News

New Zealand’s Cup

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New Zealand’s Cup

news@sfbg.com

A few weeks ago I was walking down the dock in the marina where I live, in Wellington, New Zealand, when I passed a woman and a young boy. I’d never seen them before, which is uncommon here in this municipal marina — about 100 boats — in a small suburb of the country’s capital.

The boy was walking from berth to berth pointing out certain rig and hull features and expounding on them as only a future aficionado can. “Lots of different boats, huh?” I asked as I passed.

“Different than America,” he confirmed in an accent the same as mine.

The kid is sharp, I thought, or maybe it’s just obvious, even to an eight-year-old from Chicago. The New Zealand sailing scene is vastly different than its American counterpart, which is not to say there’s no comparing — they’re not exactly navigating carved logs with gunnysack sails down here.

But the boats in my marina are, in fact, mostly homebuilt from steel, cement, aluminum, and wood. They appear a motley crew compared to the cookie-cutter production fiberglass Beneteaus, Catalinas, and Hunters, with their identical pacific blue sail covers lined up in San Francisco’s South Beach Marina.

In New Zealand, a boat is rarely a status symbol — it’s part of the middle-class way of life, the home base for holidays and weekend fishing trips and lots and lots of competitive racing. If I’ve noticed one thing since I arrived in this country (aboard a sailboat, after leaving San Francisco and my job as a Bay Guardian staff writer), it’s that every little harbor town has a yacht club and an awful lot of Kiwis own boats — and they sail the shit out of them.

Which is part of the reason why the New Zealand government is willing to invest NZ$36 million (US$27 million) to compete in the 34th America’s Cup against some of the richest men in the world in a race that has become so elite there’s barely any competition.

Small as the field is, Emirates Team New Zealand (ETNZ) is quickly shaping up to be the team to beat if you’re on a high-speed, air-catching AC72 catamaran. If they succeed, it will show that developing an America’s Cup team doesn’t have to come from having deep pockets in your Nantucket Red pants — it comes from having the sport ingrained in your culture, filtered through affordable local boat clubs, city-run facilities, volunteer programs, publicly accessible shorefronts, and an innovative marine industry.

In fact, without New Zealand’s maritime way of life, Larry Ellison wouldn’t have much of a team: of the 27 sailors and management crew aboard Oracle, a third are Kiwis. Another third are Australians. If you count Ellison, there are only three Americans aboard. Just one of them — tactician and grinder John Kostecki — grew up sailing on San Francisco Bay.

Ellison’s boat is mostly a Kiwi production, too — the fixed-wing sails and structural components for Oracle’s two AC72s were made in New Zealand, as were the boats, sails, and rigs for ETNZ and Luna Rossa. The only other syndicate competing, Sweden’s Artemis, in the wind since the death of crewmember Andrew Simpson, is the outlier, but they still have eight New Zealanders on board.

America’s Cup is looking more and more like it owes a lot to New Zealand. Is the Cup doing as much for San Francisco as it is for this little island nation, with a population just a tenth of California’s?

“If it wasn’t called Team New Zealand, we wouldn’t get a lot out of it,” says Sven Pannell, a competitive dinghy racer and employee of the economic development agency Grow Wellington. “The numbers of boat builders, carbon fabricators, sail makers, yacht designers coming out of New Zealand are the reason we’re still at the top of the global game. If we can bring the Cup home that means a lot for our country.”

It may also save America’s Cup from becoming even more out of touch with reality.

 

IT’S THE CULTURE, STUPID

It’s June 8, summer in San Francisco but winter in Wellington. The first race of the 2013 Winter Series at Evans Bay Boat Club hits hypothermic seas beneath steely overcast skies and 20-30 knots of wind — “perfect conditions,” one sailor enthuses. Tame, actually, for Wellington. A week ago, wind blew out the fifth story windows of a building downtown.

Sven Pannell has just finished racing a 12-foot skiff, a super lightweight, often homebuilt boat that probably originated in Australia and is almost exclusively raced in the Southern Hemisphere, though an 18-foot version will be showcased in San Francisco this September alongside the America’s Cup finals. Weighing about 100 pounds, with no class restrictions on sail area, they rooster-tail around Wellington harbor, bow high, barely in the water. They seem to require a similar caliber of nerve as the AC72s.

Which Pannell, who won today, evidently has. He grew up sailing as a kid, as did his crew, Craig Anderson. Neither of them can think of anyone who didn’t get into sailing as a child.

“A lot of people around the world think yachting is a well-heeled sport, but not in New Zealand,” he says. “There’s a reason that half those [America’s Cup] boats are full of Kiwis and Aussies. Go out and see the number of eight-year-olds in Optis in all kinds of weather here. A high number of people sailing at that age creates a deep pool of sailors in demand.”

“America’s Cup is about stretching the limits, but it starts here, when you’re eight years old,” he adds.

Eager to get out of the icy Antarctic wind, I enter the boat club where about 35 people are gathered at the bar, buzzing from adrenalin, barefoot and wet from spray or capsizes, gripping ginger beers and green bottles of Steinlager, the Budweiser of New Zealand. It’s a humble looking crowd — no flash gear or cashmere.

I’m introduced to Mike Rhodes, 26, wearing a blue sweatshirt and camo pants. He’d love to race an America’s Cup boat, but he also satisfies himself with a 12-foot skiff, which he stripped and rebuilt, fashioning the stainless steel fittings himself — he’s a sheet metal worker.

“New Zealand sailing is all about learning and moving forward,” he says. “The boats we’re sailing are always changing. We have set rules for weight, width, and length. After that it’s wide open. You can put up as much rig as you can handle. We went out in 50 knots last weekend. It was insane. We probably had boat speeds of 30 knots.”

The speed and innovations are what appeal to Rhodes and also connect to the America’s Cup, which has been an historic proving ground for leaps forward in boat design. “Who thought New Zealand could make the boat fly first?” he says of ETNZ’s proficiency at foiling the AC72 — going so fast the hull actually lifts off the water.

We’re soon joined by Laura Hutton, a 30-year-old from Cape Cod. She’s raced dinghies, coached and taught sailing for years. Now a speech therapist, she moved to New Zealand three months ago and immediately hooked into the local yachting scene. It’s palpably different than what she’s used to in the States. Here, she says, “It’s a lot more laid back. It’s more inclusive than exclusive. I used to go to events at New York Yacht Club in Newport and I felt so uncomfortable there. It’s the most elite, snobby place.”

“You can’t get coaching in the US unless you’re part of a yacht club or go to a school with a racing team,” she adds, and there’s often a huge cost to enter the sport. “Here, I can join the local yacht club for $35 a month,” she deadpans.

I spend more money riding the bus, I tell her, but I wouldn’t in San Francisco, where it’s cheap to catch a bus but where most people rarely board boats.

The American yacht club tradition has a certain “if you have to ask how much it costs, you can’t afford it” attitude. Ellison is one of 300 members of Golden Gate Yacht Club, official host for the Cup. Its neighbor, St. Francis Yacht Club, 2,300 strong, also has a role in the festivities. Both are exclusive, members-only clubs and neither would tell me what their members pay for the club’s privileges.

However, they’re officially nonprofit organizations and filings with the IRS show St. Francis made nearly $13 million in 2011. Golden Gate Yacht Club took home $660,000 the same year. Ironically, both clubs are on public lands, leased from San Francisco’s Recreation and Parks Department for $231,125 and $64,000 annually respectively.

Both clubs run learn-to-sail programs for kids — $350 for St. Francis and $200 for GGYC — which seem affordable, but what’s the next step? Joining the club, but apparently it’s too rude to query the price.

By contrast, Wellington’s Evans Bay Boat Club charges NZ$281 (US$210) to join and Royal Port Nicholson Yacht Club, which is a sister club to St. Francis, costs NZ$160 (US $120). The Bay Area is lucky — Berkeley and Treasure Island both have affordable clubs, however one could argue that if St. Francis and GGYC are on public lands, they should be paying more in dues to the city.

If there’s a posh club in Auckland, it’s ETNZ’s home — the Royal New Zealand Yacht Squadron. “But it’s a Kiwi version of posh, nothing like some of the yacht clubs I have been to in places like England, where women aren’t allowed to order drinks at the bar,” says Ben Gladwell, a journalist for Boating New Zealand who will be racing an 18 foot skiff in San Francisco in a regatta concurrent with the Cup finals. “At the Squaddy, there are obviously rules, like no cell phones, and dress codes and such like, but the fees are still only a few hundred dollars per year and it is much more inclusive than other yacht clubs around the world.”

Gladwell explored the health of New Zealand’s sailing culture in a story called “State of the Racing Nation” for Boating New Zealand. He found that although there is a drop-off in interest during university years, many yacht clubs have created partnerships to keep kids in the sport, there are mobile learn-to-sail units roaming the country, and lots of accessible city-run programs for kids. Couple that with low lifetime fees to stay in the sport and you see healthy clubs like Evans Bay, where people of all ages are out racing every weekend, all year round.

“Having so many people involved in sailing is a major reason we are successful,” he says. “Children are introduced to it at such a young age…by the time they come to competing at youth international regattas, they are hugely experienced and winning becomes a habit.”

 

“AMERICA’S CUP IS NOW NEW ZEALAND’S CUP”

In 1995, when Black Magic smoked Dennis Connor’s Stars and Stripes in a five-race shut-out, commentator Peter Montgomery famously quipped “America’s Cup is now New Zealand’s cup,” a line that’s gone down in Kiwi history like the “I have a dream” speech.

For the first time, the Auld Mug would be defended in New Zealand. Back then, Auckland’s Viaduct Harbor probably looked a lot like parts of San Francisco’s waterfront does today — dilapidated piers and old industrial buildings crumbling on their pilings. It would cost of NZ$58 million (US$29 million at the time) to dredge the harbor and spruce up the waterfront for the Cup.

The city made its money back. Hosting for two years, in 2000 and 2003, brought NZ$1 billion (US$500 million, at the time) in economic benefits to the country, about 85 percent of that going to Auckland’s local businesses, mostly from visiting megayachts and the services required for the nine syndicates that competed — twice as many as are in San Francisco today.

And Auckland made a lot less than the US$900 million predicted for San Francisco, already trimmed from the US$1.4 billion initially estimated. What the city actually gains from the $22.5 million investment they’ve been forced to make remains to be seen. Meanwhile, Auckland continues to benefit from the race.

It’s been estimated that the four Cup contenders have collectively spent half a billion on their campaigns and a decent chunk of that has been in Auckland, particularly during the AC72 design, build, and testing phases. Already, taxes paid by ETNZ employees amount to NZ$22.4 million (US$16.5 million). That doesn’t include the employee payroll taxes of all the businesses doing Cup-related activity, like the boat builders, riggers, and sailmakers.

ETNZ CEO Grant Dalton has netted sponsorships from more than 100 companies and argues that the Cup efforts have kept many marine businesses afloat that would have otherwise shuttered. Kiwis have not been immune to the world financial situation: the high New Zealand dollar hurting exports and the NZ$30 billion (US$22.5 billion) price tag for the February 2011 Christchurch earthquake have stressed the country’s coffers.

Because of that, funding ETNZ has been as contentious here as hosting Ellison’s party has been to San Franciscans. The agreement was signed in 2007 by a Labour Party-led government and when National Party’s John Key won the Prime Minister’s seat in 2008, he looked into breaking the contract, a move supported by other parties. “Funding the America’s Cup is surely a ‘nice to have’, rather than essential spending, in the current economic climate,” said Green Party co-leader Metiria Turei at the time.

The government was advised they’d still be legally on the hook for the money if they broke the contract, so ETNZ proceeded, but proof of economic return was a contingency and Dalton has taken pains to keep the public good in the conversation, a sharp contrast to Ellison’s attitude toward San Francisco. Dalton has said if New Zealand wins, the world should expect a sharp scaling back of costs. “We stand for nationality rule and we stand for real budget numbers that real people can raise,” he has said.

There’s definitely a sense that this could be New Zealand’s last chance to bring the Auld Mug home. If they don’t, the America’s Cup also loses. Who else will save it from American-style exclusiveness?

From around the Internet: San Franciscans celebrate marriage equality

Sasha Cuttler And Mary Magee
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All around San Francisco yesterday, gay couples, city leaders, and street revelers celebrated the Supreme Court’s rulings striking down Proposition 8 and the Defense of Marriage Act. Here’s a glimpse of the how the city reacted to the news on June 26, as told by San Franciscans who uploaded videos to YouTube (video after the jump):

Our video mashup features (in order of appearance) Jay and Bryan Leffew with their two kids, Daniel and Selena; a crowd reacting with cheers as they attended an early-morning gathering at San Francisco City Hall (video uploaded by Will Kivinski); San Francisco City Attorney Dennis Herrera, Lt. Gov. Gavin Newsom, and District 9 Supervisor David Campos (all featured in a video of the press conference produced by the city); Cindy Sunshine and friends (uploaded by Prana Fitte); and scenes of a street-party celebration in the Castro uploaded by HiWorld798 and Elena Olzark.

Supreme Court same-sex marriage decisions: DOMA invalidated, Prop 8 case dismissed, SF reacts [UPDATED]

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Supreme Court same-sex marriage decisions: DOMA invalidated, Prop 8 case dismissed, SF reacts [UPDATED]

Watch this space throughout the day for breaking news on the decision and reactions. Tonight there will be a celebration of the Court’s decisions at Castro and Market Streets at 6:30pm. (Join  the Guardian beforehand, 6-9 at the Pilsner in the castro, at its annual pre-Pride event.) 

DOMA INVALIDATED

The Supreme Court released its ruling this morning that the Defense of Marriage Act, which denies federal recognition of same-sex marriage, “is unconstitutional as a deprivation of the equal liberty of persons that is protected by the Fifth Amendment.”

“DOMA singles out a class of persons deemed by a State entitled to recognition and protection to enhance their own liberty,” according to the majority opinion. “DOMA’s principal effect is to identify a subset of state sanctioned marriages and make them unequal.” The Court voted 5-4, with Justice Kennedy, who wrote the majority opinion, as the decisive vote along the usual liberal/conservative lines. You can read the full opinion here. 

This means that same-sex marriages performed in states that have legalized such marriages will be recognized by federal law.  

PROP 8 DISMISSED ON STANDING

As for Hollingsworth v. Perry, the Prop 8 case, it was dismissed on standing, due to the fact that the State of California refused to defend the case that would uphold Prop 8 (which denied same-sex marriage).That meant private citizens were left to defend a state statute, which was unprecedented, and the Court refused to rule on those grounds.

“We have never before upheld the standing of a private party to defend the constitutionality of a state statute when state officials have chosen not to. We decline to do so for the first time here,” the majority Court statement (which broke along the typical 5-4 line) said. That means there is no specific decision from the Court regarding Prop 8, and the previous ruling, by Judge Vaughan Walker and upheld by the Ninth Circuit Court, that invalidated Prop 8 as discriminatory, stands.

This may mean that same-sex marriages in California can resume as early as July.

You can read the full Prop 8 ruling here.

Scene this morrning at SF City Hall, with Mayor Ed Lee and Lt. Gov. Newsom. Photo by Dan Bernal.

[UPDATE] REACTIONS AT CITY HALL

Steven T. Jones reports from SF City Hall:

City Hall was totally packed at 7am when the US Supreme Court convened — tons of journalists, lots of couples, many signs in the crowd. Two screens were set up, one with a live blog from court chamber, the other with the CNN live feed. Huge cheers erupted at 7:11 when the decision was announced striking down DOMA and forcing the federal government to recognize the rights of same-sex married couples.  Then at 7:38, when the Prop 8 statement came down, the room went nuts. 

A moment later, an array of current and former city officials appeared at the top of the City Hall main staircase. Mayor Ed Lee and Lt. Gov. Gavin Newsom escorted a fragile Phyllis Lyon down the stairs — she, along with the late Del Martin, were the first same-sex couple to get legally married in California in 2004 — flanked by the rest of the city family, all with big smiles.

“Welcome to the people’s house of San Francisco,” Mayor Lee said, thanking the crowd “for sharing in this historic moment.”

“It feels good to have love triumph over ignorance,” he said.

At 7:44, City Attorney Dennis Herrera and Chief Deputy City Attorney Terry Stewart, who had been on the City Hall steps addressed reporters’ question on the legal details of the ruling, joined the crew to sustained applause as Lee recognized them. He then introduced Newsom, who in 2004 as San Francisco mayor allowed same-sex marriages to be performed, as “one person who used the power of this office to make history and show his love for the city.”

“San Francisco is not a city of dreamers, but a city of doers,” Newsom said. “Here we don’t just tolerate diversity, we celebrate our diversity.” He thanked Herrera and everyone who contributed to this moment. “It’s people with a true commitment to equality that brought us here.”

Newsom introduced Kate Kendall with the National Center for Lesbian Rights, who has led the coalition of groups that have push for marriage equality. She looked around the crowd and said, “Fuck you, Prop 8!”

The crowd roared, and she said that she had scanned the room for children, and promised to “put a dollar in the swear jar” if necessary. But she said that, “We have lived for too many years under that stigmatizing piece of crap.”

Then Herrera took the podium, turned to Newsom, and said, “Now you can say, ‘Whether you like it or not!'” — a joking reference to Newsom’s same-sex marriage rallying cry, which some blamed for boosting the anti-same-sex marriage cause.

“We wouldn’t be here today if it wasn’t for Gavin Newsom’s leadership,” Herrera continued. ““I remember in 2004 when people were saying it was too fast, too soon, too much.”

But today, that long effort has been vindicated, Now, he said, “It’s about changing the hearts and minds of people and educating them.” He also pledged to continue the fight that began here in City Hall more than nine years ago: “We will not rest until we have marriage equality throughout this country.”

Gavin Newsom being interviewed inside City Hall. Photo by Steve Jones

Finally Stewart, who has argued cases related to San Francisco’s stand before both the US and California Supreme Courts, praised both the Prop. 8 and DOMA rulings and the precedents they set. “In the DOMA case decision, the Supreme Court expressed a stong equal protection philosophy…that will help legalize same sex marriage in other states.”

Three members of the Board of Supervisors were also invited by Kendell to address the huge City Hall crowd: Board President David Chiu and Sups. David Campos and Scott Wiener, the only two current supervisors who are gay.

Chiu noted that the bust of slain Sup. Harvey Milk is prominently positioned outside the Board Chambers, a reminder of the long struggle for gay rights that San Franciscans have led. “That work lives on today,” he said.

He added the hope that the work done here will ripple out of across the country because, he said, “As goes San Francisco, so goes California, so goes the rest of the country.”

Campos, an attorney who has long been in a committed relationship, said, “It’s a very emotional moment for those of us who are part of the LGBT community.” He said this Supreme Court ruling is the first time it has really acknowledged “that we are people and we have dignity,” and that the rulings sends a clear message to Congress that legislation like DOMA is unconstitionally discriminatory.

Wiener praised the resilience of the LGBT community, from the early days of enduring the AIDS crisis and fighting for federal support through the current campaign for marriage equality. And he cheered the fact that, “Those marriages that we see under the rotunda [in City Hall] will get a little more diverse.”

11:30 AM UPDATE: Style and substance

While Newsom strutted around like a proud peacock in front of City Hall — clearly the leading man in this epic story with the happy ending, much in demand by the television crews — Herrera and Stewart briefed various reporters on the details of the case that they had just won.

Gavin Newsom outside City Hall. Photo by Steve Jones.

“I wanted a merits ruling, but a standing ruling is a victory too,” Herrera told us, making the distinction between the court ruling that banning same-sex marriage is unconstitutional on the grounds of equal protection under the law — which it did not do — and the 5-4 ruling it did issue: that those who appealed the Ninth Circuit Court ruling invalidating Prop. 8 lack proper legal standing to do so.

The standing ruling leaves same-sex marriage opponents more wiggle room to argue that the ruling might only apply to the couples named in the suit, or in just the counties that took part, which also included Alameda and Los Angeles, positions they were already signaling in press statements.

But Herrera said that he would vigorously contest that kind of challenge, which he considers to be without merit, telling us, “The injunction is not limited in its scope.”

UPDATE: SFPD isn’t worried

Police Chief Greg Suhr, who attended the City Hall event, said the timing on the ruling during Pride Week couldn’t be better. “It’s nice that it all lined up for us,” he told us. “This town is going to rock ‘til the wheels come off.”

Asked whether he has any heightened security concerns about the Pride Parade in the wake of a ruling that is controversial to some, Suhr said that he’s not worried. He said SFPD is now fully staffed and all available personnel working this weekend, although he will try allow many of his gay and lesbian officers to join the celebration if they want.

“We’re going to police what’s likely to be the biggest party this city has ever seen,” Suhr said, adding that his policing philosophy is, “We plan for the worst and hope for the best.”

 

Go see Dirty Wars and meet film director

Sasha Cuttler And Mary Magee
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First, some sad news: Michael Hastings, the journalist whose Rolling Stone profile of General Stanley McChrystal resulted in the firing of the commander of U.S. forces in Afghanistan, is dead at 33.

In honor of journalists brave enough to shed light on the inner workings of overseas defense operations, it might be worth attending one of four upcoming screenings of Dirty Wars, a film that brings the grisly reality of U.S. military operations in Afghanistan, Yemen and Somalia to the big screen. Dirty Wars is also the name of the book by investigative reporter Jeremy Scahill, national security correspondent at The Nation, which the film is based on.

Film director Richard Rowley will lead post-screening discussions on Friday and Saturday, at Embarcadero Center Cinema in San Francisco, and Shattuck Cinemas in Berkeley.

“After he gets wind of a deadly nighttime raid on a home in rural Afghanistan, Scahill does his best to investigate what really happened,” SFBG Senior Editor of Arts and Entertainment Cheryl Eddy writes in her film review, “though what he hears from eyewitnesses doesn’t line up with the military explanation — and nobody from the official side of things cares to discuss it any further, thank you very much.” Dirty Wars snagged a cinematography award at Sundance earlier this year.

You can’t see me

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You can’t see me

caitlin@sfbg.com

SURVEILLANCE It’s all a mess: the government is suddenly (to those of us waking from our Twinkie nap) spying on us. Mulder and Scully were right, trust is for the foolish and undisturbed sleep is for the ignorant.

All the more reason to go out. Authoritarian regime is no excuse for poor style, says New York high tech fashion designer Adam Harvey. And armed with his projects, drone-defeating tactics can look damn good.

Even before Edward Snowden’s heroic leak of documents laid bare the NSA’s wide-ranging surveillance of American citizens, Harvey was busying himself merging privacy rights with fashion. Witness his LED-aided clutches that deflected the flash of cameras — the ultimate accessory for A-list independents (“Camoflash”, 2009).

But perhaps you are more of the sporty type? Harvey’s newest collection, “Stealth Wear” includes a half-hoodie that deflects thermal imaging surveillance. Heat-seeking systems won’t be able to see you, but that babe in the club sure will. His designs have an anti-colonial gaze: two “Stealth Wear” garments take the form of burqa and hijab. He’s also developed “CV Dazzle”, a series of makeup looks that foil facial recognition software and “OFF Pocket”, a sleek envelope that blocks one’s cell phone from sending or receiving signals.

We caught up with him through an insecure email account.

SFBG “CV Dazzle”‘s look seems very of-the-moment when it comes to the avant-garde fashion you see in clubs. What’s the inspiration? 

Adam Harvey The first look, with the black-and-white makeup, developed from my fascination with the Boombox scene in London. I studied party photographs as well as tribal face painting, especially from Pacific Islands. What I found was that only one of these styles worked, club fashion. Tribal body decoration does more to enhance key facial features which make a face easier to detect. The bold, ambiguous looks of the club scene were more algorithmically resistant. From there, I worked with Pia Vivas, a hair stylist to create the first look. And then collaborated with DIS Magazine to create the second and third looks.

SFBG How have the recent NSA revelations informed your work? 

AH The news struck while my collaborator and I were planning production for the “OFF Pocket.” It’s the first time I’m taking an art project and turning it into a marketable product. A lot of my work in privacy arts is speculative and provocative, but I think some concepts can be even more provocative when they’re accessible to more people. What happens when countersurveillance goes mainstream? That’s a discussion we need to have because if the government doesn’t respect privacy, then I think we should have the right to countersurveillance.

SFBG Where is “OFF Pocket” at in the production process? Have you sent one to Edward Snowden? 

AH It’s very close. I’ve gone through a lot of prototyping and testing to ensure that the product works well. Once a phone is inside and the case is properly closed, you really can’t access any part of it. If I knew where Edward Snowden was, I would send him a thankful dozen.

 

The end of an era, but not of a legacy

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Tim Redmond has a big heart. He cares deeply about this city and he cared deeply about this newspaper. But last Thursday was Tim’s last day at the Bay Guardian, the place where he worked for the bulk of the past three decades. In typical fashion, he stuck to his principles to the end.

The Guardian is not as economically healthy as it once was, and 2013 has not been kind to the paper. Revenues are down and many issues lose money, a trend that threatens our mission if left unchecked. During the past month, Guardian management had been contemplating some painful but necessary changes that included layoffs. Tim participated in these discussions, but in the end he chose to resign rather than downsize a staff he loved like family.

I understand Tim’s decision, but believe it was shortsighted. During the past year and a half, the Guardian’s two sister papers — the San Francisco Examiner and SF Weekly — have undergone similar restructuring, which included layoffs. The goal was not to extract obscene profits — a mission I wouldn’t support even if it were still possible in 2013 — but rather to ensure both papers’ survival and recovery. It was an unpleasant process, and one that Tim could not abide.

But today, the Examiner and Weekly are both significantly healthier than they used to be. The Examiner is no longer the mouthpiece of right-wing buffoons, and in recent months has expanded its Peninsula coverage and enlarged its editorial staff. And the Weekly boasts significantly more new coverage, listings and advertising than it did just six months ago.

I want the Guardian’s future as a progressive voice to be similarly assured. So now, 32 years after selling my first freelance news article to the paper — a brief about BART’s effort to evict the Ashby Flea Market — I find myself replacing Tim as publisher. Longtime Managing Editor Marke Bieschke, aka Marke B., is filling his shoes as interim editor.

I know some Guardian readers assume that this means the end of progressive journalism in the paper. Please let me assure you that will not occur. I have spent the bulk of my career editing investigative newsweeklies and have no intention of going down in history as the guy who dumbed-down the Guardian.

The very night before Tim told me he was leaving, he presided over a packed forum on the topic of economic dislocation in San Francisco. At the height of a tech boom that has inflated rents and led to a wave of migration and evictions, it’s hard to imagine few other topics of greater importance. Tim and the Guardian have reported extensively on this issue in the year since the paper was acquired by the San Francisco Print Media Company. Of course, the Guardian was already writing about evictions long before Tim’s predecessor assigned me to write that 1981 article about the flea market.

Under Tim’s successor, that emphasis will not change.

 

Holding out for a hero…or an antihero…or the Antichrist: this week’s new movies!

Sue Vaughan
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Holding out for a hero…or an antihero…or the Antichrist: this week’s new movies!

Already in theaters, Seth Rogen and his bro posse take on doomsday in This Is the End. I got the chance to talk with Mr. Rogen, his co-director and co-writer Evan Goldberg, and co-star Craig Robinson when they visited San Francisco a few days back. (Fun fact: Rogen really does laugh like that in real life.) Check the interview here!

In rep news, this weekend at the Castro Theatre heralds the San Francisco Silent Film Festival‘s “Hitchcock 9” event, spotlighting nine silent films by the guy who would later claim the title “Master of Suspense,” direct some of the greatest thrillers of all time, etc. You can’t go wrong with any of the films, but just for kicks, here’s my take on the series here. And at the Yerba Buena Center for the Arts, Austrian director Ulrich Seidl’s dark Paradise Trilogy continues its bummer-summer run this weekend; Dennis Harvey breaks ’em down here.

Plus! That Superman movie you’ve been hearing a thing or two about, and the rest of the week’s new offerings, after the jump.

http://www.youtube.com/watch?v=Sq6ffF8QLsQ

Becoming Traviata Philippe Béziat’s backstage doc offers an absorbing look at a particularly innovative production of Verdi’s La Traviata, directed by Jean-François Sivadier and starring the luminous Natalie Dessay (currently appearing in SF Opera‘s production of Tales of Hoffman). Béziat eschews narration or interviews; instead, his camera simply tracks artists at work, moving from rehearsal room to stage as Sivadier and Dessay (along with her co-stars) block scenes, make suggestions, practice gestures, and engage in the hit-and-miss experimentation that defines the creative process. The film is edited so that La Traviata progresses chronologically, with the earliest scenes unfolding on a spartan set (Dessay’s practice attire: yoga clothes), and the tragic climax taking place onstage, with an orchestra in the pit and sparkly make-up in full effect. Dessay will appear in person at San Francisco screenings Sat/15 at 7pm and Sun/16 at 2pm. (1:53) (Cheryl Eddy)

http://www.youtube.com/watch?v=CWnrk35qYMs

Dirty Wars Subtitled “the world is a battlefield,” this doc follows author and Nation magazine writer Jeremy Scahill as he probes the disturbing underbelly of America’s ongoing counterterrorism campaign. After he gets wind of a deadly nighttime raid on a home in rural Afghanistan, Scahill does his best to investigate what really happened, though what he hears from eyewitnesses doesn’t line up with the military explanation — and nobody from the official side of things cares to discuss it any further, thank you very much. With its talk of cover-ups and covert military units, and interviewees who appear in silhouette with their voices disguised, Dirty Wars plays like a thriller until Osama bin Laden’s death shifts certain (but not all) elements of the story Scahill’s chasing into the mainstream-news spotlight. The journalist makes valid points about how an utter lack of accountability or regard for consequences (that will reverberate for generations to come) means the “war on terror” will never end, but Dirty Wars suffers a bit from too much voice-over. Even the film’s gorgeous cinematography — director Rick Rowley won a prize for it at Sundance earlier this year — can’t alleviate the sensation that Dirty Wars is mostly an illustrated-lecture version of Scahill’s source-material book. Still, it’s a compelling lecture. (1:26) (Cheryl Eddy)

The Guillotines Why yes, that is Jimmy Wang Yu, director and star of 1976 cult classic Master of the Flying Guillotine, in a small but pivotal role commanding a team of assassins who specialize in dispatching heads with airborne versions of you-know-which weapon. Unfortunately, this latest from Andrew Lau (best-known stateside for 2002’s Infernal Affairs, remade into Martin Scorsese’s 2006 Oscar-winner The Departed) doesn’t have nearly as much fun as it should; dudes be chopping heads off in a flurry of CG’d-up steampunky whirlygigs, but The Guillotines‘ tone is possibly even more deadly, as in deadly serious. When a rebellious prophet-folk hero known as Wolf (Xiaoming Huang) runs afoul of the Emperor’s top-secret Guillotine brotherhood, led in the field by Leng (Ethan Juan), the squad travels in disguise to a rural, smallpox-afflicted village to track him down. Along for the journey is the Emperor’s top operative, ruthless Agent Du (Shawn Yue), a boyhood friend of Leng’s. Leng and Du share a dark secret: the Guillotines have been deemed expendable — yep, in the Stallone sense — and the Emperor has decided to kill them off and replace them with armies toting guns and cannons in the name of progress. Lau is no stranger to tales of men grappling with betrayals, misplaced loyalties, and hidden personal agendas — and as historical martial-arts fantasies go, The Guillotines has higher production values than most, with sweeping, luscious photography. Too bad all the action scenes are punctuated by episodes of moody brooding — replete with slo-mo gazing off into the distance, dramatically falling tears, solemn heart-to-hearts, swelling strings, and the occasional howl of anguish. (1:53) (Cheryl Eddy)

http://www.youtube.com/watch?v=T6DJcgm3wNY

Man of Steel As beloved as he is, Superman is a tough superhero to crack — or otherwise bend into anything resembling a modern character. Director Zack Snyder and writer David S. Goyer, working with producer Christopher Nolan on the initial story, do their best to nuance this reboot, which focuses primarily on Supe’s alien origins and takes its zoom-happy space battles from Battlestar Galactica. The story begins with Kal-El’s birth on a Krypton that’s rapidly going into the shitter: the exploited planet is about to explode and wayward General Zod (Michael Shannon) is staging a coup, killing Kal-El’s father, Jor-El (Russell Crowe), the Kryptonians’ lead scientist, and being conveniently put on ice in order to battle yet another day. That day comes as Kal-El, now a 20-something earthling named Clark Kent (Henry Cavill) — resigned to his status as an outsider, a role dreamed up by his protective adoptive dad (Kevin Costner) — has turned into a bit of a (dharma) bum, looking like a buff Jack Kerouac, working Deadliest Catch-style rigs, and rescuing people along the way to finding himself. Spunky Lois Lane (Amy Adams) is the key to his, erm, coming-out party, necessitated by a certain special someone looking to reboot the Kryptonian race on earth. The greatest danger here lies in the fact that all the leached-of-color quasi-sepia tone action can turn into a bit of a Kryptonian-US Army demolition derby, making for a mess of rubble and tricky-to-parse fight sequences that, of course, will satisfy the fanboys and -girls, but will likely glaze the eyes of many others. Nevertheless, the effort Snyder and crew pack into this lengthy artifact — with its chronology-scrambling flashbacks and multiple platforms for Shannon, Diane Lane, Christopher Meloni, Laurence Fishburne, and the like — pays off on the level of sheer scale, adding up to what feels like the best Superman on film or TV to date — though that bar seems pretty easy to leap over in a single bound. (2:23) (Kimberly Chun)

http://www.youtube.com/watch?v=4V1E2IgXeuI

Pandora’s Promise Filmmaker Robert Stone has traveled far from his first film, 1988’s Oscar-nominated anti-nuke Radio Bikini, to today, with the release of Pandora’s Promise, a detailed and guaranteed-to-be-controversial examination of nuclear power and the environmentalists who have transitioned from fervently anti- to pro-nuclear. Interviewing activists and authors like Stewart Brand, Gwyneth Cravens, Mark Lynas, and Michael Shellenberger, among others, Stone eloquently visualizes all angles of their discussion with media, industrial, and newly shot footage, starting with a visit to the largest nuclear disaster of recent years, Fukushima, which he visits with the hazmat-suited environmental activist and journalist Lynas and continuing to Chernobyl and its current denizens. Couching the debate in cultural and political context going back to World War II, Stone builds a case for nuclear energy as a viable method to provide clean, safe power for planet in the throes of climate change that will nonetheless need double or triple the current amount of energy by 2050, as billions in the developing world emerge from poverty. In a practical sense, as The Death of Environmentalism author Shellenberger asserts, “The idea that we’re going to replace oil and coal with solar and wind and nothing else is a hallucinatory delusion.” Stone and his subjects put together an enticing argument to turn to nuclear as a way forward from coal, made compelling by the idea that designs for safer alternative reactors that produce less waste are out there. (1:27) (Kimberly Chun)

NSA surveillance scandal goes full tilt clown

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80

The domestic eavesdropping scandal is now entering week three in the news (it’s existed for real a lot longer) and as these things tend to do, the political posturing is headed into Clownland.

Yesterday, Congressman Peter King (R-NY) demanded that UK Guardian journalist (and attorney) Glenn Greenwald be arrested. Not because of anything Greenwald has done, but because Greenwald is threatening to expose CIA assets around the world (Greenwald denies this). Odd that a lawmaker wouldn’t be able to make this distinction and even odder that when a CIA asset was actually exposed in rhe last decade (by an employee of the Bush Administration), King wasn’t this vociferous.Greenwald, fairly consistent on the matter of civil liberties, is a pretty bright guy and snarkily responded that King’s newfound enthusiasm for prosecuting terrorists is somewhat of a joke. King has been a long time supporter of the IRA. You’d think that as a congressman whose Long Island district was impacted hard by 9/11 would be fairly tough on domestic terror, but it hasn’t hurt King electorally at all.

For two reasons. One is the obvious one–The IRA’s membership does bear a strong physical resemblance to King’s constituency, ie, both white and not Muslim, ergo, not terrorists. The second is that the IRA doesn’t bomb New York. London, yes, Manhattan, no. In fact, the US has been a source of IRA cash, donated by people that don’t see the group as terrorists.

Roll that over in your head. The US doesn’t meddle in the affairs of Northern Ireland by planting military bases there (there has been a slight flap over the use of Irish airports for US military purposes). Mostly, American involvement has been muted and even handed, especially in the late 90’s. Therefore the IRA has never attacked the US. Which wouldn’t be all that difficult, given the huge number of Irish-Americans and the ease that an IRA asset or two could fit in.

Because the US doesn’t militarily meddle in Ireland’s affairs, The IRA has no interest in America. 

Perhaps if the same philosophy extended to the Middle East, eh? Nah, better that the clown show go into overdrive, right?

 

 

Scorning smokers

Jesse Hawthorne Ficks
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123
Scorning smokers

news@sfbg.com

San Francisco officials are attempting to ban the public use of e-cigarettes under the same laws that restrict smoking cigarettes, which are banned in most public places purportedly because secondhand smoke endangers others. However, the alleged lack of toxic emissions from e-cigarette vapor raises questions about the basis for the crackdown.

Has the crusade against smoking in public really been about protecting the innocent, or is the moralistic motivation to try to save people from their own bad choices also driving the trend? And if so, does that undermine the legal basis for restricting an otherwise lawful product?

Since 2011, the San Francisco Department of Public Health has backed legislation to hold e-cigarettes under the same public smoking laws as traditional tobacco products. Currently, San Francisco’s continually expanding smoke-free ordinance bans cigarette consumption in nearly any public place. This consists of Muni stops, festivals, parks, farmers’ markets, non-smoking apartments and, unfortunately for all you nicotine-addicted bingo lovers, the obscure addition of “charity bingo games.”

San Francisco has yet to pass any regulatory laws regarding e-cigarette consumption, or “vaping.” But Nick Pagoulatos, a legislative aide to Sup. Eric Mar, a staunch sponsor of San Francisco’s many anti-smoking policies, says a plan is in the works.

“Currently there is nothing on the books,” Pagoulatos told the Bay Guardian. “But there has been discussion with the health department [which is] working something up and the Mayor’s Office has been talking with them as well. The timing is unclear, but at some point it will happen.”

California Senate Bill 648, approved in May and currently on its way to the California Assembly, would elevate similar e-cigarette regulations to a state level. So why are California and San Francisco pushing so hard to regulate these products?

“The suspicion is that allowing people to vape these things reinforces the culture of smoking,” Pagoulatos said. “It continues in the tradition of making smoking look cool, even if it’s not actual smoke.”

Traditionally, San Francisco’s smoking ordinances have derived from the hazards of secondhand smoke on innocent bystanders, but the regulation of e-cigarettes evokes an entirely new basis for public smoking laws.

California has an active history of anti-smoking legislation beginning in the 1990s when San Luis Obispo became the first city in the world to ban smoking in all public buildings. In 1998, the public smoking ban elevated to the state level, specifically because of the health risks posed to bar and restaurant employees by secondhand smoke. This year, the San Francisco Board of Supervisors voted to extend the already strict non-smoking laws to cover festivals and street fairs and require landlords to designate their building units as smoking or non-smoking. Now, vapers in California face a similar threat.

 

VAPING ISN’T SMOKING

E-cigarettes contain a battery operated heating device that vaporizes a combination of nicotine and a binding liquid such as propylene glycol, a substance “generally recognized as safe” by the FDA. Since nicotine is not what kills smokers, e-cigarettes have the potential to exist as a safe alternative for smokers who can feed both the physical and mental habit of smoking without the detrimental effects of tar and the plethora of other chemicals found in traditional cigarettes.

However, conflicting studies exist regarding the safety of e-cigarettes for both users and the public. While the FDA has yet to regulate e-cigarettes, a 2009 evaluation reported the finding of numerous chemicals in e-cigarette liquid, such as those found in antifreeze.

Gregory Conley, legislative director for The Consumer Advocates for Smoke-Free Alternatives Association, told us these reports are misleading.

“Essentially, there is absolutely no evidence that e-cigarette vapor poses any significant threat to public health,” said Conley. “The antifreeze chemical was found in one of the 18 cartridges and tested in an amount that was less than 1 percent. Additionally, the amount of the chemical diethylene glycol found by the FDA would take thousands of cartridges to reach a toxic level.”

Conley cites the publication Tobacco Control, a premier tobacco science journal in the US with no tobacco industry ties, as the leading evidence in the case for e-cigarettes. The study, funded by the National Institute of Health, tested 17 different brands of e-cigarettes for chemicals known to cause harm in secondhand smoke.

“These amounts were nearly identical to the amounts in the control product, or the FDA approved nicotine inhaler,” said Conley. “They are trace levels, and anyone who has been in a room with an e-cigarette knows that there is a vast difference in comparison to a normal cigarette.”

A study by the Fraunhofer Wilhelm-Klauditz-Institut in Braunschweig, Germany found similar results, reporting that the release of toxins from e-cigarettes were marginal to non-existent. In fact, researchers attributed many of the low level chemicals detected in the tests, such as formaldehyde and acetone, to the test subjects, since our lungs naturally exhale these chemicals in small amounts.

Conley says e-cigarettes not only provide a safe alternative, but also offer a public promotion of smoking cessation by illustrating the addicting effects of nicotine.

“It’s a walking advertisement to show how addictive cigarettes are,” Conley said. “The fact that you have to buy one of these things to quit smoking, with a battery and everything, it’s ridiculous.“

 

TARGETTING TOBACCO

Equating e-cigarettes and traditional cigarettes does tend to disregard the potential benefits safer nicotine alternatives can have on addicts. The language of the FDA and the DPH appears to dismiss the advantages of e-cigarettes over smoking. While issues certainly arise with the lack of regulation and quality control of e-cigarettes, much of the discussion from these groups pertains to reversing social views on smoking.

“The major concern for us is about social norms,” Derek Smith, a health program coordinator at the Tobacco Free Project, told us. “People get confused about the use of these products in public where they might think tobacco use is allowed. That’s one of the major concerns because there are limits to where people can safely smoke indoors. It’s the idea of a copycat item.”

According to Smith, AT&T Park, San Francisco General Hospital, and the San Francisco Airport Commission have all already banned the use of e-cigarettes on their premises. Some Bay Area cities, such as Petaluma, have already classified vaping under their smoking ordinances. In Canada, the sale of e-cigarettes is entirely prohibited due to a lack of regulation and quality control, while cigarettes remain legal.

FDA regulation could certainly alleviate much of the pressure e-cigarette companies face from the public. However, if a safe e-cigarette is proven to exist via an official FDA evaluation, organizations like the DPH may still not allow public vaping for the sake of remaining strictly against the use of tobacco related products in public places.

Many of the arguments against the use of e-cigarettes are seemingly arbitrary to the discussion of public use since San Francisco’s public policy holds so much blunt hostility toward anything tobacco related (but, of course, anything marijuana related is okay with the city). Oddly, e-cigarettes continue to get flack from the FDA, while other nicotine delivery systems such as patches and gum are FDA approved.

Under what legal grounds could San Francisco’s government have the right to ban e-cigarette usage in public places if they are proved harmless? If the legislation passes, residents of non-smoking apartments would be unable to legally vape a scentless, allegedly toxin free e-cigarette in the privacy of their own home.

 

FEDS AND E-CIGS

In March the FDA appointed Mitch Zeller as the new director of the Center for Tobacco Products. According to his FDA profile, Zeller, a lifelong proponent of FDA tobacco regulation, has deep-rooted ties to the anti-smoking movement and is currently an executive of a pharmaceutical consulting firm working closely with sellers of FDA approved, nicotine-replacement pharmaceuticals.

But Zeller has openly advocated the idea of harm reduction through nicotine-replacement systems, much more than his predecessor, Dr. Lawrence Deyton. So hope may yet exist for the plight of vapers who don’t want to be lumped in with smokers. So much of the anti-smoking conversation is drenched in black-and-white thinking, promoting a system of total abolition over harm reduction. Unfortunately for smokers, this could impede their transition to a safe nicotine delivery system that they can use virtually anywhere, and one that may consequently help save lives. As of now, public discourse and education may act as the most important catalyst toward a widespread understanding of e-cigarettes.

For anyone who has seen an e-cigarette, the soft glow of the LED light at the end has little resemblance to a traditional cigarette, which is on fire and emitting a cloud of noxious smoke. If an FDA approved, emission-free e-cigarette eventually hits the market, users in San Francisco could still face a loss of freedom solely backed by the ideological social standards of the anti-smoking movement, which would bar them from vaping in public. But for now, San Francisco’s vapers should enjoy their freedom while it lasts.

CORRECTION: This article was corrected to change the chemical name in Conley’s quote from propylene glycol and to clarify that the FDA studied the liquid in e-cigarettes, not their emissions. 

Film listings

Andrew Lam
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0

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

OPENING

Becoming Traviata Philippe Béziat’s backstage doc offers an absorbing look at a particularly innovative production of Verdi’s La Traviata, directed by Jean-François Sivadier and starring the luminous Natalie Dessay (currently appearing in SF Opera’s production of Tales of Hoffman). Béziat eschews narration or interviews; instead, his camera simply tracks artists at work, moving from rehearsal room to stage as Sivadier and Dessay (along with her co-stars) block scenes, make suggestions, practice gestures, and engage in the hit-and-miss experimentation that defines the creative process. The film is edited so that La Traviata progresses chronologically, with the earliest scenes unfolding on a spartan set (Dessay’s practice attire: yoga clothes), and the tragic climax taking place onstage, with an orchestra in the pit and sparkly make-up in full effect. Dessay will appear in person at San Francisco screenings Sat/15 at 7pm and Sun/16 at 2pm. (1:53) Opera Plaza, Shattuck, Smith Rafael. (Eddy)

Dirty Wars Subtitled "the world is a battlefield," this doc follows author and Nation magazine writer Jeremy Scahill as he probes the disturbing underbelly of America’s ongoing counterterrorism campaign. After he gets wind of a deadly nighttime raid on a home in rural Afghanistan, Scahill does his best to investigate what really happened, though what he hears from eyewitnesses doesn’t line up with the military explanation — and nobody from the official side of things cares to discuss it any further, thank you very much. With its talk of cover-ups and covert military units, and interviewees who appear in silhouette with their voices disguised, Dirty Wars plays like a thriller until Osama bin Laden’s death shifts certain (but not all) elements of the story Scahill’s chasing into the mainstream-news spotlight. The journalist makes valid points about how an utter lack of accountability or regard for consequences (that will reverberate for generations to come) means the "war on terror" will never end, but Dirty Wars suffers a bit from too much voice-over. Even the film’s gorgeous cinematography — director Rick Rowley won a prize for it at Sundance earlier this year — can’t alleviate the sensation that Dirty Wars is mostly an illustrated-lecture version of Scahill’s source-material book. Still, it’s a compelling lecture. (1:26) Embarcadero, Shattuck. (Eddy)

The Guillotines Why yes, that is Jimmy Wang Yu, director and star of 1976 cult classic Master of the Flying Guillotine, in a small but pivotal role commanding a team of assassins who specialize in dispatching heads with airborne versions of you-know-which weapon. Unfortunately, this latest from Andrew Lau (best-known stateside for 2002’s Infernal Affairs, remade into Martin Scorsese’s 2006 Oscar-winner The Departed) doesn’t have nearly as much fun as it should; dudes be chopping heads off in a flurry of CG’d-up steampunky whirlygigs, but The Guillotines‘ tone is possibly even more deadly, as in deadly serious. When a rebellious prophet-folk hero known as Wolf (Xiaoming Huang) runs afoul of the Emperor’s top-secret Guillotine brotherhood, led in the field by Leng (Ethan Juan), the squad travels in disguise to a rural, smallpox-afflicted village to track him down. Along for the journey is the Emperor’s top operative, ruthless Agent Du (Shawn Yue), a boyhood friend of Leng’s. Leng and Du share a dark secret: the Guillotines have been deemed expendable — yep, in the Stallone sense — and the Emperor has decided to kill them off and replace them with armies toting guns and cannons in the name of progress. Lau is no stranger to tales of men grappling with betrayals, misplaced loyalties, and hidden personal agendas — and as historical martial-arts fantasies go, The Guillotines has higher production values than most, with sweeping, luscious photography. Too bad all the action scenes are punctuated by episodes of moody brooding — replete with slo-mo gazing off into the distance, dramatically falling tears, solemn heart-to-hearts, swelling strings, and the occasional howl of anguish. (1:53) Presidio. (Eddy)

Man of Steel As beloved as he is, Superman is a tough superhero to crack — or otherwise bend into anything resembling a modern character. Director Zack Snyder and writer David S. Goyer, working with producer Christopher Nolan on the initial story, do their best to nuance this reboot, which focuses primarily on Supe’s alien origins and takes its zoom-happy space battles from Battlestar Galactica. The story begins with Kal-El’s birth on a Krypton that’s rapidly going into the shitter: the exploited planet is about to explode and wayward General Zod (Michael Shannon) is staging a coup, killing Kal-El’s father, Jor-El (Russell Crowe), the Kryptonians’ lead scientist, and being conveniently put on ice in order to battle yet another day. That day comes as Kal-El, now a 20-something earthling named Clark Kent (Henry Cavill) — resigned to his status as an outsider, a role dreamed up by his protective adoptive dad (Kevin Costner) — has turned into a bit of a (dharma) bum, looking like a buff Jack Kerouac, working Deadliest Catch-style rigs, and rescuing people along the way to finding himself. Spunky Lois Lane (Amy Adams) is the key to his, erm, coming-out party, necessitated by a certain special someone looking to reboot the Kryptonian race on earth. The greatest danger here lies in the fact that all the leached-of-color quasi-sepia tone action can turn into a bit of a Kryptonian-US Army demolition derby, making for a mess of rubble and tricky-to-parse fight sequences that, of course, will satisfy the fanboys and -girls, but will likely glaze the eyes of many others. Nevertheless, the effort Snyder and crew pack into this lengthy artifact — with its chronology-scrambling flashbacks and multiple platforms for Shannon, Diane Lane, Christopher Meloni, Laurence Fishburne, and the like — pays off on the level of sheer scale, adding up to what feels like the best Superman on film or TV to date — though that bar seems pretty easy to leap over in a single bound. (2:23) Balboa, Marina. (Chun)

Pandora’s Promise Filmmaker Robert Stone has traveled far from his first film, 1988’s Oscar-nominated anti-nuke Radio Bikini, to today, with the release of Pandora’s Promise, a detailed and guaranteed-to-be-controversial examination of nuclear power and the environmentalists who have transitioned from fervently anti- to pro-nuclear. Interviewing activists and authors like Stewart Brand, Gwyneth Cravens, Mark Lynas, and Michael Shellenberger, among others, Stone eloquently visualizes all angles of their discussion with media, industrial, and newly shot footage, starting with a visit to the largest nuclear disaster of recent years, Fukushima, which he visits with the hazmat-suited environmental activist and journalist Lynas and continuing to Chernobyl and its current denizens. Couching the debate in cultural and political context going back to World War II, Stone builds a case for nuclear energy as a viable method to provide clean, safe power for planet in the throes of climate change that will nonetheless need double or triple the current amount of energy by 2050, as billions in the developing world emerge from poverty. In a practical sense, as The Death of Environmentalism author Shellenberger asserts, "The idea that we’re going to replace oil and coal with solar and wind and nothing else is a hallucinatory delusion." Stone and his subjects put together an enticing argument to turn to nuclear as a way forward from coal, made compelling by the idea that designs for safer alternative reactors that produce less waste are out there. (1:27) Embarcadero, Shattuck. (Chun)

This Is the End See "Hell Boys." (1:46) Four Star, Presidio, Shattuck.

ONGOING

After Earth In around a century, we’ll board penitentiary-style ships and evacuate Earth for a sexier planet. Let’s call it a middle-aged migration — we all saw this coming. It’ll be dour, and we’ll feel temporary guilt for all the trees we leveled, bombs we dropped, and oil refineries we taped for 1960s industrial films. Like any body post-divorce, our planet will develop defenses against its ex — us humans — so when Will Smith and son Jaden crash land on the crater it’s toxic to them, full of glorious beasts and free as the Amazon (because it was partly filmed there). Critically wounded General Raige (Will) has to direct physically incredible Kitai (Jaden) through the future’s most dangerous Ironman triathalon. It’s more than a Hollywood king guiding his prince through a life-or-death career obstacle course, it’s a too-aggressive metaphor for adolescence — something real-world Jaden may forfeit to work with dad. Call that the tragedy beneath After Earth: it makes you wonder why the family didn’t make a movie more like 1994’s The Lion King — they had to know that was an option. Director M. Night Shyamalan again courts the Last Airbender (2010) crowd with crazy CG fights and affecting father-son dynamics, but for once, Shyamalan is basically a hired gun here. The story comes straight from Papa Smith, and one gets the feeling the movie exists primarily to elevate Jaden’s rising star. (1:40) 1000 Van Ness, SF Center, Sundance Kabuki. (Vizcarrondo)

Before Midnight Proving (again) that not all sequels are autonomic responses to a marketplace that rewards the overfamiliar, director Richard Linklater and his cowriters Julie Delpy and Ethan Hawke reconnect with the characters Céline and Jesse, whom we first encountered nearly 20 years ago on a train and trailed around Vienna for a night in Before Sunrise, then met again nine years later in Before Sunset. It’s been nine more years since we left them alone in a Paris apartment, Céline adorably dancing to Nina Simone and telling Jesse he’s going to miss his plane. And it looks like he did. The third film finds the two together, yes, and vacationing in Greece’s southern Peloponnese, where the expansive, meandering pace of their interactions — the only mode we’ve ever seen them in — is presented as an unaccustomed luxury amid a span of busy years filled with complications professional and personal. Over the course of a day and an evening, alone together and among friends, the two reveal both the quotidian intimacies of a shared life and the cracks and elisions in their love story. (1:48) Embarcadero, Piedmont, Shattuck, Sundance Kabuki. (Rapoport)

The East In Zal Batmanglij and Brit Marling’s powerful second film collaboration (Batmanglij directs, and the pair co-wrote the screenplay, as in 2011’s Sound of My Voice), Marling plays Sarah, an intelligence agent working for a private firm whose client list consists mainly of havoc-wreaking multinationals. Sarah, presented as quietly ambitious and conservative, is tasked by the firm’s director (Patricia Clarkson) with infiltrating the East, an off-the-grid activist collective whose members, including Benji (Alexander Skarsgård), Izzy (Ellen Page), and Doc (Toby Kebbell), bring an eye-for-an-eye sensibility to their YouTube-publicized "jams." Targeting an oil company responsible for a BP-style catastrophe, they engineer their own spill in the gated-community habitat of the company’s CEO, posting a video that juxtaposes grisly images of oil-coated shorebirds and the unsettling sight of gallons of crude seeping through the air-conditioning vents of a tidy McMansion. A newspaper headline offers a facile framework for understanding their activities, posing the alternatives as "Pranksters or Eco-Terrorists?" But as Sarah examines the gut-wrenching consequences of so-called white-collar crime and immerses herself in the day-to-day practices of the group, drawn in particular to the charismatic Benji, the film raises more complex questions. Much of its rhetorical force flows from Izzy, whom Page invests with a raw, anguished outrage, drawing our sympathies toward the group and its mission of laying bare what should be unbearable. (1:56) California, Embarcadero, Piedmont, Sundance Kabuki. (Rapoport)

Elemental Even those suffering from environmental-doc fatigue (a very real condition, particularly in the eco-obsessed Bay Area) will find much to praise about Elemental, co-directed by Gayatri Roshan and NorCal native Emmanuel Vaughan-Lee (who also co-composed the film’s score). This elegantly shot and edited film approaches the issues via three "eco-warriors," who despite working on different causes on various corners of the planet encounter similar roadblocks, and display like-minded determination, along the way: Rajendra Singh, on a mission to heal India’s heavily polluted Ganges River; Jay Harman, whose ingenious inventions are based on "nature’s blueprints"; and Eriel Deranger, who fights for her indigenous Canadian community in the face of Big Oil. Deranger cuts a particularly inspiring figure: a young, tattooed mother who juggles protests, her moody tween (while prepping for a new baby), and the more bureaucratic aspects of being a professional activist — from defending her grassroots methods when questioned by her skeptical employer, to deflecting a drunk, patronizing Robert F. Kennedy Jr. at a big-ticket fundraiser — with a calm, steely sense of purpose. (1:33) Smith Rafael. (Eddy)

Epic (1:42) Metreon, 1000 Van Ness, Presidio.

Fast and Furious 6 Forget the fast (that’s understood by now, anyway) — part six in this popcorny series is heavy on the "furious," with constant near-death stunts that zoom past irrational and slam into batshit crazy. Agent Hobbs (Dwayne Johnson) lures the gang out of sunny retirement to bust a fast driver with a knack for strategy and an eye on world domination. Sure, Ludacris jokes their London locale doesn’t mean they’re in a Bond movie, but give cold-blooded Luke Evans some time and he’ll work his way up to antagonizing 007. Shaw (Evans) is smaller than our hero Toretto (Vin Diesel), but he’s convincing, throwing his King’s English at a man whose murky dialect is always delivered with a devilish baritone. If Shaw’s code is all business, Toretto’s is all family: that’s what holds together this cast, cobbled from five Fast and Furious installments shot all over the world. Hottie Gal Gadot (playing Sung Kang’s love interest) reassures Han (Kang) mid-crisis: "This is what we are." It’s not for nothing the gang’s main weapon is a harpoon gun that, once shot, leaves an umbilicus from the shooter to whatever’s in the crosshairs. That’s Torreto for you. Meanwhile, the villain’s weapon is a car with a spatula-like front end, that flips cars like pancakes. The climactic battle on a cargo plane has to give a face time to every member of the eight-person team, so naturally they shot it on the world’s longest runway. Of course the parade features less car porn than previous editions but it’s got a wider reach now — it’s officially international intrigue, not just fun for gearheads. For my money, it’s some of the best action in theaters today. Stick around for the inevitable sequel-suggesting coda during the credits. (2:10) Metreon, 1000 Van Ness. (Vizcarrondo)

Fill the Void Respectfully rendered and beautifully shot in warm hues, Fill the Void admirably fills the absence on many screens of stories from what might be considered a closed world: the Orthodox Hasidic community in Israel, where a complex web of family ties, duty, and obligation entangles pretty, accordion-playing Shira (Hada Yaron). An obedient daughter, she’s about to agree to an arranged marriage to a young suitor when her much-loved sister (Renana Raz) dies in childbirth. When Shira’s mother (Irit Sheleg) learns the widower Yochay (Yiftach Klein) might marry a woman abroad and take her only grandchild far away, she starts to make noises about fixing Shira up with her son-in-law. The journey the two must take, in possibly going from in-laws to newlyweds, is one that’s simultaneously infuriating, understandable, and touching, made all the more intimate given director Rama Burshtein’s preference for searching close-ups. Her affinity for the Orthodox world is obvious with each loving shot, ultimately infusing her debut feature with a beating heart of humanity. (1:30) Albany, Clay, Smith Rafael. (Chun)

Frances Ha Noah Baumbach isn’t exactly known for romance and bright-eyed optimism. Co-writing 2009’s Fantastic Mr. Fox with director Wes Anderson is maybe the closest to "whimsy" as he’s ever come; his own features (2010’s Greenberg, 2007’s Margot at the Wedding, 2005’s The Squid and the Whale, 1997’s Mr. Jealousy, and 1995’s Kicking and Screaming) tend to veer into grumpier, more intellectual realms. You might say his films are an acquired taste. But haters beware. Frances Ha — the black-and-white tale of a New York City hipster (Baumbach’s real-life squeeze, Greta Gerwig, who co-write the script with him) blundering her way into adulthood — is probably the least Baumbach-ian Baumbach movie ever. Owing stylistic debts to both vintage Woody Allen and the French New Wave, Frances Ha relies heavily on Gerwig’s adorable-disaster title character to propel its plot, which is little more than a timeline of Frances’ neverending micro-adventures: pursuing her nascent modern-dance career, bouncing from address to address, taking an impromptu trip to Paris, visiting her parents (portrayed by the Sacramento-raised Gerwig’s real-life parents), "breaking up" with her best friend. It’s so charming, poignant, and quotable ("Don’t treat me like a three-hour brunch friend!") that even those who claim to be allergic to Baumbach just might find themselves succumbing to it. (1:26) Embarcadero, Piedmont, Shattuck, Smith Rafael, Sundance Kabuki. (Eddy)

The Great Gatsby Every bit as flashy and in-your-face as you’d expect the combo of "Baz Luhrmann," "Jazz Age," and "3D" to be, this misguided interpretation of F. Scott Fitzgerald’s classic tale is, at least, overstuffed with visual delights. For that reason only, all the fashion-mag fawning over leading lady Carey Mulligan’s gowns and diamonds, and the opulent production design that surrounds them, seems warranted. And in scenes where spectacle is appropriate — Gatsby’s legendary parties; Tom Buchanan’s wild New York romp with his mistress — Luhrmann delivers in spades. The trade-off is that the subtler aspects of Fitzgerald’s novel are either pushed to the side or shouted from the rooftops. Leonardo DiCaprio, last seen cutting loose in last year’s Django Unchained, makes for a stiff, fumbling Gatsby, laying on the "Old Sports" as thickly as his pancake make-up. There’s nothing here so startlingly memorable as the actor and director’s 1996 prior collaboration, Romeo + Juliet — a more successful (if still lavish and self-consciously audacious) take on an oft-adapted, much-beloved literary work. (2:22) California, 1000 Van Ness, Presidio, SF Center, Sundance Kabuki. (Eddy)

The Hangover Part III Even the friendliest little blackout bacchanal can get tiresome the third time around. The poster depicting Bradley Cooper, Ed Helms, and Zach Galifianakis — stern in suits and ties — says it all: it’s grim men’s business, the care and maintenance of this Hangover franchise, this orgy of good times gone bad. Once a bad-taste love letter to male-bonding, Hangover Part III is ready for a chance, primed to sever some of those misbegotten ties. This time around, the unlikely troika — with the always dispensable normal-dude figurehead Doug (Justin Bartha) in tow — are captured by random sketchy figure Marshall (John Goodman, whose every utterance of the offensive "Chinaman" should bring back Big Lebowski warm-and-fuzzies). He holds Doug hostage in exchange for the amoral, cockfighting, coke-wallowing, whore-hiring, leather-wearing Leslie Chow (Ken Jeong), who stole his gold, and it turns out Alan (Galifianakis) might be his only chum. Jeong, who continues to bring the hammy glee, is still the best thing here, even as the conscience-free instigator; he’s the dark counterpart to tweaked man-child Alan, who meets cute with mean-ass pawn-star soulmate Cassie (Melissa McCarthy). Meanwhile, Cooper and Helms look on, puzzled, no doubt pondering the prestige projects on their plates and wondering what they’re still doing here. (1:40) 1000 Van Ness, SF Center, Shattuck. (Chun)

The Internship The dirty little secret of the new economy continues to be the gerbil cycle of free/cheap labor labeled "internships" that propels so many companies — be they corporate or indie, digital or print media. But gee, who’s going to see an intern comedy titled The Exploitation, besides me and my local union rep? Instead, spinning off a Vince Vaughn story idea and a co-writing credit, The Internship looks at that now-mandatory time-suck for so many college students through the filter of two older, not-quite-wiser salesmen Billy (Vaughn) and Nick (Owen Wilson) hoping to make that working guy’s quantum leap from watch sales to Google’s Mountain View campus, which director Shawn Levy casts as a bright and shiny workers wonderland with its free spring rolls and lattes, bikes, and napping pods. Departing from reality: the debugging/coding/game-playing/app-making competition that forces Billy and Nick to bond with their team of castoffs (Dylan O’Brien, Tiya Sircar, Tobit Raphael), led by noob manager Lyle (Josh Brener), in order to win a full-time job. Part of the key, naturally, turns out to be a Swingers-like visit to a strip club, to release those deeply repressed nerd sexualities — nothing like a little retrograde sexism to bring a group together. Still, the moment is offset by the generally genial, upbeat attitude brought to The Internship by its lead actors: Nick and Billy may be flubs at physics and clueless when it comes to geek culture, but most working stiffs who have suffered the slings and arrows of layoffs and dream of stable employment can probably get behind the all-American ideals of self-reinvention and optimism about the future peddled in The Internship, which easily slips in alongside The Great Gatsby among this year’s Great Recession narratives. Blink too fast and you might miss the microcameo by Google co-founder Sergey Brin. (1:59) Four Star, Marina, Metreon, 1000 Van Ness, Vogue. (Chun)

Iron Man 3 Neither a sinister terrorist dubbed "the Mandarin" (Ben Kingsley) nor a spray-tanned mad scientist (Guy Pearce) are as formidable an enemy to Tony Stark (Robert Downey, Jr.) as Tony Stark himself, the mega-rich playboy last seen in 2012’s Avengers donning his Iron Man suit and thwarting alien destruction. It’s been rough since his big New York minute; he’s been suffering panic attacks and burying himself in his workshop, shutting out his live-in love (Gwyneth Paltrow) in favor of tinkering on an ever-expanding array of manned and un-manned supersuits. But duty, and personal growth, beckon when the above-mentioned villains start behaving very badly. With some help (but not much) from Don Cheadle’s War Machine — now known as "Iron Patriot" thanks to a much-mocked PR campaign — Stark does his saving-the-world routine again. If the plot fails to hit many fresh beats (a few delicious twists aside), the 3D special effects are suitably dazzling, the direction (by series newcomer Shane Black) is appropriately snappy, and Downey, Jr. again makes Stark one of the most charismatic superheros to ever grace the big screen. For now, at least, the continuing Avengers spin-off extravaganza seems justified. (2:06) Metreon, 1000 Van Ness. (Eddy)

Kings of Summer Ah, the easy-to-pluck, easy-to-love low-hanging fruit of summer — and a coming of age. Who can blame director Jordan Vogt-Roberts and writer Chris Galletta, both TV vets, for thinking that a juicy, molasses-thick application of hee-hee-larious TV comedy actors to a Stand by Me-like boyish bildungsroman could only make matters that much more fun? When it comes to this wannabe-feral Frankenteen love child of Terrence Malick and Parks and Recreation, you certainly don’t want to fault them for original thinking, though you can understand why they keep lurching back to familiar, reliably entertaining turf, especially when it comes in the form of Nick Offerman of the aforementioned P&R, who gets to twist his Victorian doll features into new frustrated shapes alongside real-life spouse Megan Mullally. Joe (Nick Robinson) is tired of his single dad (Offerman) stepping on his emerging game, so he runs off with neurotic wrestling pal Patrick (Gabriel Basso) and stereotypically "weirdo foreign" kid Biaggio (Moises Arias) to a patch of woods. There, from scrap, they build a cool-looking house that resembles a Carmel boho shack and attempt to live off the land, which means mostly buying chicken from a Boston Market across a freeway. Pipes are pummeled, swimming holes are swum, a pathetically wispy mustachio is cultivated — read: real burly stuff, until the rising tide of testosterone threatens to poison the woodland well. Vogt-Roberts certainly captures the humid sensuality and ripe potential of a Midwestern summer — though some of the details, like the supposedly wild rabbit that looks like it came straight from Petco, look a bit canned — and who can gripe when, say, Portlandia‘s Kumail Nanjiani materializes to deliver monster wontons? You just accept it, though the effect of bouncing back and forth between the somewhat serious world of young men and the surprisingly playful world of adults, both equally unreal, grows jarring. Kings of Summer isn’t quite the stuff of genius that marketing would have you believe, but it might give the "weirdo foreign" art house crowd and TV comedy addicts something they can both stand by. (1:33) Shattuck, Sundance Kabuki. (Chun)

Kon-Tiki In 1947 Norwegian explorer and anthropologist Thor Heyderdahl arranged an expedition on a homemade raft across the Pacific, recreating what he believed was a route by which South Americans traveled to Polynesia in pre-Columbian times. (Although this theory is now disputed.) The six-man crew (plus parrot) survived numerous perils to complete their 101-day, 4300-mile journey intact — winning enormous global attention, particularly through Heyderdahl’s subsequent book and documentary feature. Co-directors Joachim Roenning and Espen Sandberg’s dramatization is a big, impressive physical adventure most arresting for its handsome use of numerous far-flung locations. Where it’s less successful is in stirring much emotional involvement, with the character dynamics underwhelming despite a decent cast led by Pal Sverr Hagen as Thor (who, incredibly, was pretty much a non-swimmer). Nonetheless, this new Kon-Tiki offers all the pleasures of armchair travel, letting you vicariously experience a high-risk voyage few could ever hope (or want) to make in real life. (1:58) Opera Plaza. (Harvey)

Midnight’s Children Deepa Mehta (2005’s Water) directs and co-adapts with Salman Rushdie the author’s Booker Prize-winning 1981 novel, which mixes history (India’s 1947 independence, and the subsequent division of India and Pakistan) with magical elements — suggested from its fairy-tale-esque first lines: "I was born in the city of Bombay, once upon a time." This droll voice-over (read by Rushdie) comes courtesy of Saleem Sinai, born to a poor street musician and his wife (who dies in childbirth; dad is actually an advantage-taking Brit played by Charles "Tywin Lannister" Dance) but switched (for vaguely revolutionary reasons) with Shiva, born at the same moment to rich parents who unknowingly raise the wrong son. Rich or poor, it seems all children born at the instant of India’s independence have shared psychic powers; over the years, they gather for "meetings" whenever Saleem summons them. And that’s just the 45 minutes or so of story. Though gorgeously shot, Midnight’s Children suffers from page-to-screen-itis; the source material is complex in both plot and theme, and it’s doubtful any film — even one as long as this — could translate its nuances and more fanciful elements ("I can smell feelings!," Saleem insists) into a consistently compelling narrative. Last-act sentimentality doesn’t help, though it’s consistent with the fairy-tale vibe, I suppose. (2:20) Smith Rafael. (Eddy)

Much Ado About Nothing Joss Whedon (last year’s The Avengers) shifts focus for a minute to stage an adaptation of the Shakespeare comedy, drawing his players from 15 years’ worth of awesome fantasy/horror/sci-fi TV and film projects. When the Spanish prince Don Pedro (Reed Diamond) pays a post-battle visit to the home of Leonato (Clark Gregg) with his officers Claudio (Fran Kranz) and Benedick (Alexis Denisof), Claudio falls for Leonato’s daughter, Hero (Jillian Morgese), while Benedick falls to verbal blows with Hero’s cousin Beatrice (Amy Acker). Preserving the original language of the play while setting his production in the age of the iPhone and the random hookup, Whedon makes clever, inventive use of the juxtaposition, teasing out fresh sources of visual comedy as well as bringing forward the play’s oddities and darker elements. These shadows fall on Beatrice and Benedick, whose sparring — before they succumb to a playfully devious setup at the hands of their friends — has an ugly, resentful heat to it, as well as on Hero and Claudio, whose filmy romance is unsettlingly easy for their enemies, the malevolent Don John (Sean Maher) and his cohorts, to sabotage. Some of Acker and Denisof’s broader clowning doesn’t offer enough comic payoff for the hammy energy expenditure, but Nathan Fillion, heading up local law enforcement as the constable Dogberry, delivers a gleeful depiction of blundering idiocy, and the film as a whole has a warm, approachable humor while lightly exposing "all’s well that ends well"’s wacky, dysfunctional side. (1:49) Albany, SF Center. (Rapoport)

Mud (2:18) Balboa, Opera Plaza, Shattuck.

Now You See Me Cheese can be a tough factor to quantify, but you get close to the levels Now You See Me strives for when you picture the hopelessly goofy, tragically coiffed Doug Henning lisping, "It’s magic!" somewhere between Bob "Happy Little Tree" Ross and a rainbow sprinkled with Care Bears. Now You See Me, however, is much less likely to be dusted off and adored by a Bronies-style cult. Four seemingly savvy street and stage magicians (Jesse Eisenberg, Woody Harrelson, Isla Fisher, and Dave Franco) are brought together by tarot card invite by a mysterious host. What follows is a series of corny performances by the crew, now dubbed the Four Horseman, that are linked to a series of Robin Hood-like, or not, thefts. Nipping at their heels are a loudly flustered FBI agent (Mark Ruffalo, working an overcooked Columbo impression), a waifish Interpol detective (Mélanie Laurent, as if slouching through a Sorbonne semester), and a professional debunker (Morgan Freeman, maintaining amusement). In the course of the investigation, the Horsemen’s way-too-elaborate and far-from-apocalyptic illusions are taken apart and at least one vigorously theatrical fight scene takes place — all of which sounds more riveting than what actually transpires under the action-by-the-book watch of director Louis Leterrier, who never succeeds in making the smug, besuited puppets, I mean Horsemen, who strut around like they’re in Ocean’s Eighteen 4D, anything remotely resembling cool. Or even characters we might give a magical rabbit’s ass about. For all its seemingly knowing pokes at the truth behind the curtain, Now You See Me lacks much of the smarts and wit of loving deconstructionists like Penn and Teller —glimmers of which can only be made out in the smirk of Harrelson and the knowing twinkle of Freeman — or even the tacky machismo of Criss Angel, as well as a will to get to a truth behind the mystery. Or is the mystery behind the truth? (1:56) California, 1000 Van Ness, Presidio, SF Center, Sundance Kabuki. (Chun)

Oblivion Spoiler alert: the great alien invasion of 2017 does absolutely zilch to eliminate, or at least ameliorate, the problem of sci-fi movie plot holes. However, puny humans willing to shut down the logic-demanding portions of their brains just might enjoy Oblivion, which is set 60 years after that fateful date and imagines that Earth has been rendered uninhabitable by said invasion. Tom Cruise plays Jack, a repairman who zips down from his sterile housing pod (shared with comely companion Andrea Riseborough) to keep a fleet of drones — dispatched to guard the planet’s remaining resources from alien squatters — in working order. But Something is Not Quite Right; Jack’s been having nostalgia-drenched memories of a bustling, pre-war New York City, and the déjà vu gets worse when a beautiful astronaut (Olga Kurylenko) literally crash-lands into his life. After an inaugural gig helming 2010’s stinky Tron: Legacy, director Joseph Kosinski shows promise, if not perfection, bringing his original tale to the screen. (He does, however, borrow heavily from 1968’s 2001: A Space Odyssey, 1996’s Independence Day, and 2008’s Wall-E, among others.) Still, Oblivion boasts sleek production design, a certain creative flair, and some surprisingly effective plot twists — though also, alas, an overlong running time. (2:05) Metreon. (Eddy)

1 Mile Above When his brother dies suddenly, sheltered Taiwanese student Shuhao takes possession of the older boy’s "riding diaries," determined to complete his sibling’s dream of biking to the highest point in Tibet. It’d be a perilous journey even for an experienced cyclist — but Shuhao’s got gutsy determination that (almost) makes up for his wobbly wheels. Fortunately, nearly everyone he meets en route to Lhasa is a kind-hearted soul, including a food-obsessed fellow traveler who doles out advice on how to avoid government checkpoints, prevent "crotch trouble" (from all that riding), and woo women, among other topics. (The cruel weather, steep inclines, and hostile wild dogs he faces, however, aren’t as welcoming.) Jiayi Du’s based-on-true-events drama doesn’t innovate much on similar adventure tales — spoiler alert: it’s the journey, not the destination, that counts — but it admirably avoids melodrama for the most part, and the gorgeous location photography is something to behold. (1:29) Metreon. (Eddy)

The Purge Writer-director James DeMonaco founds his dystopian-near-future tale on the possibly suspect premise that the United States could achieve one percent unemployment, heavily reduced crime rates, and a virtually carb-free society if only it were to sanction an annual night of national mayhem unconstrained by statutory law — up to and including those discouraging the act of homicide. Set in 2022, The Purge visits the household of home security salesman James Sandin (Ethan Hawke), wife Mary (Lena Headey), and their children, Charlie (Max Burkholder) and Zoey (Adelaide Kane), as the annual festivities are about to begin, and the film keeps us trapped in the house with them for the next 12 hours of bloodletting sans emergency services. While they show zero interest in adding to the carnage, James and Mary seem to be largely on board with what a news commentator describes as "a lawful outlet for American rage," not giving too much credence to detractors’ observations that the purge is a de facto culling of the underclass. Clearly, though, the whole family is about to learn a valuable lesson. It comes when Charlie, in an act of baseline humanity, draws the ire of a gang of purgers running around in bathrobes, prep school jackets, and creepy masks, led by a gleaming-eyed alpha-sociopath whom DeMonaco (whose other screenplay credits include 2005’s Assault on Precinct 13 remake) tasks with wielding the film’s blunt-object message alongside his semi-automatic weaponry. (1:25) Metreon, 1000 Van Ness, Shattuck. (Rapoport)

Rebels with a Cause The huge string of parklands that have made Marin County a jewel of preserved California coastline might easily have become wall-to-wall development — just like the Peninsula — if not for the stubborn conservationists whose efforts are profiled in Nancy Kelly’s documentary. From Congressman Clem Miller — who died in a plane crash just after his Point Reyes National Seashore bill became a reality — to housewife Amy Meyer, who began championing the Golden Gate National Recreation Area because she "needed a project" to keep busy once her kids entered school, they’re testaments to the ability of citizen activism to arrest the seemingly unstoppable forces of money, power and political influence. Theirs is a hidden history of the Bay Area, and of what didn’t come to pass — numerous marinas, subdivisions, and other developments that would have made San Francisco and its surrounds into another Los Angeles. (1:12) Smith Rafael. (Harvey)

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

Shadow Dancer Watching the emotions flicker across the exquisitely smooth, pale plane of Andrea Riseborough’s face is one of the central pleasures of Shadow Dancer. Likely the surest step Madonna made in making 2011’s W.E. was choosing the actress as her Wallis Simpson — her features fall together with the sweet symmetry of a, well, Madonna, and even when words, or the script, fail her, the play of thoughts and feelings rippling across her brow can fill out a movie’s, or a character’s, failings admirably. The otherwise graceful, good-looking Shadow Dancer fumbles over a few in the course of resurrecting the Troubles tearing apart Belfast in the 1990s. After feeling responsible for the death of a younger brother who got caught in the crossfire, Collette (Riseborough) finds herself a single mom in league with the IRA. Caught after a scuttled bombing, the petite would-be terrorist is turned by Mac (Clive Owen) to become an informant for the MI5, though after getting quickly dragged into an attempted assassination, Collette appears to be way over her head and must be pulled out — something Mac’s boss (Gillian Anderson) won’t allow. Director James Marsh (2008’s Man on Wire) brings a keen attention to the machinations and tested loyalties among both the MI5 and IRA, an interest evident in his Red Riding: In the Year of Our Lord 1980 (2009), and even imbues otherwise blanked-out, non-picturesque sites like hotel suites and gray coastal walks with a stark beauty. Unfortunately the funereal pacing and gaps in plotting, however eased by the focus on Riseborough’s responses, send the mind into the shadows. (1:44) Opera Plaza. (Chun)

Star Trek Into Darkness Do you remember 1982? There are more than a few echoes of Star Trek II: The Wrath of Khan in J. J. Abrams’ second film retooling the classic sci-fi property’s characters and adventures. Darkness retains the 2009 cast, including standouts Zachary Quinto as Spock and Simon Pegg as comic-relief Scotty, and brings in Benedict "Sherlock" Cumberbatch to play the villain (I think you can guess which one). The plot mostly pinballs between revenge and preventing/circumventing the destruction of the USS Enterprise, with added post-9/11, post-Dark Knight (2008) terrorism connotations that are de rigueur for all superhero or fantasy-type blockbusters these days. But Darkness isn’t totally, uh, dark: there’s quite a bit of fan service at work here (speak Klingon? You’re in luck). Abrams knows what audiences want, and he’s more than happy to give it to ’em, sometimes opening up massive plot holes in the process — but never veering from his own Prime Directive: providing an enjoyable ride. (2:07) Metreon, 1000 Van Ness, Sundance Kabuki. (Eddy)

Stories We Tell Actor and director Sarah Polley (2011’s Take This Waltz) turns the camera on herself and her family for this poignant, moving, inventive, and expectation-upending blend of documentary and narrative. Her father, actor Michael Polley, provides the narration; our first hint that this film will take an unconventional form comes when we see Sarah directing Michael’s performance in a recording-studio booth, asking him to repeat certain phrases for emphasis. On one level, Stories We Tell is about Sarah’s own history, as she sets out to explore longstanding family rumors that Michael is not her biological father. The missing piece: her mother, actress Diane Polley (who died of cancer just days after Sarah’s 11th birthday), a vivacious character remembered by Sarah’s siblings and those who knew and loved her. Stories We Tell‘s deeper meaning emerges as the film becomes ever more meta, retooling the audience’s understanding of what they’re seeing via convincingly doc-like reenactments. To say more would lessen the power of Stories We Tell‘s multi-layered revelations. Just know that this is an impressively unique film — about family, memories, love, and (obviously) storytelling — and offers further proof of Polley’s tremendous talent. (1:48) Smith Rafael. (Eddy)

Violet and Daisy The 1990s revival has already infiltrated fashion and music; Violet and Daisy, the directorial debut of Oscar-winning Precious (2009) screenwriter Geoffrey Fletcher, suggests that cinema may be next. Unfortunately, not enough time has passed since the first wave of Pulp Fiction (1994) knockoffs to make the genre feel particularly interesting again. And yet here comes a pair of assassins dressed as nuns, cracking long-winded jokes before unloading on their targets with guns they’ve concealed in pizza boxes … as an AM radio hit ("Angel of the Morning") swells in the background, and Danny Trejo stops by for a cameo. At least this Tarantino-lite exploration of crime and daddy issues has an appealing cast; besides Trejo, Alexis Bledel (sporting Mia Wallace bangs) and Saoirse Ronan play the jailbait titular killers, and James Gandolfini pops in as a sad-sack who manages to evade their bullets because, like, he’s nice and stuff. Despite their efforts, the over-stylized Violet and Daisy comes off like a plate of leftovers reheated too long after the fact. (1:28) Metreon. (Eddy)

What Maisie Knew In Scott McGehee and David Siegel’s adaptation of the 1897 Henry James novel, the story of a little girl caught between warring, self-involved parents is transported forward to modern-day New York City, with Julianne Moore and Steve Coogan as the ill-suited pair responsible, in theory, for the care and upbringing of the title character, played by Onata Aprile. Moore’s Susanna is a rock singer making a slow, halting descent from some apex of stardom, as we gather from the snide comments of her partner in dysfunctionality, Beale (Coogan). As their relationship implodes and they move on to custody battle tactics, each takes on a new, inappropriate companion — Beale marrying in haste Maisie’s pretty young nanny, Margo (Joanna Vanderham), and Susanna just as precipitously latching on to a handsome bartender named Lincoln (True Blood‘s Alexander Skarsgård). The film mostly tracks the chaotic action — Susanna’s strung-out tantrums, both parents’ impulsive entrances and exits, Margo and Lincoln’s ambivalent acceptance of responsibility — from Maisie’s silent vantage, as details large and small convey, at least to us, the deficits of her caretakers, who shield her from none of the emotional shrapnel flying through the air and rarely bother to present an appropriate, comprehensible explanation. Yet Maisie understands plenty — though longtime writing-and-directing team McGehee and Siegel (2001’s The Deep End, 2005’s Bee Season, 2008’s Uncertainty) have taken pains in their script and their casting to present Maisie as a lovely, watchful child, not the precocious creep often favored in the picture shows. So we watch too, with a grinding anxiety, as she’s passed from hand to hand, forced to draw her own unvoiced conclusions. (1:38) Opera Plaza. (Rapoport)

Supervisors pose tough but important questions to Mayor Lee

Sasha Cuttler
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Supervisors pose tough but important questions to Mayor Lee

There’s a full agenda at the San Francisco Board of Supervisors meeting today, from the condo conversion lottery bypass legislation to approval of the term sheet from the massive development project at Pier 70, but some of the most interesting and potentially newsworthy items are at the very beginning of the agenda, when Mayor Ed Lee will answer questions posed by the supervisors.

Unfortunately, if past is prologue, Lee won’t give direct, substantive answers to the vitally important questions that he’s being asked, just as he dodged a question on the condo conversion debate in February and has kept everyone in the dark of which of the rival measures he supports and which he may veto. Mayoral leadership was desperately needed on that protracted debate, just as it’s needed today on some of the questions he’s being asked.

The first question, posed by Sup. Eric Mar, concerns Plan Bay Area and how it plans to pack 280,000 more people into San Francisco by 2040, which was the subject of a May 28 Bay Guardian cover story and panel dicussion that we’re sponsoring at the LGBT Center tomorrow night.

Mar lays out the massive displacement of existing residents and the traffic gridlock that the plan will create in San Francisco and how the approval process from much of this streamlined development may be given waivers from California Environmental Quality Act review.

Mar notes more than 40 regional groups have come together to try to improve the plan and mitigate its damage, and he plans to ask Lee:

“A consensus has formed around the following recommendations for making Plan Bay Area better:

– Provide $3 billion in additional operating revenue for local transit service and commit to a long-range ‘Regional Transit Operating Program’ to boost transit operating subsidies by another $9 billion over the coming years.

– Move 5 percent of the housing growth from low-income communities (mainly San Francisco, Oakland, and San Jose) to transit-connected suburban job centers.

– Incorporate strong anti-displacement policies for community stabilization measures, such as land banking and preservation of affordable housing in at-risk neighborhoods.

– Director the Planning Department to analyze the impacts of potential CEQA streamling as soon as possible and create strong mitigation measures.

Do you support these measure, and are you committed to a plan with lower displacement level than the current proposal? If you do not support these ideas, why not?”

Excellent  question, and definitely an appropriate one for our chief executive officer, who would have more clout to push for these changes than any of the supervisors.

The second question comes from Board President David Chiu, who makes news by noting that Mayor Lee has continued his predecessor’s underhanded practice of refusing to fill city positions to provide services that the supervisors have decided to fund in the budget, undermining the city’s balance of power and Lee’s rhetoric on collaboration.

“In recent months, Controller data indicates that positions allocated by the Board for librarians, recreation and park staff, building inspection, health and labor enforcement, urban agriculture and other Board priorities were either not filled or only recently hired. Will you commit to ensuring that when the FY 13-14 budget is approved, our Board of Supervisors’ priorities are treated equally to your Administration’s, with positions filled as soon as possible?”

Again, great question about an important current issue, the kind of thing that voters created this question time for, to ensure that there was communication and collaboration between these two branches of government.

The last two questions concern San Francisco’s housing crisis. Sup. David Campos cites the scatching report that he commissioned from the Budget and Legislative Analyst on the dysfunctional and mordibund Housing Authority, which Lee controls, asking “what is your long term vision to save public housing — a significant public asset to San Francisco?”

Sup. John Avalos cites data on the skyrocketing rents in San Francisco and asks, “Are you concerned that your administration’s policies to stimulate economic activity, especially supporting the tech industry, have created one-sided development and only job for high-income ‘appsters,’ and have exacerbated the already extremely limited housing market? Do you have any plans to address the increasing rents, and increasing rate of evictions and displacement of long-time San Francisco renters?”

These are tough questions, but they are central to what kind of city San Francisco is becoming. They were all submitted last week, so the mayor has had time to think about them and he should provide answers and show leadership on these difficult issues. That is his job.

Will he? Check back later and I’ll let you know. The meeting starts at 2pm.

San Onofre, RIP (no more nukes)

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“No news is good news” went right out the window last Friday. San Onofre’s nuclear power plant has announced it will close permanently.

After failed and costly equipment swaps and steam generator failures, So Cal Edison threw in the towel. A half billion in unpaid bills is its legacy.

To say that this is incredibly great for the people of LA, Orange County and San Diego is an understatement of enormous proportions. As the residents of Fukushima, Chernobyl or Three Mile Island might tell you, a nuclear power plant is not conducive to the well being of anyone. The former nuke plant was, like Onofre, proximitous to a fault line and as the disaster in Japan unfolded, surely the people of Carlsbad and Oceanside could feel their guts tighten–well, no more.

Nuclear power–for all of its “bang for the buck”–is yet another taxpayer subsidized disaster. And even Edison admits that with moderate conservation, the plant’s customers may make it through summer as they seek an alternative.

Not to pound the too obvious drum, but as Onofre already has generator infrastructure and is adjacent to uninhabited and bare field and hills, why not do what the Antelope Valley is doing? Cover the giant bubble in panels and kick out the sunny jams. Cover those barren hillsides in same. Given that the cost of solar has plummeted and liability insurance at about nil, it’s about time.

SoCal Edison is loathe to do this, as it does usher in their eventual demise. But the future is headed that way no matter what they think. And with San Onofre down, the trad surfers, the fisherman, the beach lovers–can all return. We won!

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