Poverty

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

Cuban Fury Nick Frost, Rashida Jones, and Chris O’Dowd star in this comedy about competitive salsa dancing. (1:37)

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

Draft Day Kevin Costner stars in this comedy-drama set behind the scenes of the NFL. (2:00) Presidio.

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

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

Interior. Leather Bar. James Franco and Travis Mathews’ “docufilm” imagines and recreates footage cut from the 1980 film Cruising. (1:00) Roxie.

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

The New Black The Human Rights Watch Film Festival (April 10-27 at Yerba Buena Center for the Arts) kicks off with Yoruba Richen’s look at uneasy tensions between African American Christians and marriage-equality activists. Though Richen is careful to give voice to both sides, The New Black‘s most charismatic figure is Sharon Lettman-Hicks of the National Black Justice Coalition, who’s straight and a churchgoer, but is tirelessly dedicated to LGBT rights both professionally and personally — as in a scene in which a backyard barbecue at her home turns into a friendly but assertive education session for her less open-minded relatives. Elsewhere, we meet an African American church leader who’s against same-sex marriage but isn’t portrayed as a one-note villain; a group of young LGBT political volunteers, many of whom are estranged from intolerant parents; an adorable two-mom family hoping to make their partnership legal; and the gospel singer formerly known as Tonéx, whose decision to come out greatly affected his burgeoning Christian music career. Maryland’s same-sex marriage referendum, decided during the 2012 election, is the film’s focal point, but it also boldly digs into deeper issues, exploring why a community that fought so hard for its own civil rights a generation ago has such trouble supporting the LGBT cause. (1:22) Yerba Buena Center for the Arts. (Eddy)

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

Rio 2 More 3D tropical adventures with animated birds Blu (Jesse Eisenberg) and Jewel (Anne Hathaway) and their menagerie of pals, with additional voices by Andy Garcia, Leslie Mann, Bruno Mars, Jamie Foxx, and more. (1:41) Four Star, Presidio.

Under the Skin See “The Hunger.” (1:47)

ONGOING

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

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

Breathe In In Drake Doremus’s lyrical tale of a man in midlife crisis, Guy Pearce plays Keith Reynolds, a high school music teacher living in upstate New York with his wife, Megan (Amy Ryan), and teenage daughter, Lauren (Mackenzie David). Quietly harboring his discontent, Keith spends solitary moments wistfully sifting through glory-days photographs of his former band and memories of the undomesticated life he and Megan led two decades ago in New York City, which the two revisit in a low-toned call-and-response that doesn’t need to erupt into a blistering argument to clarify their incompatible positions. The melancholy calm is disrupted by the arrival of a British exchange student named Sophie (Felicity Jones, who also starred in Doremus’s 2011 film, Like Crazy). Evading a scene of loss and heartbreak at home, 18-year-old Sophie has come to spend a semester at Lauren’s high school, a juxtaposition that presents us with two wildly distinct species of teenager. Lauren is a brittle, popular party girl whom we watch making poor choices with a predatory classmate; Sophie is a soulful, reserved young woman whose prodigious talent at the piano first jars Keith out of his malaise into an uncomfortable awareness. A scene before Sophie’s arrival in which the family plays Jenga and Keith pulls out the wrong piece, toppling the tower, perhaps presses its ominous visual message too hard. Meanwhile, similarities to 2012’s Nobody Walks underscore the argument that this subject matter is an old, tired tale. But for the most part, the intimacy that develops between Keith and Sophie is constructed with delicate restraint, and Doremus and writing partner Ben York Jones have crafted a textured portrait of a man trying to repossess the past. (1:37) Metreon. (Rapoport)

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

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

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

Ernest & Celestine Belgian animators Vincent Patar and Stéphane Aubier are best known for the stop-motion shorts series (and priceless 2009 subsequent feature) A Town Called Panic, an anarchic, absurdist, and hilarious creation suitable for all ages. Their latest (co-directed with Benjamin Renner) is … not like that at all. Instead, it’s a sweet, generally guileless children’s cartoon that takes its gentle, watercolor-type visual style from late writer-illustrator Gabrielle Vincent’s same-named books. Celestine (voiced by Pauline Brunner) is an orphaned girl mouse that befriends gruff bear Ernest (the excellent Lambert Wilson), though their improbable kinship invites social disapproval and scrapes with the law. There are some clever satirical touches, but mostly this is a softhearted charmer that will primarily appeal to younger kids. Adults will find it pleasant enough — but don’t expect any Panic-style craziness. (1:20) Elmwood, Opera Plaza. (Harvey)

Non-Stop You don’t want to get between Liam Neeson and his human shield duties. The Taken franchise has restyled the once-gentle acting giant into the type of weather-beaten, all-business action hero that Harrison Ford once had a lock on. Throw in a bit of the flying-while-addled antihero high jinks last seen in Flight (2012) and that pressured, packed-sardine anxiety that we all suffer during long-distance air travel, and we have a somewhat ludicrous but nonetheless entertaining hybrid that may have you believing that those salty snacks and the seat-kicking kids are the least of your troubles. Neeson’s Bill Marks signals the level of his freestyle alcoholism by giving his booze a stir with a toothbrush shortly before putting on his big-boy air marshal pants and boarding his fateful flight. Marks is soon contacted by a psycho who promises, via text, to kill one person at a time on the flight unless $150 million is deposited into a bank account that — surprise — is under the bad-good air marshal’s name. The twists and turns — and questions of who to trust, whether it’s Marks’ vaguely likeable seatmate (Julianne Moore) or his business class flight attendant (Michelle Dockery) — keep the audience on edge and busily guessing, though director Jaume Collet-Serra doesn’t quite dispel all the questions that arise as the diabolical scheme plays out and ultimately taxes believability. The fun is all in the getting there, even if the denouement on the tarmac deflates. (1:50) Four Star. (Chun)

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

Gravity “Life in space is impossible,” begins Gravity, the latest from Alfonso Cuarón (2006’s Children of Men). Egghead Dr. Ryan Stone (Sandra Bullock) is well aware of her precarious situation after a mangled satellite slams into her ship, then proceeds to demolition-derby everything (including the International Space Station) in its path. It’s not long before she’s utterly, terrifyingly alone, and forced to unearth near-superhuman reserves of physical and mental strength to survive. Bullock’s performance would be enough to recommend Gravity, but there’s more to praise, like the film’s tense pacing, spare-yet-layered script (Cuarón co-wrote with his son, Jonás), and spectacular 3D photography — not to mention George Clooney’s warm supporting turn as a career astronaut who loves country music almost as much as he loves telling stories about his misadventures. (1:31) Metreon. (Eddy)

The Great Beauty The latest from Paolo Sorrentino (2008’s Il Divo) arrives as a high-profile contender for the Best Foreign Language Film Oscar, already annointed a masterpiece in some quarters, and duly announcing itself as such in nearly every grandiose, aesthetically engorged moment. Yes, it seems to say, you are in the presence of this auteur’s masterpiece. But it’s somebody else’s, too. The problem isn’t just that Fellini got there first, but that there’s room for doubt whether Sorrentino’s homage actually builds on or simply imitates its model. La Dolce Vita (1960) and 8 1/2 (1963) are themselves swaying, jerry-built monuments, exhileratingly messy and debatably profound. But nothing quite like them had been seen before, and they did define a time of cultural upheaval — when traditional ways of life were being plowed under by a loud, moneyed, heedless modernity that for a while chose Rome as its global capital. Sorrentino announces his intention to out-Fellini Fellini in an opening sequence so strenuously flamboyant it’s like a never-ending pirouette performed by a prima dancer with a hernia. There’s statuary, a women’s choral ensemble, an on-screen audience applauding the director’s baffled muse Toni Servillo, standing in for Marcello Mastroianni — all this and more in manic tracking shots and frantic intercutting, as if sheer speed alone could supply contemporary relevancy. Eventually The Great Beauty calms down a bit, but still its reason for being remains vague behind the heavy curtain of “style.” (2:22) Opera Plaza. (Harvey)

It Felt Like Love Set on the outer edges of Brooklyn and Queens, writer-director Eliza Hittman’s debut feature tracks the summertime wanderings and missteps of 14-year-old Lila (Gina Piersanti), whose days mainly consist of trailing in the wake of her more sexually experienced and perpetually coupled-off best friend, Chiara (Giovanna Salimeni). The camera repeatedly finds Lila in voyeur mode, as Chiara and her boyfriend, Patrick (Jesse Cordasco), negotiate their physical relationship and redefine the limits of PDA, unfazed by Lila’s silent, watchful presence. It’s clear she wants some part of this, though her motivations are a murky compound of envy, loneliness, and longing for a sense of place among her peers. A brief encounter with an older boy, Sammy (Ronen Rubinstein), whom Chiara knows — more of a sighting, really — provides the tiniest of openings, and Lila forces her way through it with an awkward insistence that is uncomfortable and sometimes painful to witness. Lila lacks Chiara’s fluid verbal and physical vernacular, and her attempts at mimicry in the cause of attracting Sammy’s attention only underline how unready and out of her depth she is. As Lila pushes into his seedy, sleazy world — a typical night is spent getting wasted and watching porn with his friends — their encounters don’t look like they feel like love, though Piersanti poignantly signals her character’s physical desire in the face of Sammy’s bemused ambivalence. Hittman unflinchingly leads her hapless protagonist through scenes that hover uneasily between dark comedy and menace without ever quite landing, and this uncertainty generates an emotional force that isn’t dispelled by the drifting, episodic plot. (1:22) Roxie. (Rapoport)

Jinn (1:37) Metreon.

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

The Lego Movie (1:41) Metreon, 1000 Van Ness.

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

Mistaken for Strangers Tom Berninger, brother to the National vocalist Matt Berninger, is the maker of this doc — ostensibly about the band but a really about brotherly love, competition, and creation. It spins off a somewhat genius conceit of brother vs. brother, since the combo is composed of two sets of siblings: twins Aaron and Bryce Dessner on guitars and Scott and Bryan Devendorf on bass and drums respectively. The obvious question — what of singer Matt and his missing broheim? Turns out little bro Tom is one of those rock fans — of metal and not, it seems, the National — more interested in living the life and drinking the brewskis than making the music. So when Matt reaches out to Tom, adrift in their hometown of Cincinnati, to work as a roadie for the outfit, it’s a handout, sure, but also a way for the two to spend time together and bond. A not-quite-realized moviemaker who’s tried to make his own Z-budget scary flicks but never seems to finish much, Tom decides to document, and in the process gently poke fun at, the band (aka his authority-figures-slash-employers), which turns out to be much more interesting than gathering their deli platters and Toblerone. The National’s aesthetic isn’t quite his cup of tea: they prefer to wrap themselves in slinky black suits like Nick Cave’s pickup band, and the soft-spoken Matt tends to perpetually stroll about with a glass of white wine or bubbly in hand when he isn’t bursting into fourth-wall-busting high jinks on stage. Proud of his sib yet also intimidated by the National’s fame and not a little envious of the photo shoots, the Obama meetings, and the like, Tom is all about having fun. But it’s not a case of us vs. them, Tom vs. Matt, he discovers; it’s a matter of connecting with family and oneself. In a Michael Moore-ian sense, the sweet-tempered Mistaken for Strangers is as much, if not more so, about the filmmaker and the journey to make the movie than the supposed subject. (1:15) Roxie. (Chun)

The Monuments Men The phrase “never judge a book by its cover” goes both ways. On paper, The Monuments Men — inspired by the men who recovered art stolen by the Nazis during World War II, and directed by George Clooney, who co-wrote and stars alongside a sparkling ensemble cast (Cate Blanchett, Matt Damon, John Goodman, Jean Dujardin, Bob Balaban, Hugh “Earl of Grantham” Bonneville, and Bill Fucking Murray) — rules. Onscreen, not so much. After they’re recruited to join the cause, the characters fan out across France and Germany following various leads, a structural choice that results in the film’s number one problem: it can’t settle on a tone. Men can’t decide if it wants to be a sentimental war movie (as in an overlong sequence in which Murray’s character weeps at the sound of his daughter’s recorded voice singing “White Christmas”); a tragic war movie (some of those marquee names die, y’all); a suspenseful war movie (as the men sneak into dangerous territory with Michelangelo on their minds); or a slapstick war comedy (look out for that land mine!) The only consistent element is that the villains are all one-note — and didn’t Inglourious Basterds (2009) teach us that nothing elevates a 21st century-made World War II flick like an eccentric bad guy? There’s one perfectly executed scene, when reluctant partners Balaban and Murray discover a trove of priceless paintings hidden in plain sight. One scene, out of a two-hour movie, that really works. The rest is a stitched-together pile of earnest intentions that suggests a complete lack of coherent vision. Still love you, Clooney, but you can do better — and this incredible true story deserved way better. (1:58) Four Star. (Eddy)

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

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

Need for Speed Speed kills, in quite a different way than it might in Breaking Bad, in Aaron Paul’s big-screen Need for Speed. “Big” nonetheless signals “B” here, in this stunt-filled challenge to the Fast and the Furious franchise, though there’s no shame in that — the drive-in is paved with standouts and stinkers alike. Tobey (Paul) is an ace driver who’s in danger of losing his auto shop, also the hangout for his pals (Scott Mescudi, Rami Malek, Ramon Rodriguez) and young sidekick Pete (Harrison Gilbertson), when archrival Dino (Dominic Cooper) arrives with a historic Mustang in need of restoration. Tragedy strikes, and Tobey must hook up with that fateful auto once more to win a mysterious winner-takes-all race, staged by eccentric, rich racing-fiend Monarch (Michael Keaton). Along for the ride are the (big) eyes and ears for the Mustang’s new owner — gearhead Julia (Imogen Poots). All beside the point, since the racing stunts, including a showy helicopter canyon save, are the real stars of Speed, while the touchstone for stuntman-turned-director Scott Waugh — considering the car and the final SF and Northern California race settings — is, of course, Bullitt (1968), which is given an overt nod in the opening drive-in scene. The overall larky effect, however, tends toward Smokey and the Bandit (1977), especially with Keaton’s camp efforts at Wolfman Jack verbiage-slanging roaring in the background. And despite the efforts of the multicultural gallery of wisecracking side guys, this script-challenged popcorn-er tends to blur what little chemistry these characters have with each other, skip the residual car culture insights of the more specific, more urban Fast series, and leave character development, in particular Tobey’s, in the dust in its haste to get from point A to B. (2:10) Metreon. (Chun)

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

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

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

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

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

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

Rob the Mob Based on a stranger-than-fiction actual case, this rambunctious crime comedy stars Michael Pitt and Nina Arianda as Tommy and Rosie, a coupla crazy kids in early 1990s Queens — crazy in love, both before and after their strung-out robbery antics win them both a stint in the pen. When Tommy gets out 18 months later, he finds Rosie has managed to stay clean, even getting a legit job as a debt collector for positive-thinking nut and regular employer of strays Dave (a delightful Griffin Dunne). She wants Tommy to do likewise, but the high visibility trial of mob kingpin John Gotti gives him an idea: With the mafia trying to keep an especially low profile at present, why not go around sticking up the neighborhood “social clubs” where wise guys hang out, laden with gold chains and greenbacks but (it’s a rule) unarmed? Whatta they gonna do, call the police? This plan is so reckless it just might work, and indeed it does, for a while. But these endearingly stupid lovebirds can’t be counted on to stay under the radar, magnetizing attention from the press (Ray Romano as a newspaper columnist), the FBI, and of course the “organization” — particularly one “family” led by Big Al (Andy Garcia). Written by Jonathan Fernandez, this first narrative feature from director Raymond DeFitta since his terrific 2009 sleeper hit City Island is less like that screwball fare and more like a scaled down, economically downscaled American Hustle (2013), another brashly comedic period piece inspired by tabloid-worthy fact. Inspiration doesn’t fully hold up to the end, but the film has verve and style to spare, and the performances (also including notable turns from Cathy Moriarty, Frank Whaley, Burt Young, Michael Rispoli, Yul Vazquez and others) are sterling. (1:42) Embarcadero. (Harvey)

Sabotage Puzzle over the bad Photoshop job on the Sabotage poster. The hard-to-make-out Arnold Schwarzenegger in the foreground could be just about any weathered, sinewy body — telling, in gory action effort that wears its grit like a big black sleeve tattoo on its bicep and reads like an attempt at governator reinvention. Yet this blood-drenched twister, front-loaded with acting talent and directed by David Ayer (2012’s End of Watch), can’t quite make up its mind where it stands. Is it a truth-to-life cop drama about a particularly thuggy DEA team, an old-fashioned murder mystery-meets-heist-exercise, or just another crowd-pleasing Pumping Arnie flick? Schwarzenegger is Breacher, the leader of a team of undercover DEA agents who like to caper on the far reaches of bad lieutenant behavior: wild-eyed coke snorting (a scene-chomping Mireille Enos); sorry facial hair (Sam Worthington, as out of his element as the bead at the end of his goatee); unfortunate cornrows (Joe Manganiello); trash-talking (Josh Holloway); and acting like a suspiciously colorless man of color (Terrence Howard). We know these are bad apples from the start — the question is just how bad they are. Also, how fast can the vanilla homicide cops (Olivia Williams, Harold Perrineau) lock them down, as team members are handily, eh, dismembered and begin to turn on each other and Schwarzenegger gets in at least one semi-zinger concerning an opponent with 48 percent body fat? Still, the sutured-on archetypal-Arnie climax comes as a bit of a shock in its broad-stroke comic-book violence, as the superstar pulls rank, sabotages any residual pretense to realism, and dons a cowboy hat to tell his legions of shooting victims, “I’m different!” Get to the choppers, indeed. (1:49) Metreon, 1000 Van Ness. (Chun)

300: Rise of An Empire We pick up the 300 franchise right where director Zack Snyder left off in 2006, with this prequel-sequel, which spins off an as-yet-unreleased Frank Miller graphic novel. In the hands of director Noam Murro, with Snyder still in the house as writer, 300: Rise of an Empire contorts itself, flipping back and forth in time, in an attempt to explain the making of Persian evil prince stereotype Xerxes (Rodrigo Santoro) —all purring androgyny, fashionable piercings, and Iran-baiting, Bush-era malevolence — before following through on avenging 300‘s romantically outnumbered, chesty Spartans. As told by the angry, mourning Spartan Queen Gorgo (Lena Headey of Game of Thrones), the whole mess apparently began during the Battle of Marathon, when Athenian General Themistokles (Sullivan Stapleton) killed Xerxes’s royal father with a well-aimed miracle arrow. That act ushers in Xerxes’s transformation into a “God King” bent on vengeance, aided and encouraged by his equally vengeful, elegantly mega-goth naval commander Artemisia (Eva Green), a Greek-hating Greek who likes to up the perversity quotient by making out with decapitated heads. In case you didn’t get it: know that vengeance is a prime mover for almost all the parties (except perhaps high-minded hottie Themistokles). Very loosely tethered to history and supplied with plenty of shirtless Greeks, taut thighs, wildly splintering ships, and even proto-suicide bombers, Rise skews toward a more naturalistic, less digitally waxy look than 300, as dust motes and fire sparks perpetually telegraph depth of field, shrieking, “See your 3D dollars hard at work!” Also working hard and making all that wrath look diabolically effortless is Green, who as the pitch-black counterpart to Gorga, turns out to be the real hero of the franchise, saving it from being yet another by-the-book sword-and-sandal war-game exercise populated by wholesome-looking, buff, blond jock-soldiers. Green’s feline line readings and languid camp attitude have a way of cutting through the sausage fest of the Greek pec-ing order, even during the Battle of, seriously, Salamis. (1:43) Metreon, 1000 Van Ness. (Chun)

The Unknown Known After winning an Oscar for 2003’s The Fog of War: Eleven Lessons from the Life of Robert S. McNamera, Errol Morris revisits the extended-interview documentary format with another Secretary of Defense, Donald Rumsfeld. The film delves into Rumsfeld’s lengthy political career — from Congress to the Nixon, Ford, and George W. Bush administrations — drawing insights from the man himself and his extensive archive of memos (“there have to be millions”) on Vietnam, 9/11, Osama bin Laden, the “chain of command,” torture, the Iraq War, etc., as well as archival footage that suggests the glib Rumsfeld’s preferred spin on certain events is not always factually accurate (see: Saddam Hussein and WMDs). Morris participates from behind the camera, lobbing questions that we can hear and therefore gauge Rumsfeld’s immediate reaction to them. (The man is 100 percent unafraid of prolonging an awkward pause.) A gorgeous Danny Elfman score soothes some of the anger you’ll feel digesting Rumsfeld’s rhetoric, but you still may find yourself wanting to shriek at the screen. In other words, another Morris success. (1:42) Elmwood, Presidio. (Eddy)

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

The Wind Rises Hayao Miyazaki announced that Oscar nominee The Wind Rises would be his final film before retiring — though he later amended that declaration, as he’s fond of doing, so who knows. At any rate, it’d be a shame if this was the Japanese animation master’s final film before retirement; not only does it lack the whimsy of his signature efforts (2001’s Spirited Away, 1997’s Princess Mononoke), it’s been overshadowed by controversy — not entirely surprising, since it’s about the life of Jiro Horikoshi, who designed war planes (built by slave labor) in World War II-era Japan. Surprisingly, a pacifist message is established early on; as a young boy, his mother tells him, “Fighting is never justified,” and in a dream, Italian engineer Giovanni Caproni assures him “Airplanes are not tools for war.” But that statement doesn’t last long; Caproni visits Jiro in his dreams as his career takes him from Japan to Germany, where he warns the owlish young designer that “aircraft are destined to become tools for slaughter and destruction.” You don’t say. A melodramatic romantic subplot injects itself into all the plane-talk on occasion, but — despite all that political hullabaloo — The Wind Rises is more tedious than anything else. (2:06) Sundance Kabuki. (Eddy) *