining order against the UC Berkeley Police Department for the illegal arrest and search of a camera belonging to Indybay journalist David Morse during a 2009 protest. Gross successfully represented Think Secret in a landmark state appeal court decision that extended California’s journalist Shield Law to online-only publications. In 2008, he sought damages on behalf of The New York Times and several Business Week journalists from Hewlett-Packard, after it was discovered HP obtained the private telephone records of reporters in an attempt to discover a news source from unpublished material.

PUBLIC SERVICE CITATION

Aaron Swartz was, by all accounts, a brilliant and sophisticated young man. Although he died in January 2013 at the age of 26, his work on the journalist-source software “Strongbox” flourished. “Strongbox” — now renamed “SecureDrop” — promises to be a crucial tool for journalists and their sources in the wake of revelations about mass surveillance by the National Security Agency. “Strongbox/SecureDrop” provides a secure system for sources and journalists to receive documents and communicate with each other confidentially in the digital age. Swartz initially conceived of “Strongbox” in San Francisco, where he lived at the time. The New Yorker adopted the secure document submission system in May and it has now been adopted by such publications as Forbes, The Global Mail and ProPublica. At the time of his death, Swartz was under federal indictment for downloading a large number of academic papers via MIT’s network, which he reportedly intended to distribute. He could have been sentenced to as many as 50 years in prison if convicted and many have attributed to his tragic taking of his own life to the government pressure he faced.

JOURNALIST AWARD

Senior investigative reporter Charles Piller of The Sacramento Bee pored over more than 100,000 pages of construction and inspection records to make a troubling discovery: Tendons on the new eastern span of the San Francisco-Oakland Bay Bridge were subject to water-induced corrosion. He broke the story that a comparison of inspection records and a rosy report by the California Department of Transportation showed CalTrans found few significant problems and that its report was littered with misstatements and wrong information. His relentless digging uncovered the failure of CalTrans to protect the “post-tension” tendons on the new spans skyway from water and that the bridge construction violated universally accepted techniques meant to prevent corrosion. He was also able to report that inspectors had warned for at least two years about water leaks and potential corrosion.

EDITORIAL & COMMENTARY AWARD

Columnist and editorial writer Daniel Borenstein of the Bay Area News Group helped beat back a 2013 attack by Governor Jerry Brown and the California Legislature on the California Public Records Act. Borenstein sounded the first alarm in his columns and kept up the attack. He also directly challenged a stonewalling school district attorney over access to documents, including the lawyer’s withholding of his own job contract renewal. This led the district to release them and fire the attorney. His tenacity in seeking out and monitoring of Bay Area Rapid Transit District paperwork during the BART administration’s months-long duel with unions over contract terms prompted him to call for more transparency and disclosure in a series of editorials. Lastly, he pushed for, and obtained, release of documents related to teacher abuse of students in local school districts, which enabled his colleagues to put together stories about the failure of local districts to report suspicious behavior to authorities as required by law.

Farewell to an ally and union brother

Michael Redmond

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February 11, 2014

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Pete Seeger played a critical role for labor and all working people. As a labor troubadour, he traveled the world singing out for labor. That is why he came to ILWU [International Longshore and Warehouse Union] Local 10 in the Bay Area in 1941. The US government had tried four times to deport Harry Bridges, the Australian-born leader of the ILWU, in an effort to destroy the union. Together, Seeger and Woody Guthrie sang out to the union’s rank and file strike committee a song called a “Ballad To Harry Bridges.”

The government was unsuccessful in its efforts to deport Bridges, but unfortunately most of the left unions like the Marine Cooks and Stewards were eventually destroyed by the hysterical witch-hunts launched by the government — some with the active support of not only bosses but some union officials. Regardless, affiliations and actions like Seeger’s 1941 appearance in San Francisco were the reason Seeger was brought before the House UnAmerican Activities Committee in 1955, and eventually sentenced to two years in prison. From the HUAC transcript:

Mr. Tavenner: The Committee has information obtained in part from the Daily Worker indicating that, over a period of time, especially since December of 1945, you took part in numerous entertainment features. I have before me a photo static copy of the June 20, 1947, issue of the Daily Worker. In a column entitled “What’s On” appears this advertisement: “Tonight — Bronx, hear Peter Seeger and his guitar, at Allerton Section housewarming.” May I ask you whether or not the Allerton Section was a section of the Communist Party?

Mr. Seeger: Sir, I refuse to answer that question, whether it was a quote from the New York Times or the Vegetarian Journal.

Seeger was accused of singing for functions of the Communist party, and for McCarthy and company, this was a deadly crime. Seeger also fought for integration, and against the segregated workplace, in conjunction with the left-wing unions — like the Marine Cooks and Stewards and even the Painter’s Local 4 in San Francisco, led by Dow Wilson — that were fighting segregation. Ships in the port of San Francisco were prevented by the members of the Marine Cooks and Stewards from sailing until their crews were integrated. This direct action of workers on the waterfront was a very real threat to big business, which wanted to destroy labor power and continue segregation as a tool of the bosses.

ILWU longshore leader Bridges also won the support of the black community by promising them that if they supported the strike, they would get union jobs on the waterfront, and he kept his word; today, ILWU 10 still has a large percentage of African Americans. Racism, as Seeger knew, played a virulent role in US history, and his songs were a powerful cultural counterpoint to the reigning ideology and racism of the time.

This is why he was prevented from going on national television during the blacklist period after the Communist witch-hunts. The corporate-controlled media in the United States had an ax to grind, and keeping Seeger, Paul Robeson, and other singers and intellectuals like Noam Chomsky off the airwaves is something that continues today. It is not surprising that in many network TV depictions of Seeger’s life, they conspicuously fail to point out that these same networks banned his voice from the airwaves for decades. Of course the power of Pete Seeger, his songs, music, and personal magnetism could not be banned, and they broke through despite the government and corporate efforts.

Working people of San Francisco, the Bay Area, and the world have lost a great ally and union brother, but his words will ring out for eons.

This coming year’s LaborFest will commemorate the 80th anniversary of the San Francisco General Strike, bringing this history and culture back for the working people today who face similar attacks on their rights to a union, decent health and safety conditions, and a future for themselves and their families.

Steve Zeltzer is the host of KPFA WorkWeek Radio and a member of the LaborFest organizing committee.

In the dark

Michael Redmond

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February 4, 2014

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A battle for transparency that has dragged on for years is nearing a milestone, as Bay Area civil liberties advocates await a judge’s ruling on whether the federal government will be forced to hand over memos outlining its legal justification for overseas drone strikes targeting US citizens.

The First Amendment Coalition, an Oakland-based civil liberties organization, submitted a Freedom of Information Act request in October 2011 seeking a legal memo prepared by the Office of Legal Counsel to the US Department of Justice.

Initially referenced in the New York Times and the Washington Post, the memo reportedly justifies the legal arguments underpinning the DOJ’s decision to track down and execute Anwar al-Awlaki, an American-born Al Qaeda operative who was killed by a US drone strike in Yemen in September 2011.

In its request, FAC noted that it was not interested in factual information about intelligence sources, but rather “discussion of the legal issues posed by prospective military action against a dangerous terrorist who also happens to be a US citizen.”

It’s hard to see how releasing a legal memo would constitute a threat to national security, an exemption that allows government to classify much of its information about military operations, but nevertheless federal authorities refused to honor FAC’s request.

In fact, the DOJ took its denial a step further, stating that it “neither confirms nor denies the existence of the document described in your request … because the very existence or nonexistence of such a document is in fact classified.”

After filing an appeal and getting nowhere, the civil liberties organization filed suit in Feb. 2012, demanding the release of the memo. Attorney Tom Burke, of Davis Wright Tremaine LLP, is representing FAC.

“We are not interested in how the US government found Al-Awlaki,” he explained. “Our suit is to release that memo with all intelligence information redacted.”

In Oakland on Jan. 23, US District Judge Claudia Wilken heard arguments from Burke and DOJ lawyers in motions for summary judgment, seeking a pretrial decision to settle the matter. By press time, Wilken still had not issued her ruling.

“It’s hard to know the ruling,” Burke said in a phone interview a week after the hearing. “The judge was being very short and blunt.” He added, “We’ve been fighting for this for years. If the ruling doesn’t go our way, I look forward to taking this to the Ninth Circuit [Court of Appeals].”

Meanwhile, the US District Court for the Southern District of New York heard two similar cases, brought against the DOJ by the New York Times and a New York chapter of the American Civil Liberties Union. In January of 2013, that court decided in favor of the DOJ, albeit with grave reservations.

“I find myself stuck in a paradoxical situation in which I cannot solve a problem because of contradictory restraints and rules — a veritable Catch-22,” Judge Colleen McMahon wrote in her opinion. “I can find no way around the thicket of laws and precedents that effectively allow the Executive Branch of our Government to proclaim as perfectly lawful certain actions that seem on their face incompatible with our Constitution and laws, while keeping the reasons for their conclusion a secret.”

The New York Times and ACLU appealed the decision, and are currently awaiting further ruling from the Court of Appeals for the Second Circuit.

The American citizens at the heart of these convoluted proceedings are al-Awlaki, his teenage son, Abdulrahman al-Awlaki, and Samir Khan. Al-Awlaki and his son — who was 16 at the time of his death — were both born in the United States, while Khan was a naturalized citizen of Pakistani origin.

Although all three were killed in strikes associated with counter terrorism operations, the elder al-Awlaki was the only one specifically targeted, according to a letter Attorney General Eric Holder wrote to members of Congress last May.

While the US government’s use of drone strikes has always been politically contentious because of stray civilian deaths, the use of this tactic to target American citizens has been particularly controversial. How is it that the US government — a global beacon for democracy and due process — can find guilty and execute its own citizens without a modicum of a trial?

“Judge McMahon expressed serious concerns that what the government was doing was unconstitutional,” said Brett Kaufman, an ACLU attorney who is handling the cases concerning drone strikes. “But on the merits of [the Freedom of Information Act], which was the issue before her, she had to agree with the DOJ.”

Francisco Alvarado contributed to this report.