Queer

Film listings are edited by Cheryl Eddy. Reviewers are Kimberly Chun, Max Goldberg, Dennis Harvey, Lynn Rapoport, and Matt Sussman. For rep house showtimes, see Rep Clock. For complete film listings, see www.sfbg.com. Due to the Christmas holiday, theater information was incomplete at presstime.

OPENING

Holy Rollers: The True Story of Card Counting Christians For a time, one of the most successful card-counting outfits in America was “the Churchteam,” a group of 20-somethings who mapped out a businesslike way of relieving casinos of millions of dollars. Two managers trained a pack of players, who would then travel to Las Vegas and other places, armed with stacks of bills (contributed by investors) and the cojones to cheat until they were “backed off” from the blackjack table. (As 2009’s The Hangover, excerpted here, points out, counting cards isn’t illegal — it’s merely “frowned upon.”) Neat story, but the real hook here is that the Churchteam was comprised almost entirely of practicing Christians; their shared faith insured that nobody would steal from the team’s profits. (Of course, when the team starts losing, and theft is suspected, all eyes fasten upon the single non-Christian in the pack.) The fast-paced Holy Rollers tends toward the highly enjoyable, but the Churchteam members are so self-satisfied that they prove difficult to root for at times. Holy smugness, bro! (1:35) Roxie. (Eddy)

*Pariah A teenage girl stands stock-still in a dark nightclub, gazing with desire and fear at the half-naked female dancers on the stage. Later, riding home on the bus, she slowly removes the layers of butch that held her together in the club, stripping down to some version of the person her parents need to see when she walks in the door. Nearly wordlessly, the opening scenes of Dee Rees’s Pariah poignantly depict the embattled internal life of Alike (Adepero Oduye), a 17-year-old African American girl living in Brooklyn with her family and struggling both to be seen as she is and to determine what that might look like. The battles are being waged externally, too, between Alike’s adoring father (Charles Parnell), living in willful ignorance, and angry, rigid mother (Kim Wayans), desperately enforcing a feminine dress code and steering Alike away from openly butch friend Laura (Pernell Walker). Rees’ script beautifully conveys a household of landmines and chasms, which widen as husband and wife and daughter struggle and fail to communicate, asking the wrong questions, fearfully skirting the truth about Alike’s sexuality and her parents’ crumbling marriage. And the world outside proves full of romantic pitfalls and the tensions of longtime friendship and peer pressure. The poems in which the talented Alike takes solace and makes her way toward a more truthful existence are beautiful, but at a certain point the lyricism overtakes the film, forcing an ending that is tidy but less than satisfying. (1:26) Embarcadero. (Rapoport)

Paul Goodman Changed My Life Social theorist, poet, novelist, essayist, co-founder of Gestalt therapy, anarchist, activist, pacifist, intellectual provocateur, queer-identified bisexual, husband, father, radical nerd — these are just some of the many hats Goodman wore during his fairly brief tenure as one of the most influential American thinkers of the mid-20th century. His 1960 non-fiction tome Growing Up Absurd explained an emerging generation’s disenchantment with the “establishment” society it would soon rebel against, making him an unlikely, tweedy, middle-aged spokesman for the rising youth movement. (Though before his 1972 death at age 60, he would grow disillusioned with that movement.) A fascinating mind, a sometimes impossible personality, he’s fallen somewhat into neglect as recent decades have favored conformism over the humanist re-making of society he advocated, and which for a while there actually seemed possible. Thus it’s as good a moment as any for Jonathan Lee’s documentary, which mixes biographical overview and appreciation of the subject’s disparate work and ideas with extant footage of him speaking and interviews with surviving friends, family, and colleagues. Maybe “mixes” is a less apt term than “scrambles” — faced with an admittedly bewildering pile of information (and contradiction), Lee fails to find any viable organizing principle. Always interesting, this scattershot documentary nonetheless never quite finds a secure foothold on its sprawling, slippery subject. Still, as introduction or just nostalgic flashback to Goodman’s legacy, it’s worth a look. (1:29) SFFS New People Cinema. (Harvey)

ONGOING

*The Adventures of Tintin Producer Peter Jackson and director Steven Spielberg join forces to adapt the work of Belgian comic creator Hergé, using performance-capture 3D animation (and featuring that new technology’s most prominent performer, Andy Serkis, in a key role). Hergé wrote over 20 volumes following the globe-trotting exploits of intrepid young reporter Tintin (Jamie Bell) and his canine companion, Snowy; The Adventures of Tintin draws from a trio of books dating from the early 1940s, tweaking the tales a bit but retaining the series’ ebullient energy and sharp humor. After he impulsively buys a model ship, Tintin is sucked into a mystery involving a long-lost pirate treasure sought by the sinister Sakharine (Daniel Craig) and, eventually, newfound Tintin ally Captain Haddock (Serkis). Fan favorites Thompson and Thomson (Simon Pegg and Nick Frost — frequent compadre Edgar Wright co-wrote the script) and a certain “Milanese Nightingale” make appearances in a story that careens between exotic locales and high-seas battles, and is packed with epic chase scenes that would leave Indiana Jones breathless. And in case you were worried, Tintin boasts the least creepy, least “uncanny valley” performance-capture animation I’ve seen to date. (1:47) (Eddy)

Alvin and the Chipmunks: Chip-wrecked (1:27)

*The Artist (1:40)

Being Elmo: A Puppeteer’s Journey (1:25)

A Dangerous Method (1:39)

The Darkest Hour (1:29)

*The Descendants (1:55)

*Drive (1:40)

The Flowers of War (2:21)

*The Girl With the Dragon Tattoo The meeting of Stieg Larsson’s first “Millennium” book and David Fincher promised fireworks, as he’s a director who can be equally vivid and exacting with just the elements key to the series: procedural detail, obsession, violence, tweaked genre conventions, mind games, haunted protagonists, and expansive story arcs. But perhaps because this possible franchise launch had to be rushed into production to ride the Larsson wave, what should have been a terrific matchup turns out to be just a good one — superior in some stylistic departments (notably Trent Reznor and Atticus Ross’ pulsing score), but overall neither an improvement nor a disappointment in comparison to the uninspired but effective 2009 Swedish film version. Daniel Craig plays Mikael Blomkvist, the muckraking Stockholm journalist whose public disgrace after a failed expose of a suspect corporate tycoon makes him the perfect candidate for an unexpected assignment: staying sequestered in the wealthy, warring Vanger clan’s island home to secretly investigate a teenage girl’s disappearance and presumed murder 40 years ago. His testy helpmate is the singular Lisbeth Salander (Rooney Mara), antisocial hacker, researcher, and ex-mental patient par excellence. Nearly three hours long, the compressed, slightly altered (get over it) storyline nonetheless feels rushed at times; Fincher manages the rare feat of making mostly internet research exciting in filmic terms, yet oddly the book’s more shocking episodes of sex and/or mayhem don’t have the memorable impact one might expect from him. The leads are fine, as is the big support cast of recognizable faces (Christopher Plummer, Stellan Skarsgård, Robin Wright, etc.) But the knockout suspense, atmosphere, and urgency one hoped for isn’t present in this intelligent, not entirely satisfying treatment. On the other hand, maybe those who’ve already read the books and seen the prior films have already had so much exposure to this material that a revelatory experience is no longer possible. (2:38) (Harvey)

Le Havre (1:43)

Hugo (2:07)

I Melt With You (1:47)

J. Edgar (2:17)

*Melancholia (2:15)

Midnight in Paris (1:34)

Mission Impossible: Ghost Protocol No world landmark (the Kremlin, the Burj Khalifia) is too iconic and/or freaking tall for uber-adrenalized Impossible Missions Force agent Ethan Hunt (Tom Cruise) and his team (Jeremy Renner, Paula Patton, Simon “Comic Relief” Pegg) to infiltrate, climb, assume false identities in, use as a home base for unleashing futuristic spy technology that seems almost plausible (with the help of lots of iPads), race a BMW through, etc. One kind of gets the sense that Cruise and company sat down with a piece of paper and were like, “What stunts haven’t we done before, and how many of them can I do with my shirt off?” Celebrated animation director Brad Bird (2004’s The Incredibles) is right at home with Ghost Protocol as his first live-action effort — the film’s plot (set in the present day, it involves a positively vintage blend of Russians and nukes) and even its unmemorable villain take a back seat to Cruise’s secret-agent shenanigans, most of which take the form of a crazy plan that must be altered at the last minute, resulting in an even crazier plan, which must be implemented despite the sudden appearance of yet another ludicrously daunting obstacle, like, say, a howling sandstorm. For maximum big dumb fun, make sure you catch the IMAX version. A warning, though: any time the movie screeches to a halt to explore emotions or attempt characterization … zzz. (2:13) (Eddy)

The Muppets (1:38)

*My Reincarnation (1:22) Roxie, Smith Rafael.

My Week With Marilyn (1:36)

New Year’s Eve (1:58)

*Shame (1:39)

Sherlock Holmes: A Game of Shadows Maybe Guy Ritchie should’ve quit while he was ahead. Thanks to strong performances from Robert Downey Jr. and Jude Law, the British director’s first Holmes flick proved surprisingly fun. Two years later, it’s clear that Ritchie’s well of creatitivity has run dry. Sherlock Holmes: A Game of Shadows is cliched and overlong, burying a few good ideas under an avalanche of tired action movie stalwarts gone steampunk. To be fair, the set design and art direction are still sumptuous, creating a hyperbolic, detailed vision of Victorian Europe. New cast additions Jared Harris (as Moriarty, maliciously polite) and Stephen Fry (as Mycroft, eccentric and nude) do well with limited material. Noomi Rapace, playing a helpful gypsy, is superfluous. Downey Jr. and Law are still game for some amusing PG-13 homoeroticism, but it’s the former’s disinterested performance that ensures the movie’s downfall. Forced to make do without witty quips or interesting deductions, the Holmes of A Game of Shadows is part bruiser, part buffoon. The game’s a flop, Watson. (2:09) (Ben Richardson)

*Silent Souls Director Aleksei Fedorchenko and scenarist Denis Osokin’s enigmatic feature follows two men on a modern road trip that might well be deep into the bottomless past of Russia’s diverse religious rituals, mysticisms, and folklore. Coworkers travel cross-country to perform complicated Meryan ethnic rites for one protagonist’s late, beloved younger wife. This involves the transport of two birds, some surprisingly graphic personal reminiscences, an oceanfront funeral pyre, and other incidents whose full import the filmmakers are happy to leave somewhat cryptic. Gently comic, lyrical, at times borderline surreal, Souls belies a short running time of just an hour and a quarter — for all its intangibles, by the end this beguiling journey feels too substantial to have possibly taken so little of our time. (1:15) Roxie, SFFS New People Cinema. (Harvey)

The Sitter (1:21)

The Skin I Live In (1:57)

*Tinker Tailor Soldier Spy (2:07)

*Tomboy (1:22) (Rapoport)

Twilight Saga: Breaking Dawn — Part One

*War Horse If the idea of watching heroic horses getting slaughtered amid the brutal trench warfare of World War I fills your heart with disgust, then you might want to applaud Steven Spielberg and his relatively sensitive touch with that material in the heartrending War Horse. The PG-13 rating also gives you some idea that the director will be hewing to the movie’s origins as a children’s book. Spielberg paints this tale about loss of innocence, be it in the fields of the farm or the battle, in broad strokes, but here, you might feel a bit less manipulated by his prowess as a crowd-pleasing storyteller, less conscious about the legacy he draws on, and more immersed in a story that stays as close as it can to its animal protagonist’s point of view, short of pulling a Mr. Ed. War Horse opens with Joey’s birth and follows him as he’s sold to a struggling English farm run by traumatized war veteran Ted (Peter Mullan), his spunky wife Rose (Emily Watson), and his animal-loving son Albert (Jeremy Irvine). Circumstance — and an unyielding landlord (David Thewlis) — sends Joey off to the so-called Great War, first into the care of an honorable captain (Tom Hiddleston), later a French girl (Celine Buckens), and worst, into the arms of the German enemy, where he toils as a disposable beast of burden charged with hauling the literal machines of war uphill. Spielberg shields viewers both young and old from the more explicit horrors, though gracefully imparts war’s terrors, sending fresh chills through a viewer when, for instance, a child riding a horse disappears over a ridge and fails to return. No one’s immune from tears, and you have to wonder how much healing is actually possible at War Horse‘s conclusion, despite its stylized, symbolism-laden beauty. Nonetheless cinephiles will glean a certain pleasure from images that clearly nod to the blood-red skies of Gone With the Wind (1939), the ominous deep focus of Orson Wells, and the too-bright Technicolor clarity-slash-artifice of National Velvet (1944). (2:26) (Chun)

We Bought A Zoo “If you could choose between animals or humans or animals, which would you choose?” is a standard question among passionate critter lovers, and Cameron Crowe and company go out of their way to outline which side of the divide they stand on. The result won’t please animal-centric fans of, say, Rise of the Planet of the Apes. Reporter Benjamin Mee (Matt Damon) has just lost his beloved wife and is so overwhelmed by all the solo dad time he’s had with his two cute kids, Dylan (Colin Ford) and Rosie (Maggie Elizabeth Jones), that he’s ready to do something rash. Despite the advice of his brother (Thomas Haden Church), he quits his newspaper job and throws his lot in with the ultimate child’s amusement: he buys a ramshackle zoo in the boonies and tries his darnedest to fix it. Coming with the property is the fetching if brusque zookeeper Kelly (Scarlett Johansson, slightly bushier of eyebrow — read: homelier — than usual) and a mixed bag of kooky workers (including Elle Fanning and Crowe fave Patrick Fugit). The challenge for Ben is to get the zoo up to speed, with zero previous experience and limited lucre. Unfortunately Crowe takes the human vs. animal choice to heart and errs on the side of the humanoids: there’s way too few animals here and far too little about the zoo itself. Much like an overbearing zookeeper, the filmmaker protects us from this semi-tame kingdom, when really a viewer wants to know is, when are we going to get more stories about the animals? Can we have a real tour of the grounds? Even the comic efforts of Haden Church and J.B. Smoove as Ben’s realtor aren’t enough to whisk away one’s impatience (or the unsettling feeling that Ben’s affinity for a elderly ailing tiger will end with an SF Zoo-style arm removal) with all these damn people standing between us and the creatures, like a crowd of gawkers hogging the view of the lions. (2:03) (Chun)

*Young Adult (1:34)