Review

Solomon: The CIA, Amazon, Bezo, and the Washington Post: An exchange with Executive Editor Martin Baron

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By Norman Solomon 

(B3 note: This exchange between Norman Solomon and the Washington Post executive editor Martin Baron followed a Solomon column that dramatized the ethical issues involving the Post and its new owner Jeff Bezos, founder and CE0 of  Amazon. Solomon noted that Amazon has landed a $600 million contract with the Central Intelligence Agency.  He wrote that “news media should illuminate conflicts of interest, not embody them” and that Bezo is now doing “big business” with the CIA “while readers of the newspaper’s  CIA coverage are left in the dark.”) 

 
To: Martin Baron, Executive Editor, and Kevin Merida, Managing Editor, The Washington Post
 
Dear Mr. Baron and Mr. Merida:

On behalf of more than 25,000 signers of a petition to The Washington Post, I’m writing this letter to request a brief meeting to present the petition at a time that would be convenient for you on Jan. 14 or 15.


Here is the text of the petition, launched by RootsAction.org:

“A basic principle of journalism is to acknowledge when the owner of a media outlet has a major financial relationship with the subject of coverage. We strongly urge the Washington Post to be fully candid with its readers about the fact that the newspaper’s new owner, Jeff Bezos, is the founder and CEO of Amazon which recently landed a $600 million contract with the CIA. The Washington Post’s coverage of the CIA should include full disclosure that the sole owner of the Post is also the main owner of Amazon — and Amazon is now gaining huge profits directly from the CIA.”

The petition includes cogent comments by many of the people who signed it.

I hope that you can set aside perhaps 10 minutes on Jan. 14or 15 for the purpose of receiving the petition and hearing a summary of its signers’ concerns.

For confirmation of an appointment, I can be reached on my cell phone…

Thank you.

Sincerely,
Norman Solomon
Director and Cofounder, RootsAction.org
 
[January 2, 2014]

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Dear Mr. Solomon:
 
Thank you for your note. I was able to read the petition on the RootsAction.org site and to see the list of those who signed it. I certainly would be happy to review any additional information you might send.
 
The Post has among the strictest ethics policies in the field of journalism, and we vigorously enforce it. We have routinely disclosed corporate conflicts when they were directly relevant to our coverage. We reported on Amazon’s pursuit of CIA contracts in our coverage of plans by Jeff Bezos to purchase The Washington Post.
 
We also have been very aggressive in our coverage of the intelligence community, including the CIA, NSA, and other agencies, as you should know. The Post was at the leading edge of disclosures about the NSA in 2013. Most recently, it reported on the CIA’s hidden involvement in Colombia’s fight against FARC rebels, including a fatal missile attack across the border in Ecuador. You can be sure neither the NSA nor the CIA has been pleased with publication of their secrets.
 
Neither Amazon nor Jeff Bezos was involved, nor ever will be involved, in our coverage of the intelligence community.
 
The petition’s request for disclosure of Amazon’s CIA contract in every story we write about the CIA is well outside the norm of conflict-of-interest disclosures at media companies. The Post is a personal investment by Jeff Bezos, whose stake in Amazon is large but well less than a majority. The CIA’s multi-year contract with Amazon is a small fraction of company revenues that have been estimated at roughly $75 billion in 2013. Amazon maintains no corporate connection to The Post.
 
Even so, we have been careful to disclose Jeff Bezos’ connection to The Post and Amazon when directly relevant to our coverage, and we will continue to do so. For example, such disclosures would be called for in coverage circumstances such as the following:  CIA contracting practices, the CIA’s use of cloud services,  big-data initiatives at the CIA, Amazon’s pursuit of cloud services as a line of business, and Amazon corporate matters in general.
 
We take ethics very seriously here at The Post. One of our policies is that we seek comment from the subjects of our stories prior to publishing them and that we make a genuine effort to hear and absorb their point of view. By contrast, I am unaware of any effort to hear us out prior to the launch of this petition drive. A personal meeting now does not seem necessary or useful.
 
I hope this note explains our perspective. And again, if you wish to send additional information that you feel might be helpful to us, we will review it closely.
 
Sincerely,
Martin Baron
Executive Editor
The Washington Post
 
[January 2, 2014]

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Dear Mr. Baron:

Thank you for your letter.

Whatever the Post’s guidelines and record on ethical standards, few journalists could have anticipated ownership of the paper by a multibillionaire whose outside company would be so closely tied to the CIA. Updating of the standards is now appropriate.

You write that The Washington Post has “routinely disclosed corporate conflicts when they were directly relevant to our coverage.” But the RootsAction.org petition is urging the Post to provide readers of its CIA coverage with full disclosure that would adequately address — and meaningfully inform readers about — relevant circumstances of the current ownership.

Those circumstances are not adequately met by a narrow definition of “corporate conflicts.” A reality is that the Post is now solely owned by someone who is by far the largest stakeholder in a world-spanning corporate giant that has close business ties — and is seeking more extensive deals than its current $600 million contract — with the CIA, an agency which the newspaper reports on regularly.

The petition requests that The Washington Post adopt a full disclosure policy that is commensurate with this situation. The gist of the request is recognition that, as the saying goes, sunshine is the best disinfectant for any potential conflict of interest.

When you write that the Post has a policy of routinely disclosing corporate conflicts when “directly relevant to our coverage,” a key question comes to the fore:  What is “directly relevant”? Given that few agencies are more secretive than the CIA — and even the most enterprising reporters are challenged to pry loose even a small fraction of its secrets — how do we know which CIA stories are “directly relevant” to the fact that Amazon is providing cloud computing services to the CIA?

Amazon’s contract with the CIA is based on an assessment that Amazon Web Services can provide the agency with digital-data computing security that is second to none. We can assume that a vast amount of information about CIA activities is to be safeguarded by Amazon. With what assurance can we say which stories on CIA activities are not “directly relevant” to Jeff Bezos’s dual role as sole owner of the Post and largest stakeholder in Amazon?

We actually don’t know what sort of data is involved in what your letter calls “the CIA’s use of cloud services.” The disclosure/non-disclosure policy that you’ve outlined seems to presume that, for instance, there would be no direct relevance of the cloud services contract to coverage of such matters as CIA involvement in rendition of prisoners to regimes for torture; or in targeting for drone strikes; or in data aggregation for counterinsurgency. Are you assuming that the Post’s coverage of such topics is not “directly relevant” to the Bezos/Amazon ties with the CIA and therefore should not include disclosure of the financial ties that bind the Post’s owner to the CIA?

Readers of a Post story on the CIA — whether about drones or a still-secret torture report, to name just two topics — should be informed of the Post/Bezos/Amazon/CIA financial ties. In the absence of such in-story disclosure, there is every reason to believe that many readers will be unaware that the Post’s owner is someone with a major financial stake in an Amazon-CIA deal worth hundreds of millions of dollars.

If Amazon’s $600 million multiyear cloud contract with the CIA is a small fraction of the company’s revenue, there is clear intent for it to grow larger. And $600 million is, by itself, hardly insignificant; let’s remember that Mr. Bezos bought the Post for less than half that amount.

“We look forward to a successful relationship with the CIA,” a statement from Amazon said two months ago. In public statements, Mr. Bezos and Amazon have made clear that they view this as a growing part of Amazon’s business: a feather in the corporate cap of the company in its drive to increase market share of such business operations. This is intended as a major and expansive income source for Amazon and for its CEO, Mr. Bezos, whose personal wealth of $25 billion is a consequence of Amazon’s financial gains.

Why not provide a sentence in the Post’s substantive coverage of CIA activities, to the effect that “The Post’s owner Jeff Bezos is the largest stakeholder in Amazon, which has a $600 million contract with the CIA”?

By declining to provide such disclosure, the Post is failing the transparency test when coverage of the CIA falls outside of the circumscribed areas where your letter says Post policy now provides for disclosure (“CIA contracting practices, the CIA’s use of cloud services, big-data initiatives at the CIA, Amazon’s pursuit of cloud services as a line of business, and Amazon corporate matters in general”).

Such concerns are among the reasons why tens of thousands of people, including many Post readers, have signed the petition to The Washington Post that I will be delivering onJanuary 15. While it’s unfortunate that you don’t want to have a meeting for a few minutes on that day, I hope that you will mull over the concerns that are propelling this petition forward.

Sincerely,
Norman Solomon
RootsAction.org

[January 4, 2014]

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Dear Mr. Solomon:
 
Thank you for expanding upon your views.
 
Just to reiterate, The Post has among the strictest ethics policies in the field of journalism. Those policies are sufficiently expansive, comprehensive, and current to take into account The Post’s acquisition by Jeff Bezos. The policies are strictly enforced. However, as I explained in detail in my previous note, your proposal is far outside the norm of disclosures about potential conflicts of interest at media organizations.
 
Meantime, as plain evidence of our independence, we will continue our aggressive coverage of the intelligence community, including the CIA. I hope you’ve noticed it. The CIA has, and it’s not happy.
 
Sincerely,
Martin Baron
Executive Editor
The Washington Post
 
[January 4, 2014]

______________________________________________

Norman Solomon is co-founder of RootsAction.org and founding director of the Institute for Public Accuracy. His books include “War Made Easy: How Presidents and Pundits Keep Spinning Us to Death.”

Pelosi denounces City College’s accreditors

Erica Hanna
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Pelosi denounces City College’s accreditors

Rep. Nancy Pelosi denounced the accreditors seeking to close City College at a press conference held yesterday at the school’s Chinatown campus.

“You can be sure it will be subjected to harsh scrutiny in terms of how they do what they do, who they are and why is it the Department of Education cannot do more,” she said to the crowd of local luminaries and City College faculty. 

City College of San Francisco is one of the state’s largest community colleges, home to a student body of over 85,000. The school came under fire from its accreditors, the Accrediting Commission for Community and Junior Colleges, last July, who moved to revoke the school’s accreditation. Such a move would force the college to close. 

Since then the ACCJC has been beaten back from many directions: it’s tangled in three lawsuits, as well as a state inquiry from the Joint Legislative Audit Committee. Arguably the highest profile thrashing the agency received was from Congresspeople Anna Eshoo and Jackie Speier in November.

“I think the ACCJC has run amok, they have lost their vision — if they ever had one,” Speier told the Guardian. “They are riddled with conflicts of interest and arbitrariness.”

Pelosi voiced support for those views yesterday.

“I want to associate myself with remarks Congresswoman Jackie Speier and Anna Eshoo,” she told the crowd, to cheers. 

Singing the praises of City College is all well and good, but the Guardian asked her directly: what can you do, and what is your next step?

Pelosi indicated that Congresspersons Speier, Eshoo, and George Miller, would review the role of the Department of Education regarding accreditors at a congressional higher education committee. This is something they’ve looked at before. 

“We’ll see what is recommended when we go there,” she said. “Suffice to say this is not something that will be ignored.”

Injunction blocks City College closure

Michael Redmond
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City College of San Francisco is safe from closure, for now. A ruling from San Francisco Superior Court Judge Curtis Karnow issued Jan. 2 would bar City College’s accreditors from terminating the college’s accreditation until after legal proceedings against it are done.

The loss of accreditation would make City College’s future degrees basically worthless, resulting in its closure or merger with another district.

“I’m grateful to the court for acknowledging what so far accreditors have refused to, that educational access for tens of thousands of City College students matters,” City Attorney Dennis Herrera said at a press conference announcing the judge’s decision.

Now Herrera and his team have time to save the school, and City College will keep its doors open for the duration of the suit — win or lose.

The ruling was the result of an injunction filed by City Attorney Dennis Herrera on Nov. 25 as part of his office’s suit against the Accrediting Commission for Community and Junior Colleges in August for allegedly using the process to carry out an ideological agenda against CCSF. The ACCJC openly lobbied in public hearings and via public letters for education reform across the state, reforms which City College’s administration believed would harm San Francisco’s most vulnerable students: the poor, certificate seekers, and lifelong learners.

Only part of the injunction was granted by Karnow, however. The ACCJC is barred from shutting down City College, but it can still revoke the accreditation from any of the other 112 community colleges it oversees across the state.

The ruling also doesn’t stop it them from making preparations to close the college, Herrera said.

“It does not stop them from continuing their review and analysis and evaluation, it stops them from issuing a final ruling with respect to taking accreditation of City College,” he said.

Not everyone agrees with Herrera’s efforts.

“Court intervention is not necessary to keep City College open,” State Community College Chancellor Brice Harris wrote to Herrera in a Jan. 2 letter.

Harris argues that the lawsuit detracts from the efforts to save the school made by the special trustee Robert Agrella, who was assigned by Harris to replace City College’s Board of Trustees just after the accreditation crisis broke out.

City College saved, for now (update)

Erica Hanna
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City College saved, for now (update)

Update: This post has been updated with new information, after a 5:30 press conference held by City Attorney Dennis Herrera.

City College of San Francisco is safe from closure, for now.

A ruling from San Francisco Superior Court Judge Curtis Karnow issued this afternoon would bar City College’s accreditors from terminating the college’s accreditation until after legal proceedings against it are done. 

The loss of accreditation would make City College’s future degrees basically worthless, resulting in its closure or merger with another district.

“I’m grateful to the court for acknowledging what so far accreditors have refused to, that educational access for tens of thousands of city college students matters,” City Attorney Dennis Herrera said at a press conference announcing the judge’s decision.

Now Herrera and his team have time to save the school, and City College will keep its doors open for the duration of the suit — win or lose.

The ruling was the result of an injunction filed by City Attorney Dennis Herrera on Nov. 25. as part of their suit against the Accrediting Commission for Community and Junior Colleges in August for allegedly using the process to carry out an ideological agenda against CCSF. The ACCJC openly lobbied in public hearings and via public letters for education reform across the state, reforms which City College’s administration believed would harm San Francisco’s most vulnerable students: the poor, certificate seekers, and lifelong learners.

ccsfhearing

Counsel for the Accrediting Commission for Community and Junior Colleges, Andrew Sclar and Philip Ward, confer during a break at a preliminary injunction hearing regarding City College of San Francisco on Dec. 26, 2013. Photo by Sara Bloomberg

Only part of the injunction was granted by Karnow, however. The ACCJC is barred from shutting down City College, but it can still revoke the accreditation from any of the 112 community colleges it oversees across the state.

The ruling also doesn’t stop it them from making preparations to close the college, Herrera said.

“It does not stop them from continuing their review and analysis and evaluation, it stops them from issuing a final ruling with respect to taking accreditation of City College,” he said. 

Not everyone agrees with Herrera’s efforts though.

“Court intervention is not necessary to keep City College open,” State Community College Chancellor Brice Harris wrote to Herrera in a letter today. 

Harris argues that the lawsuit detracts from the efforts to save the school made by the special trustee Robert Agrella, who was assigned by Harris to replace City College’s board of trustees just after the accreditation crisis broke out.

“Characterizations that the cases before the court are a ‘last-ditch’ effort to ‘save’ City College are inaccurate and will do additional damage to the college’s enrollment,” Harris wrote.

And City College’s enrollment has taken a huge hit, down nearly 30 percent from last year, leading to the college’s new media campaign to get students back in City College seats. 

Though Harris criticized Herrera’s lawsuit as the chancellor of the state community college system, Harris has tangled ties with the accreditors — he was a commissioner on the ACCJC board some years ago. 

At the hearing to grant the injunction, Sara Eisenberg, the deputy city attorney, argued that real harm hit City College since the news of its closure hit. Students have left the school in droves.

“We’re asking, your honor, right now for something that won’t happen until further down the road… but there’s real harm happening right now. Latest numbers show enrollment is down 27 percent,” she told Karnow. 

The ACCJC’s counsel, Andrew Sclar, argued that an injunction to stop City College’s closure would actually harm the ACCJC itself.

 “There certainly would be harm to us,” he told Karnow. “If we do not enforce sanctions or bring a non compliant institution into compliance within a two year period, we would be at risk of losing our recognition with the United States Department of Education.”

Karnow then asked if there was “evidence on the record” of that ever happening. Sclar said no.

The college is slated to lose its accreditation in July 2014. The college is trying to reverse its fortunes and is applying for an appeal with the ACCJC. 

Now, it has a chance to stay open while Herrera fights for its future. Two other lawsuits were filed against the ACCJC as well, one by the California Federation of Teachers and another by the Save CCSF Coalition. 

Lawsuits aren’t the only fire the ACCJC has come under lately. US Rep. Jackie Speier called for a forum on the ACCJC’s alleged misconduct in November, and the beleagured commission was recently reviewed by the federal government, and given one year to come into compliance with federal guidelines.

For our coverage of the court hearing that led to the injunction, click here.

Deputy City Attorney Sara Eisenberg discusses the hearing for the injuncton.

The full text of Herrera’s press release is below.

City College wins reprieve, as court enjoins ACCJC from terminating accreditation

Herrera grateful to court ‘for acknowledging what accreditors callously won’t: that the educational aspirations of tens of thousands of City College students matter’

SAN FRANCISCO (Jan. 2, 2014) — A San Francisco Superior Court judge has granted a key aspect of a motion by City Attorney Dennis Herrera to preliminarily enjoin the Accrediting Commission for Community and Junior Colleges from terminating City College of San Francisco’s accreditation next July.  Under terms of the ruling Judge Curtis E.A. Karnow issued late this afternoon, the ACCJC is barred from finalizing its planned termination of City College’s accreditation during the course of the litigation, which alleges that the private accrediting body has allowed political bias, improper procedures, and conflicts of interest to unlawfully influence its evaluation of the state’s largest community college.  Judge Karnow denied Herrera’s request for additional injunctive relief to prevent the ACCJC from taking adverse accreditation actions against other educational institutions statewide until its evaluation policies comply with federal regulations.  A separate motion for a preliminary injunction by plaintiffs representing City College educators and students was denied.  

In issuing the injunction, the court recognized that Herrera’s office is likely to prevail on the merits of his case when it proceeds to trial, and that the balance of harms favored the people Herrera represents as City Attorney.  On the question of relative harms, Judge Karnow’s ruling was emphatic in acknowledging the catastrophic effect disaccreditation would hold for City College students and the community at large, writing: “There is no question, however, of the harm that will be suffered if the Commission follows through and terminates accreditation as of July 2014.  Those consequences would be catastrophic.  Without accreditation the College would almost certainly close and about 80,000 students would either lose their educational opportunities or hope to transfer elsewhere; and for many of them, the transfer option is not realistic.  The impact on the teachers, faculty, and the City would be incalculable, in both senses of the term: The impact cannot be calculated, and it would be extreme.”

“I’m grateful to the court for acknowledging what accreditors have so far refused to: that the educational aspirations of tens of thousands of City College students matter,” said Herrera.  “Judge Karnow reached a wise and thorough decision that vindicates our contention that accreditors engaged in unfair and unlawful conduct.  Given the ACCJC’s dubious evaluation process, it makes no sense for us to race the clock to accommodate ACCJC’s equally dubious deadline to terminate City College’s accreditation.”

Judge Karnow adjudicated four separate pre-trial motions in today’s ruling following two days of hearings on Dec. 26 and 30.  Herrera filed his motion for preliminary injunction on Nov. 25 — three months after filing his initial lawsuit — blaming the ACCJC for procedural foot-dragging and delay tactics, which included a failed bid to remove the case to federal court and its months-long refusal to honor discovery requests.  Judge Karnow granted in part and denied in part Herrera’s motion, issuing an injunction that applies only to the ACCJC’s termination deadline for City College’s accreditation, and not statewide.

Apart from Herrera’s motion, AFT Local 2121 and the California Federation of Teachers also moved for a preliminary injunction on Nov. 25, citing additional legal theories.  That motion was denied.  A third motion by the ACCJC asked the court to abstain from hearing the City Attorney’s lawsuit for interfering with complex accrediting processes largely governed by federal law; or, failing that, to stay Herrera’s action pending the outcomes of City College’s accreditation proceeding and ACCJC’s own efforts to renew its recognition with the U.S. Department of Education.  A fourth motion, also by the ACCJC, requested that the court strike the AFT/CFT’s case under California’s Anti-SLAPP statute, which enables defendants to dismiss causes of actions that intend to chill the valid exercise of their First Amendment rights of free speech and petition.  (SLAPP is an acronym for “Strategic Lawsuits Against Public Participation.”)  Both of the ACCJC’s pre-trial motions were denied.

The ACCJC has come under increasing fire from state education advocates, a bipartisan coalition of state legislators and U.S. Rep. Jackie Speier for its controversial advocacy to dramatically restrict the mission of California’s community colleges by focusing on degree completion to the detriment of vocational, remedial and non-credit education.  The accrediting body’s political agenda — shared by conservative advocacy organizations, for-profit colleges and student lender interests — represents a significant departure from the abiding “open access” mission repeatedly affirmed by the California legislature and pursued by San Francisco’s Community College District since it was first established.  

Herrera’s action, filed on Aug. 22, alleges that the commission acted to withdraw accreditation “in retaliation for City College having embraced and advocated a different vision for California’s community colleges than the ACCJC itself.”  The civil suit offers extensive evidence of ACCJC’s double standard in evaluating City College as compared to its treatment of six other similarly situated California colleges during the preceding five years.  Not one of those colleges saw its accreditation terminated.  

The City Attorney’s case is: People of the State of California ex rel. Dennis Herrera v. Accrediting Commission for Community and Junior Colleges et al., San Francisco Superior Court No. 13-533693, filed Aug. 22, 2013.  The AFT/CFT case is: AFT Local 2121 et al. v. Accrediting Commission for Community and Junior Colleges et al., San Francisco Superior Court No. 534447, filed Sept. 24, 2013.  Documentation from the City Attorney’s case is available online at: http://www.sfcityattorney.org.

Stage Listings Jan. 1-6, 2014

Jesse Hawthorne Ficks
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Stage listings are compiled by Guardian staff. Performance times may change; call venues to confirm. Reviewers are Robert Avila, Rita Felciano, and Nicole Gluckstern. Submit items for the listings at listings@sfbg.com. For complete stage listings, see www.sfbg.com.

THEATER

OPENING

Major Barbara ACT’s Geary Theater, 415 Geary, SF; www.act-sf.org. $20-140. Previews Wed/8-Sat/11, 8pm; Sun/12, 7pm. Opens Jan 15, 8pm. Runs Tue-Sat, 8pm (Jan 21, show at 7pm; additional shows Jan 22 and 29, 2pm); Sun, 2pm. Through Feb 2. American Conservatory Theater performs a new production of George Bernard Shaw’s political comedy.

The Speakeasy Undisclosed location (ticket buyers receive a text with directions), SF; www.thespeakeasysf.com. $60-90 (add-ons: casino chips, $5; dance lessons, $10). Opens Fri/10, 7:40, 7:50, and 8pm admittance times. Runs Thu-Sat, 7:40, 7:50, and 8pm admittance times. Through March 15. Boxcar Theatre presents Nick A. Olivero’s recreation of a Prohibition-era saloon, resulting in an “immersive theatrical experience involving more than 35 actors, singers, and musicians.”

ONGOING

Amaluna Big Top at AT&T Park, Third Street at Terry A. Francois Blvd, SF; www.cirquedusoliel.com. $50-175. Wed/8-Sat/11, 8pm (also Thu/9-Sat/11, 4:30pm); Sun/12, 1, 4:30. Cirque de Soleil is back in town, this time bringing its Tempest-inspired Amaluna to the big top set up outside AT&T Park. Touted for being a celebration of “women [sic] power,” it seems initially odd that the design elements are so focused on the male peacock feather — all greens and blues and graceful, with curving “fronds” rising up from the stage. Jungle sounds chirp in the background as a bevy of Amazonian women in bejeweled headdresses and a mischievous lizard-man circulate the room until the show starts with the lovely abstraction of a floating red cloud of translucent fabric dancing in a single beam of light. The flimsy plotline is forgettable, a coming-of-age and courtship tale between the island’s young princess, Miranda (Iuliia Mykhailova) and a shipwrecked young Romeo (Evgeny Kurkin), though the parallel courtship between the two comic figures of Jeeves (Nathalie Claude) and Deeda (Shereen Hickman) provides a bit of levity and a novel use for footballs. The most realized character is probably Cali (Victor Kee), the half-lizard, whose prehensile tail and neon body paint give him an otherworldly allure, but it’s the aerialist goddesses and fierce embodiments of the storm that are most memorable from an acrobatic point-of-view, and Lara Jacobs’ unique balancing act from a meditative one. (Gluckstern)

Avenue Q New Conservatory Theatre Center, 25 Van Ness, SF; www.nctcsf.org. $25-45. Wed/8-Sat/11, 8pm; Sun/12, 2pm. New Conservatory Theatre Center performs the Tony-winning comedy.

The Book of Mormon Orpheum Theatre, 1192 Market, SF; www.shnsf.com. $60-120. Wed-Sat, 8pm (also Sat, 2pm); Sun, 1 and 6:30pm. Through Jan 19. When approaching the oeuvre of South Park creators Matt Stone and Trey Parker, it’s best to check your political correctness at the door. That’s certainly no less true of their 2011 Broadway musical The Book of Mormon, co-penned with Robert Lopez (of Avenue Q fame), despite the clean-scrubbed appearance of their fumbling albeit well-intentioned missionary protagonists. Sent to Uganda for two years, top mission pupil Elder Price (Nic Rouleau) and his clumsy but affable partner Elder Cunningham (A.J. Holmes) are faced with a village oppressed by a scenery-chewing warlord, a demoralized coterie of fellow missionaries who have yet to have a successful conversion, and their own fraught, odd-couple dynamic. Rouleau’s Price is an appropriate blend of smarm, charm, and secret self-doubt while Holmes excels in his portrayal of a perennial-loser-turned-prophet (his power ballad-esque solo in “Man Up” is one of the show’s best). Of their hosts, the wry Mafala (James Vincent Meredith) and his sweet but strong-willed daughter Nabulungi (Syesha Mercado) get the most stage time, but it’s the crude and caustic General (David Aron Damane) who grabs the most attention. The gleefully profane “Hasa Diga Eebowai,” a Forbidden Zone-style “Spooky Mormon Hell Dream”, and the deliriously blasphemous “Joseph Smith, American Moses,” round out the entertaining, and strangely informative, score. Though it’s (very) unlikely to convert you to the Church of Latter-Day Saints, there’s a good chance you’ll want to convert to the church of Parker and Stone, if you haven’t already. (Gluckstern)

Foodies! The Musical Shelton Theater, 533 Sutter, SF; www.foodiesthemusical.com. $32-34. Fri-Sat, 8pm. Open-ended. AWAT Productions presents Morris Bobrow’s musical comedy revue all about food.

The Oy of Sex Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $20-100. Thu-Fri, 8pm; Sat, 8:30pm. Through Jan 18. Comedian Alicia Dattner performs her solo show, based on her stories from her own life and love addiction.

Road Show Eureka Theatre, 215 Jackson, SF; www.therhino.org. $15-30. Wed-Sat, 8pm; Sun, 3pm. Through Jan 19. Theatre Rhinoceros presents the Bay Area premiere of the Stephen Sondheim musical.

Storefront Church San Francisco Playhouse, 450 Post St, Second Flr, SF; www.sfplayhouse.org. $30-100. Wed/8-Thu/9, 7pm; Fri/10-Sat/11, 8pm (also Sat/11, 3pm). Weighty themes come leavened by sharp comedy and engaging characters in this 2012 play from New York’s John Patrick Shanley (Doubt), now enjoying a strong and lively Bay Area premiere at SF Playhouse in director Joy Carlin’s well cast production. Ethan, a gregarious retired accountant and professed secular Jew (a hilarious and endearing Ray Reinhardt) tries to get some relief for his Puerto Rican wife, Jessie (a bubbly Gloria Weinstock), who is perilously behind on her loan payments. But it’s like getting the proverbial blood from a stone during his meeting with her humorless and immobile — indeed, partly paralyzed — loan officer (a quietly shattered Rod Gnapp). Ethan appeals to morality; loan officer Reed sticks to the rules of the system. Enter Donaldo (an admirably sure yet understated Gabriel Marin), the Bronx’s upstanding borough president and the son of Jessie’s old friend. Donaldo has much bigger business with the bank underway (a proposed mall deal that will bring jobs, if at the expense of local character) and at first begs off — until he learns his mother has co-signed the loan. Soon, Donaldo is visiting the source of Jessie’s money problems: a somber Pentecostal preacher and Katrina-refugee named Chester (a gently solemn Carl Lumbly) who has installed a traffic-less church in the storefront below her apartment but remains himself paralyzed by depression and uncertainty. Donaldo, himself a preacher’s son, and Chester soon engage in a fiery and captivating debate that turns on the contradictions between moral conviction and worldly compromise. From there on, a fractured congregation of sorts begins to form around the preacher and Donaldo, including the unctuous yet aloof CEO of the bank (played with bounding confidence by a fine Derek Fischer). It all leads to a rousingly funny and tender scene that makes good on the season’s usual lip service to fraternal feeling and communal values. (Avila)

The Tempest Thick House, 1695 18th St, SF; www.doitliveproductions.com. $15. Thu and Sun, 7pm; Fri-Sat, 8pm. Through Jan 18. Do It Live! Productions performs the Shakespeare classic.

BAY AREA

Can You Dig It? Back Down East 14th — the 60s and Beyond Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $20-35. Sat, 8:30pm; Sun, 7pm. Through Feb 2. Don Reed’s new show offers more stories from his colorful upbringing in East Oakland in the 1960s and ’70s. More hilarious and heartfelt depictions of his exceptional parents, independent siblings, and his mostly African American but ethnically mixed working-class community — punctuated with period pop, Motown, and funk classics, to which Reed shimmies and spins with effortless grace. And of course there’s more too of the expert physical comedy and charm that made long-running hits of Reed’s last two solo shows, East 14th and The Kipling Hotel (both launched, like this newest, at the Marsh). Can You Dig It? reaches, for the most part, into the “early” early years, Reed’s grammar-school days, before the events depicted in East 14th or Kipling Hotel came to pass. But in nearly two hours of material, not all of it of equal value or impact, there’s inevitably some overlap and indeed some recycling. Note: review from an earlier run of the show. (Avila)

Edward Gant’s Amazing Feats of Loneliness Ashby Stage, 1901 Ashby, Berk; www.shotgunplayers.org. $20-35. Wed/8-Thu/9, 7pm; Fri/10-Sat/11, 8pm. Shotgun Players performs Anthony Neilson’s comic romp set in “a sensual Edwardian world of top hats, fantastical puppets, and flash powder.”

Sherlock Holmes: The Broken Mirror Berkeley City Club, 2315 Durant, Berk; www.brownpapertickets.com. $20-28. Thu-Sat, 8pm; Sun, 3pm. Through Jan 26. Jeff Garrett portrays all the characters (Sherlock, Watson, Mrs. Hudson, Moriarty…) in this adaptation of William Gillette’s Holmes play.

Tristan & Yseult Berkeley Rep’s Roda Theatre, 2025 Addison, Berk; www.berkeleyrep.org. $17.50-81. Tue and Thu-Sat, 8pm (also Thu and Sat, 2pm; no matinee Jan 18); Wed and Sun, 7pm (also Sun, 2pm). Extended through Jan 18. Kneehigh presents an innovative take on the ancient love-triangle tale. *

 

No decision yet following charged hearing to stall City College closure

Erica Hanna
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No decision yet following charged hearing to stall City College closure

At a Dec. 26 hearing in San Francisco Superior Court, the City Attorney’s office argued that City College of San Francisco should not be shuttered, as long as San Francisco’s lawsuit against a regional accrediting commission remains in court.

The two-year community college, which serves roughly 85,000 students, was notified earlier this year that the regional Accreditin​g Commission for Community and Junior Colleges would terminate its accreditat​ion in July 2014, rendering the school’s degrees worthless.

It would be forced to close.

In August, City Attorney Dennis Herrera filed suit against the ACCJC, alleging the closure action was improper, unwarranted, and out of line with the agency’s prior actions. 

At yesterday’s court hearing, litigators from Herrera’s office argued for a preliminary injunction against ACCJC, to keep the college open at least for the duration of the court proceedings.

Stop, halt, cease, desist. That was the City Attorney’s goal yesterday: keep City College open until the case is decided.

While yesterday’s hearing was focused on the injunction, the substance of Herrera’s complaint against the ACCJC — alleging that its members were acting improperly as advocates for greater austerity, among other things — came into play many times.

The litigators argued from morning till late afternoon, taking only brief recesses. While Judge Curtis Karnow subjected viewpoints from both sides to microscopic examination, there was no decision by the end.

It’s not yet known when Karnow will issue a ruling. 

“Judge Karnow did not rule from the bench, he issued no tentative order, and he gave no indication of how he intends to rule before concluding today’s hearing,” City Attorney spokesperson Matt Dorsey noted in a statement following the hearing.

In the meantime, a few statements made in court could shed light onto the outcome. We’ve highlighted a few of them below, along with some key questions.

Attorneys Phillip Ward and Andrew Sclar represented the ACCJC, in opposition to Deputy City Attorney Sara Eisenberg and labor lawyer Robert Bezemek, who appeared on behalf of the California Federation of Teachers.

We thought we’d present the case a bit differently, and give background to some of the main arguments and then write the main arguments attorneys made to address them. Each argument is prefaced first, and links are provided for further reading:

1. Herrera’s suit alleges that ACCJC commissioners acted improperly as advocates. That would mean they not only went beyond their role as objective accreditors, but sought to advance a political agenda against CCSF’s inclusive approach to higher education. They address that here.

Judge Curtis Karnow: All of those expression of political views, if you will, by either the staff or the commission itself, are being cited as the “true agenda” that they’re trying to unmask.

ACCJC counsel Philip Ward: There are problems, big problems, at City College of San Francisco…. all of those problems are the product of the so called “open access” mission and the new educational priorities that they’re saying are being shoved down CCSF’s throat.

Innuendo, character assassination … shows us that is what’s being targeted by the plaintiffs allegations.

City College has been kicking the can down the road for six years.

2. Herrera’s motion for an injunction argues that, even as the case is being decided, the school will suffer harm in the interim. How would this injunction soften the blow?

Judge Curtis Karnow: The real thrust of the motion seems to be that the uncertainty has generated behavior by faculty [and] students to depart, and this all stems from uncertainty harm.

When did this uncertainty harm start? How will the actions of this court affect anything? If there’s another hearing in July, won’t there be more uncertainty, even if I issue an injunction?

CFT counsel Robert Bezemek: Declarations filed show that there have already been instances that harm has already been felt. 

For example, (City College’s) radiology program is top in the nation above John Hopkins University. They’ve been given an execution date, everyone knows that. There’s an order to remove the college’s accreditation in July 31. When it got that order, students started to leave the college in droves. 

Deputy City Attorney Sara Eisenberg: We’re asking, your honor, right now for something that won’t happen until further down the road… but there’s real harm happening right now. Latest numbers show enrollment is down 27 percent.

3. Can the ACCJC base its decision to close City College on fiscal issues, rather than educational shortcomings?

CFT counsel Bezemek: We do not deny that they have financial issues… the quality of education is what they’re here (the ACCJC) to measure. But you have to find that the harm from the financial issues warrants shutting the school down the only community college in San Francisco. That it is the fundamental part of accreditation. 

Judge Karnow: So your position is that no matter what bad things the college has done, the commission can’t withdraw its accreditation?

CFT counsel Bezemek: No, we’re saying they have to show substantial evidence. 

(The ACCJC’s) ‘internal review’ is a joke. An injunction would provide huge relief.

accjc counsel

Counsel for the Accrediting Commission for Community and Junior Colleges, Andrew Sclar and Philip Ward, confer during a break at a preliminary injunction hearing regarding City College of San Francisco on Dec. 26, 2013. Photo by Sara Bloomberg

4. Is it within the ACCJC’s power to delay City College’s closure?

Judge Karnow: What if we just dropped the process now? 

ACCJC counsel Sclar: There certainly would be harm to us. If we do not enforce sanctions or bring a non compliant institution into compliance within a two year period, we would be at risk of losing our recognition with the United States Department of Education.

It’s going to have a chilling effect on all accrediting agencies.

Judge Karnow: Is there any evidence of that in the record?

ACCJC counsel Sclar: No, there hasn’t (been). 

Deputy City Attorney Eisenberg: If the people aren’t permitted to seek relief through an (injunctive) action, there’s no other recourse.

The ACCJC has demonstrated a very cavalier attitude in this case. We’re talking about closing the only community college in San Francisco. Many students don’t have access to other colleges otherwise. The relief that we are asking for here is quite modest. It has been granted before… and it didn’t do anything other than hit the pause button.

Mayor Lee addresses Google bus controversy

Erica Hanna
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Mayor Lee addresses Google bus controversy

At a press conference on affordable housing today, the Guardian asked Mayor Ed Lee about San Francisco’s favorite pinata: tech buses. The monstrous private shuttles, which daily whisk tech workers away to Silicon Valley, currently use Muni bus stops without paying fines, like most private autos do. 

In Guardian News Editor Rebecca Bowe’s article in the print edition of the Bay Guardian this week, the San Francisco Municipal Transportation Agency spokesperson Paul Rose tells her that although there is a proposal in the works to regulate them, the SFMTA won’t profit a single dime from the plan. 

“We are developing these policies to better utilize the boarding zones for these shuttle providers,” Rose said. “What we’re trying to do is provide a more efficient transportation network.”

But everyone in San Francisco who has ever ridden Muni knows that it struggles to run on time, and chronic underfunding is a perennial Muni problem. It even hurts the city’s bottom line, depressing our economy by over $50 million a year, according a report from the city earlier this May.

The report also highlights the cost to overhaul Muni between now and the year 2020: over $167 million would be needed to overhaul the system.

So why not make a few bucks from tech companies using Muni stops, who, according to the city, cause Muni delays? 

We asked Mayor Ed Lee that very question at a press conference today. You can listen to his answer in the audio embedded below, or read the transcript for yourself. 

San Francisco Bay Guardian: “Housing is one aspect of this, but transportation is another. The MTA’s plan to deal with tech buses is cost neutral. Is that a missed opportunity to get additional funding for Muni?”

Mayor Ed Lee: “Not a missed opportunity. That’s the essence of that 2030 task force, transportation task force, that we put together where they send a report to me, I’m in a process of reviewing all aspects of that. 

Muni officials themselves were directly involved in producing that very comprehensive review along with our Planning Department and many in fact all of the departments here had implemented them.

Transportation is not just about Muni, it’s about all the modes of how people get around the city. You can’t forget that, because that’s a really big part of the task force’s work.

How to get people walking. How to get them bicycling safer and more. How to get cars less, and the cars that do, get them through where they have to go without stalling and congesting. 

How do you invest in Muni? In its assets, in its transportation, in all of its aspects. How do you work with taxis and all the other car-sharing and automobile sharing companies. It’s not just about taxis, by the way. I hear from my taxi friends as I walk around City Hall, they don’t want to be left behind so we want to bring them in to see the new exciting use of Uber carshare and Lyft… all of those modes have to be paid attention to at the highest level, including investing in the assets of Muni.

I want Muni to be the choice.”

Earlier in the press conference Lee voiced his opposition to all of the hatred pointed at tech companies. 

“People, stop blaming tech, tech companies,” he said. “They want to work on a solution. I think it’s unfortunate that some voices want to pit one economic sector they view as successful against the rest of our challenge. The reality is they’re only eight percent of our economy.” 

We tried to ask a follow up question, but at the end of his answer on Muni, the mayor’s spokesperson Christine Falvey told the Guardian “We’re going to go on a tour now, this is off topic.”

Mayor Lee orders affordable housing push

Erica Hanna
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Mayor Lee orders affordable housing push

Mayor Ed Lee stood on the rooftop terrace between high brick walls of the soon-to-be-built Natoma Family Apartments, and in the distance, the buzz and clanks of nearby construction echoed his message of the day: Build, baby, build. 

Today (Wed/18) the mayor announced an executive directive for all San Francisco government departments with a hand in housing development to prioritize construction of affordable units, from completely below market rate (BMR) projects to those that have a mix of BMR and market rate units. 

The Department of Building Inspection, Mayor’s Office of Housing, Planning Department and others involved with approving development will all reorient their priorities towards getting new affordable housing built — a stark indicator of just how potent this issue has become after months of high-profile evictions and progressive organizing and demonstrations.

“It isn’t always on the private sector, we’ve got to have a stake in the action as well,” Lee told reporters gathered at the Natoma apartment building. 

“(San Francisco) is expensive,” he said, “but we don’t have to accept it. We can do something.”

With the tech-fueled housing crisis pricing out San Franciscans left and right, and Ellis Act evictions surging 170 percent in the last three years, the city is in dire need of housing help. Even the national media has picked up on San Francisco’s rising inequality, even if some local media outlets have been slower to react.  

But as progressives have noted before, you can’t simply build your way out of this crisis, as Lee acknowledged. His directive carries a promise to incentivize an emphasis on middle class housing, which has been particularly lacking in the housing now being built. 

“The other part of this directive is to also get the other departments to work with me and the private sector to build more housing in all the different spectrums, and middle class housing,” Lee said.  

New Housing Project at Natoma street

Mayor’s Office of Housing Director Olson Lee speaks to a reporter on the deck of a community garden at the new Natoma Family Apartments, which will open in January. 

City rules will also change to protect current housing stock. Now, when a loss of housing is proposed, it will need to go through the Planning Commission for a discretionary review hearing. The mayor also formed a working group of city department heads to make recommendations to the mayor on how to preserve and create new affordable rental stock in San Francisco.

“It isn’t always on the private sector, we’ve got to have a stake in the action as well,” Lee said.

The promise of more housing in the city almost sounds too good to be true. Will the mayor’s plans reverse San Francisco’s affordable housing crisis? 

Peter Cohen, co-director of the Council of Community Housing Organizations, said it sounded like a step in the right direction. “The proof’s in the pudding, of course,” Cohen told the Guardian. “It’s the kind of directive that I wish, honestly, would come out a year ago. The answer has been, let’s keep building and hope it fixes itself.”

By prioritizing affordable housing and mixed use housing, the mayor is using the leverage of government to get developers to do the right thing. “If developers are pushed to put more units they’ll do it,” Cohen said.

Let’s hope the new push from the mayor has come in time to stunt the crisis. Even at the Natoma property where he made the announcement, the need of San Franciscans for affordable housing was palpable.

The new Natoma affordable housing building has 60 units, and will open in January. How many San Franciscans applied to live there? 2,806. 

Back in Burgundy

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Back in Burgundy

cheryl@sfbg.com

FILM The return of Ron Burgundy — the boorish, quotable Will Ferrell character immortalized in 2004’s Anchorman: The Legend of Ron Burgundy — has been heralded for months, thanks to an extravagant marketing campaign that has included car commercials, a new Ben & Jerry’s flavor, and Burgundy-branded Scotch.

But before you claim Burgundy fatigue, there’s the actual sequel to consider. And Anchorman 2: The Legend Continues is quite hilarious, as it turns out. Director, co-writer, and longtime Ferrell collaborator Adam McKay — formerly of Saturday Night Life, he’s the co-founder of Funny or Die, and has directed such Ferrell hits as Anchorman and Talladega Nights: The Ballad of Ricky Bobby (2006) — came to town to discuss his new comedy.

SF Bay Guardian I know you’re here to talk about Anchorman 2, but first I have to express my deep love for Step Brothers (2008).

Adam McKay We were just talking about how that’s the one movie we have that’s super-polarizing. People either loved it or hated it. Roger Ebert wrote one of my favorite reviews that we’ve ever had, where he said that the movie was a symbol of the downfall of Western civilization. [Ed. note: the exact quote is “In its own tiny way, it lowers the civility of our civilization.”] Will Ferrell and I loved that. It read like the Richard Jenkins character in the movie wrote the review! But it might be my favorite movie we’ve done. I think it makes me laugh the hardest.

SFBG Will you ever make Step Brothers 2?

AM We were actually on our way to making Step Brothers 2. The problem was, everyone I told said, “Why? Cause you can’t do Anchorman 2?” I said to Will, “Are we gonna make this movie and the whole response is gonna be, ‘[They made this because] they couldn’t do Anchorman 2‘?” I just didn’t want to deal with that. Fortunately, we love Anchorman as well. But yeah, we had a whole idea. We’d outlined it. John C. Reilly was in. So it still may happen.

SFBG A lot of Anchorman 2‘s humor comes from its cameos. Were you flooded with calls from actors who wanted in?

AM We did have a little bit of that, actually, which is unusual. Fortunately, they were people we loved. I heard right away that Tina [Fey] was up for a cameo, and I’m like, “Yes!” I bumped into Sacha [Baron Cohen], and I was like, “Hey, would you wanna…” “Yeah, I’ll do it!” It was weird to get those kind of effusive responses. It was kind of crazy.

SFBG The first film was PG-13. I’m surprised the sequel is, too. While watching it, I assumed it would get an R for language.

AM We actually had a long battle with the MPAA over it, and we had to trim down quite a few things. It’s all, like, sexual innuendo, and if you say this word you can’t say that word. But meanwhile, if you kill 100 people they don’t care. We were kind of pulling our hair out. But at the end of the day, I think we did pretty well with it. It was always meant to be PG-13. It’s a silly, kind of living cartoon movie. It’s not a hard, dirty movie.

The crack scene was a big, big [sticking point]. Originally it was much longer. But you’ll get to see that on the DVD. There’s a whole other version of the movie where we replaced all of the jokes, since we did so much improv. So it’s the exact same physical movie, but almost every joke is different.

SFBG A lot of the jokes might be perceived as racist or sexist if they were taken out of context. How do you ensure that viewers don’t receive those the wrong way?

AM That was really tricky. We had to calibrate that through all the screenings that we did. The first screening had too much of that in it, and it felt a little uncomfortable, so we’d kind of pull it back. But the whole premise is, these guys are idiots. And they don’t understand anything about multiculturalism, women’s lib — they don’t get any of it. So as long as that premise is clear, you’re OK. They’re not mean guys — except for Champ Kind, who probably is a Tea Party right-winger. But the rest of them are just idiots.

So long as the racial jokes were more just ignorance, it was OK. But if it ever became like a pointed slam, that’s when it would cross the line. So we stayed away from all that kind of stuff, and just had them sort of live in ignorance.

SFBG Like the first Anchorman, the film layers its silliness over cultural commentary. Here, it’s how ridiculous 24 hour news has become.

AM That was always the inspiration. In the first movie, we had women breaking into the newsroom, and these avuncular anchormen just being shits, basically. And that’s hilarious and awful at the same time, and significant enough that you have stakes that you can tell the story.

So for this one, the central idea was 24-hour news, and when the news became what it is today. Really, we knew we had the movie when we were like, “Let’s have Burgundy be the guy who ruins it all.” [Laughs.] And we decided to pin it all on him: the birth of infotainment, the birth of ratings-driven, corporate-owned news, and the idea that Burgundy would be really good at it.

 

ANCHORMAN 2 opens Wed/18 in Bay Area theaters.

SF Board of Supervisors approves new tenant protections

Sasha Cuttler
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11

The Board of Supervisors today (Tues/17) gave unanimous final approval to legislation aimed at giving renters in the city additional protections against being displaced by real estate speculators, and initial approval to legislation protecting tenants from harassment by landlords, both part of a wave of reforms moving through City Hall to address rising populist concerns about gentrification and evictions.

The anti-eviction legislation, created by Sup. John Avalos and co-sponsored by Sups. Eric Mar and David Campos, seeks to preserve rent-controlled and affordable housing by restricting property-owners’ abilities to demolish, merge, and convert housing units, three of the most common ways that affordable housing units are being eliminated in the city.

There was no discussion of the Avalos legislation today as it was approved on second reading, belying last week’s initial discussion, which got a little heated at times. “San Francisco is facing a crisis,” Avalos said last week as he conveyed the importance of passing the ordinance before the end of the year. “We’ve been called on by our constituents to declare a state of emergency for renters in the city.”

Last month, Campos held a high-profile hearing at the board on the city’s affordable housing and eviction crisis, and won approval for his legislation to double how much tenants being evicted under the Ellis Act receive. Today’s board meeting also includes a first reading of legislation by Campos to help protect tenants in rent-controlled apartments from being harassed by landlords seeking to force them out and increasing rents.

“We have heard about tenants being locked out of their apartments. We have heard about loud construction work being done…for the purpose of forcing the tenants out,” Campos said today of his legislation to allow targetted tenants to have complaints heard by the Rent Board rather than having to file a lawsuit. Later, Campos said the legislation sends the message “that is not something that is going to be tolerated in San Francisco.”

Campos’ legislation also received unanimous approval and little discussion, even by supervisors who generally side with landlords over tenants, perhaps including just more potent this issue has become. Board President David Chiu also today introduced a resolution to support his work with Mayor Ed Lee and Sen. Mark Leno to amend the Ellis Act at the state level, hoping to give the city more control over its rent-controlled housing. 

Avalos last week said he is so convinced of the urgency of the current situation that he responded to concerns voiced during the Land Use and Economic Development Committee Meeting on Dec. 9 about how the new legislation would work in the cases of temporary evictions and residential hotels by immediately making amendments to the ordinance without objection.

Nonetheless, further questions arose during the Dec. 10 meeting. Sups. Norman Yee and Katy Tang expressed reservations about the legislation applying in the case of owner move-in (OMI) evictions.

“I would love to support the piece, but this part just doesn’t make sense to me,” Yee concluded. “I’m not getting how it hurts the tenants.”

While Avalos explained that OMI evictions still take affordable housing off the market, he agreed to compromise by reducing the ordinance’s 10-year moratorium on demolishing, merging and converting housing units to five years.

Then, Sup. London Breed spoke up.

“This might not be popular for me to say as a legislator, but I’m very confused,” she began. “I know we have this crisis of Ellis Acts around the city, but I really feel pressured, and that this legislation is being rushed. I can’t support something that I don’t completely understand the impacts of. I just need more time.”

While Breed did not have the chance to review the legislation before the meeting, she had found the time to prepare speeches about President Nelson Mandela’s passing last week and her alma mater Galileo High School’s recent football victory.

Concurring with Breed, Cohen stated, “I understand that we are in a crisis of protecting our rental stock units, but I’m hesitant. Connect the dots for me, how does this save rentals? Or conserve affordable housing? What are we trying to do here?”

Kim reprimanded her fellow board members for not attending the meeting prepared, then stated, “I would support moving the ordinance forward today. The situation we are facing here in the city is extremely challenging…and this legislation is one of the tools we have for it.”

Sup. Scott Wiener and David Chiu echoed Kim’s support, commending Avalos for promptly addressing their former issues with his amendments and additions.

When Cohen used her time on the floor to respond to Kim’s admonition by stating, “I certainly do my homework. I don’t want to be made to feel bad for not getting it on the first time,” Campos suggested that it might be a good time to put the discussion on hold and open the floor for public comments.

While members of the community stepped up to the visitors’ podium, Yee and Campos met at the back of the room while Breed conversed with Sophie Hayward of the Planning Department, who had reviewed the ordinance before it was presented for recommendations. After further discussion with Avalos himself, Yee returned to his seat to speak with Tang. Satisfied with what she learned from Hayward, Breed came over to discuss the ordinance with Campos and Avalos. Cohen remained seated for the duration of the time, speaking with no one.

After the conclusion of public comments, Avalos reiterated the importance of passing the ordinance as soon as possible. “We have been called on by scores, hundreds of people, to preserve this stock,” he stated. “This legislation will help keep families in San Francisco.”

The ordinance was passed unanimously in its first reading, but the fight is not over. Breed for one made it clear that, while she understood the ordinance better after her preceding discussions, she was only giving it her support because she knew the legislation would be up for further review in a week, when all the supervisors will have had time to study it more closely.

With the affordable housing and displacement issues only generating more heat in the last week, today there was only prompt, unanimous approval and no discussion. 

In the last week before Oscar/Christmas season really roars to life … new movies!

Sue Vaughan
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In the last week before Oscar/Christmas season really roars to life … new movies!

This week, we feature a pair of excellent documentaries: Frederick Wiseman’s At Berkeley (review here) and The Punk Singer, about riot grrrl icon Kathleen Hanna (review and interview here). Read on for short takes on this week’s new releases!

Art Gods: An Oral History of the Tower Records Art Department Bay Area filmmaker Strephon Taylor (2012’s The Complete Bob Wilkins Creature Features) turns his lens on Tower Records circa its 1980s heyday, when the hard-partying bros of the store’s in-house art department crafted displays for the hottest new album releases. Taylor, himself a veteran of the crew, gathers its founding members to reminisce, including original store artist Steve Pollutro, who made eye-catching magic using everyday supplies (posters, foam board, X-Acto knives, spray paint, etc.) and spawned an art style that invaded record stores worldwide. An odd length at just over an hour, Art Gods could have been trimmed of some of its superfluous anecdotes (a story about Pollutro’s failed attempts to enter the UK to help Tower set up its London branch drags on forever) and presented as a more fine-tuned shorter doc — or made more substantial by widening its interview pool beyond nostalgic former artists. (1:12) Balboa. (Cheryl Eddy)

http://www.youtube.com/watch?v=shvYNVlHMm8

Bettie Page Reveals All Mark Mori’s affectionate Bettie Page Reveals All is narrated in the form of a rambling, chuckle-punctuated interview with the late pin-up icon herself. (We never actually see her except in archival film and images.) Even die-hards who already know the story behind the legend — a rough childhood, several unsuccessful marriages, mental-health issues — will likely learn some new tidbits. (A friend recalls watching 2005’s unauthorized biopic The Notorious Bettie Page with its subject, who hollered her opinion — “Lies! Lies!” — throughout.) Associates like Hugh Hefner and Dita Von Teese drop by to praise Page’s talents and legacy, but there’s no greater proof of lasting glamour than Page’s famous photographs, which she clearly loved posing for, and never regretted, even after embracing Christianity later in life. (1:41) (Cheryl Eddy)

http://www.youtube.com/watch?v=ClzRVlMhU2E

Out of the Furnace Scott Cooper is best-known for directing Jeff Bridges to a long-overdue Oscar in 2009 country-music yarn Crazy Heart. Perhaps that’s why his follow-up contains so many stars: Christian Bale, Casey Affleck, Forest Whitaker, Willem Dafoe, Sam Shepard, Zoe Saldana, and Woody Harrelson. That cast is the main draw for Out of the Furnace, a glum fable of dying American dreams co-written by Cooper and Brad Inglesby. Furnace retains Crazy Heart‘s melodramatic tendencies and good ol’ boy milieu, though this time we’re deep in Pennsylvania’s Rust Belt, which manages to be even more depressing than Crazy Horse‘s honky-tonks. Cue gray skies, repeated shots of train tracks and smoke stacks, an emo banjo score, and dialogue that casually mentions that “the mill,” the only source of income for miles around, is about to close. Probably the nicest guy in town is Bale’s character, arrested early on for causing a fatal car accident thanks to his inability to turn down a drink offered by the town heavy (Dafoe). Post-prison, he discovers that his girlfriend (Saldana) has taken up with another man, and that his money-troubled Iraq-vet brother (Affleck) has been entering high-stakes pit fights. Really, this can’t end well for anyone. Adding to Out of the Furnace‘s bleak take on modern masculinity is Harrelson, stealing all his scenes with ease as a psychotically violent redneck. Mickey Knox lives! (1:56) (Cheryl Eddy)

http://www.youtube.com/watch?v=YrGkVdL8xUA

Sweet Dreams When the all-female drum troupe at the center of Sweet Dreams performs — and we hear some of the players’ stories about their battles to emerge from the enormity of the Rwandan genocide — we fully understand why Oscar-winning editor Lisa Fruchtman and her brother, documentary director Rob Fruchtman, gravitated toward this story. Ingoma Nshya is rooted in a tradition that was once reserved for men, and is composed of the orphans, widows, wives, and offspring of both the victims and perpetrators of the genocide. Music seems to be one of the sole sources of creative expression and healing for them, until founder and theater director Kiki Katese convinces the hipster owners of Brooklyn’s Blue Marble Ice Cream to start a collective with the women to open the country’s first ice cream shop. The Fruchtmans touch on the horrors of the past but devote most of the drama to the quietly emotional as well as physically tangible issues of opening the store and actually going about making its soft-serve treats. With that focus, Sweet Dreams sometimes seems to overlook the obvious — the ever-lingering specter of violence and trauma, the unanswered questions of justice, and the women’s daily struggle to coexist — and those with a journalistic, or even musically ethnographic, mindset, will be frustrated by some of the absences, like the lack of information about the performances and music itself. That’s not to say Sweet Dreams‘ story isn’t worth telling — or relishing. (1:23) (Kimberly Chun)

http://www.youtube.com/watch?v=pJDxD_UE4ZQ

Walking the Camino: Six Ways to Santiago This documentary follows six modern-day pilgrims as they embark on a journey across Spain. (1:24) Balboa.

Theater Listings: December 4 – 10, 2013

Michael Redmond
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Stage listings are compiled by Guardian staff. Performance times may change; call venues to confirm. Reviewers are Robert Avila, Rita Felciano, and Nicole Gluckstern. Submit items for the listings at listings@sfbg.com.

THEATER

OPENING

Avenue Q New Conservatory Theatre Center, 25 Van Ness, SF; www.nctcsf.org. $25-45. Previews Fri/6-Sat/7 and Dec 13, 8pm; Sun/8, 2pm. Opens Dec 14, 8pm. Runs Wed-Sat, 8pm; Sun, 2pm. Through Jan 12. New Conservatory Theatre Center performs the Tony-winning comedy.

A Christmas Carol Geary Theater, 415 Geary, SF; www.act-sf.org. $20-95. Opens Fri/6, 7pm. Runs Wed-Sat, 7pm (no evening shows Dec 24, 26, or 28; also Sat/7, Dec 11, 14, 21, 23, 2pm; Dec 24 and 26-28, 1pm; Dec 27 evening show at 5:30pm); Sun, 5:30pm (also Sun/8, Dec 15, and 22, 1pm). Through Dec 28. American Conservatory Theater mounts its annual production of the Dickens classic, with James Carpenter as Scrooge and Ken Ruta as Jacob Marley’s ghost.

Cinderella Buriel Clay Theater, African American Art and Culture Complex, 762 Fulton, SF; www.african-americanskaes.org. $12.50-50. Opens Sat/7, 3pm. Runs Sat, 8pm (also Dec 21, 3pm); Sun, 3pm. Through Dec 22. African-American Shakespeare Company presents this fairy-tale production for the holidays.

The Golden Girls: The XMAS Episodes Victoria Theatre, 2961 16th, SF; www.trannyshack.com. $30. Opens Thu/5, 8pm. Runs Thu-Sat, 8pm; Sun, 7pm. Through Dec 22. Inspired by the classic sitcom, Miami’s feisty seniors (portrayed by Heklina, Cookie Dough, Matthew Martin, and Pollo Del Mar) return to spread holiday cheer and cheesecake.

BAY AREA

Edward Gant’s Amazing Feats of Loneliness Ashby Stage, 1901 Ashby, Berk; www.shotgunplayers.org. $20-35. Previews Thu/5 and Dec 11-12, 7pm; Fri/6-Sat/7, 8pm; Sun/8, 5pm. Opens Dec 13, 8pm. Runs Wed-Thu, 7pm; Fri-Sat, 8pm; Sun, 5pm. Through Jan 11. Shotgun Players performs Anthony Neilson’s comic romp set in “a sensual Edwardian world of top hats, fantastical puppets, and flash powder.”

Little Women Lucie Stern Theatre, 1305 Middlefield, Palo Alto; www.theatreworks.org. $19-79. Previews Wed/4-Fri/6, 8pm. Opens Sat/7, 2 and 8pm. Runs Tue-Wed and Dec 30, 7:30pm (no shows Dec 24-25; Dec 31, show at 2pm only; no show Jan 1); Thu-Sat, 8pm (also Sat and Dec 26 and Jan 4, 2pm); Sun, 2 and 7pm. Through Jan 4. TheatreWorks performs the musical adaptation of the Louisa May Alcott tale.

Mame Hillbarn Theatre, 1285 East Hillsdale, Foster City; www.hillbarntheatre.org. $19-40. Previews Thu/5, 8pm. Opens Fri/6, 8pm. Runs Thu-Sat, 8pm (also Dec 14 and 21, 2pm); Sun, 2pm. Through Dec 22. Hillbarn Theatre performs Jerry Herman’s classic musical.

ONGOING

Amaluna Big Top at AT&T Park, Third Street at Terry A. Francois Blvd, SF; www.cirquedusoliel.com. $50-175. Check website for schedule, including special holiday showtimes. Through Jan 12. Cirque de Soleil is back in town, this time bringing its Tempest-inspired Amaluna to the big top set up outside AT&T Park. Touted for being a celebration of “women [sic] power,” it seems initially odd that the design elements are so focused on the male peacock feather — all greens and blues and graceful, with curving “fronds” rising up from the stage. Jungle sounds chirp in the background as a bevy of Amazonian women in bejeweled headdresses and a mischievous lizard-man circulate the room until the show starts with the lovely abstraction of a floating red cloud of translucent fabric dancing in a single beam of light. The flimsy plotline is forgettable, a coming-of-age and courtship tale between the island’s young princess, Miranda (Iuliia Mykhailova) and a shipwrecked young Romeo (Evgeny Kurkin), though the parallel courtship between the two comic figures of Jeeves (Nathalie Claude) and Deeda (Shereen Hickman) provides a bit of levity and a novel use for footballs. The most realized character is probably Cali (Victor Kee), the half-lizard, whose prehensile tail and neon body paint give him an otherworldly allure, but it’s the aerialist goddesses and fierce embodiments of the storm that are most memorable from an acrobatic point-of-view, and Lara Jacobs’ unique balancing act from a meditative one. (Gluckstern)

Arlington Magic Theatre, Fort Mason Center, 2 Marina, Bldg D, Third Flr, SF; www.magictheatre.org. $20-60. Wed/4-Sat/7, 8pm (also Wed/4, 2:30pm); Sun/8, 2:30pm. Magic Theatre performs Victor Lodato and Polly Pen’s world-premiere musical.

The Barbary Coast Revue Stud Bar, 399 Ninth St, SF; eventbrite.com/org/4730361353. $10-40. Wed, 9pm. Through Dec 18. Blake Wiers’ new “live history musical experience” features Mark Twain as a tour guide through San Francisco’s wild past.

The Book of Mormon Orpheum Theatre, 1192 Market, SF; www.shnsf.com. $60-120. Wed-Sat, 8pm (also Sat, 2pm); Sun, 1 and 6:30pm. Through Jan 19. When approaching the oeuvre of South Park creators Matt Stone and Trey Parker, it’s best to check your political correctness at the door. That’s certainly no less true of their 2011 Broadway musical The Book of Mormon, co-penned with Robert Lopez (of Avenue Q fame), despite the clean-scrubbed appearance of their fumbling albeit well-intentioned missionary protagonists. Sent to Uganda for two years, top mission pupil Elder Price (Nic Rouleau) and his clumsy but affable partner Elder Cunningham (A.J. Holmes) are faced with a village oppressed by a scenery-chewing warlord, a demoralized coterie of fellow missionaries who have yet to have a successful conversion, and their own fraught, odd-couple dynamic. Rouleau’s Price is an appropriate blend of smarm, charm, and secret self-doubt while Holmes excels in his portrayal of a perennial-loser-turned-prophet (his power ballad-esque solo in “Man Up” is one of the show’s best). Of their hosts, the wry Mafala (James Vincent Meredith) and his sweet but strong-willed daughter Nabulungi (Syesha Mercado) get the most stage time, but it’s the crude and caustic General (David Aron Damane) who grabs the most attention. The gleefully profane “Hasa Diga Eebowai,” a Forbidden Zone-style “Spooky Mormon Hell Dream”, and the deliriously blasphemous “Joseph Smith, American Moses,” round out the entertaining, and strangely informative, score. Though it’s (very) unlikely to convert you to the Church of Latter-Day Saints, there’s a good chance you’ll want to convert to the church of Parker and Stone, if you haven’t already. (Gluckstern)

BoomerAging: From LSD to OMG Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $15-50. Tue, 8pm. Extended through Dec 17. Will Durst’s hit solo show looks at baby boomers grappling with life in the 21st century.

Foodies! The Musical Shelton Theater, 533 Sutter, SF; www.foodiesthemusical.com. $32-34. Fri-Sat, 8pm. Open-ended. AWAT Productions presents Morris Bobrow’s musical comedy revue all about food.

The Gershwins’ Porgy and Bess Golden Gate Theatre, One Taylor, SF; www.shnsf.com. $60-210. Wed/4-Sat/7, 8pm (also Sat/7, 2pm); Sun/8, 2pm. The Tony-winning Broadway revival launches its national tour in San Francisco.

Hedwig and the Angry Inch Boxcar Theatre, 505 Natoma, SF; www.boxcartheatre.org. $27-43. Thu-Sat, 8pm. Open-ended. John Cameron Mitchell’s cult musical comes to life with director Nick A. Olivero’s ever-rotating cast.

Ideation Tides Theater, 533 Sutter, SF; www.sfplayhouse.org. $10-20. Fri/6-Sat/7, 8pm (also Sat/7, 3pm). Next up in the San Francisco Playhouse “Sandbox Series” is this dark comedy from Aaron Loeb.

The Jewelry Box: A Genuine Christmas Story The Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $15-40. Fri, 8pm; Sat, 5pm. Through Dec 28. Brian Copeland performs the world premiere of his new, holiday-themed work, an Oakland-set autobiographical tale that’s a prequel to his popular Not a Genuine Black Man.

My Beautiful Launderette New Conservatory Theatre Center, 25 Van Ness, SF; www.nctcsf.org. $25-45. Wed-Sat, 8pm; Sun, 2pm. Through Dec 22. New Conservatory Theatre Center performs Andy Gram and Roger Parsley’s adaptation of Hanif Kureishi’s award-winning screenplay.

The Oy of Sex Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $20-100. Thu-Fri, 8pm; Sat, 8:30pm. Through Jan 18. Comedian Alicia Dattner performs her solo show, based on her stories from her own life and love addiction.

Peter/Wendy Gough Street Playhouse, 1620 Gough, SF; www.custommade.org. $15-33. Thu-Sat, 8pm; Sun, 7pm. Through Dec 15. J.M. Barrie’s familiar and much-revisited children’s story, about a boy who refuses to grow up, has always had its darker aspects, including the violent streak in its hero, forever-child Peter (Sam Bertken). Unfortunately, any underlying social or psychological complexity in the story — originally published in 1902 in The Little White Bird — is of no consequence in adapter-director Jeremy Bloom’s relentlessly cheerful and quickly monotonous retelling. The production, which narrates and acts out the story in somewhat condensed form, says it’s designed for adults of all ages and children over 12, but it seems pitched to an audience much younger still. Custom Made Theater’s lackluster staging does little to make the time go faster. There’s a mischievous energy in Bertken’s Peter and a bright intelligence in Anya Kazimierski’s Tinker Bell that together produce the play’s only emotional heat, but it’s fleeting. As Wendy, Elissa Beth Stebbins is generally solid but too mild to elicit much sympathy for her unrequited affections for Peter. Clad exclusively in striped jammies, the uneven ensemble (which also includes Terry Bamberger, Jessica Rudholm, Kim Saunders, and Jeunee Simon in multiple roles) rarely encourages focus on the finer points of character and plot, which anyway come with a soporific dose of trifling detail amid generally awkward physical choreography. Indeed, any “happy thoughts” one walks in with would risk vanishing entirely, were it not that the cast harvests them immediately and writes them down for future reference on the stage floor. (Avila)

Snoopy!!! Eureka Theatre, 215 Jackson, SF; www.42ndstmoon.org. $25-75. Wed-Thu, 7pm; Fri, 8pm; Sat, 6pm (family/student matinee Sat/7, 1pm); Sun, 3pm. Through Dec 15. 42nd Street Moon performs the sequel to You’re a Good Man, Charlie Brown.

Urge For Going Z Below, 470 Florida, SF; www.goldenthread.org. $10-45. Thu/5-Sat/7, 8pm; Sun/8, 3pm. Jamila (Camila Betancourt Ascencio) is a bright student desperate to pass her college entrance examination — an unexceptional proposition in many places, but Jamila is a Palestinian raised in a Lebanese refugee camp. For her, even the right to take such an exam is in no way guaranteed and must be fought for. That Jamila’s struggles don’t end at the front door of her crowded home provides the basis for the drama in Mona Mansour’s 2011 play, Urge for Going, now receiving an uneven but sometimes moving West Coast premiere from Golden Thread (which last year produced The Letter, a short play co-written by Mansour, as part of its ReOrient Festival). Amid the makeshift walls, mismatched furniture, and exposed wiring of Kate Boyd’s evocative scenic design, Jamila lives with her austere father (Terry Lamb), a onetime literature scholar with a passion for Wordsworth; her supportive mother (Tara Blau); her father’s effusive loose-canon of a brother (Julian Lopez-Morillas); her mother’s brother (Munaf Alsafi); and her own big-hearted but haunted older brother (Wiley Naman Strasser), a once brilliant math student who suffered brain damage at the hands of a Lebanese soldier. But front and center is her father, whose barely cloaked disappointment and despair turn to recalcitrance and outright antagonism in the face of Jamila’s too-pointed desire to flee this hobbled world of exile for a wider world of possibilities. Directed by Evren Odcikin, the play’s sentimental naturalism (broken through at times by didactic direct address to the audience by the entire cast) makes what follows both too predictable and somewhat artificial. At the same time, Mansour carefully and revealingly couches her story in the political and existential limbo of multiple generations of Palestinian refugees in Lebanon, deprived for over half a century of basic rights amid cramped poverty and deprivation. (Avila)

BAY AREA

A Bright New Boise Aurora Theatre, 2081 Addison, Berk; www.auroratheatre.org. $32-50. Wed/4-Sat/7, 8pm; Sun/8, 2 and 7pm. Faith can be a touchy subject among true believers and skeptics alike, and as long as the topic of religion is avoided (as it often is) you might not even know that your bus driver is Buddhist, or your checkout clerk born again. In Samuel D. Hunter’s A Bright New Boise, now playing at Berkeley’s Aurora Theatre, the line blurs between public face and private faith, as mysterious stranger Will (Robert Parsons) rolls into Boise and takes up employment at the Hobby Lobby, ostensibly to reconnect to his long-lost, given-up-for-adoption son, Alex (Daniel Petzhold). But when Will is revealed to be a former member of a disgraced Evangelical sect from “up North,” his sudden reappearance in Alex’ life appears to be motivated not by a long-standing remorse, but by a recent unmooring. Under Tom Ross’ direction, the other characters — a foul-mouthed store manager (Gwen Loeb), a painfully shy stock clerk (Megan Trout), and a confrontational sales associate (Patrick Russell) — appear similarly unmoored, careening into each other like jittery, neurotic pinballs, with about as much consideration. Only Parsons’ Will appears calm and deliberate in his actions, until he startlingly demonstrates otherwise. It’s an abrupt end to both the play and Will’s charade of normalcy, and neither Hunter nor Ross seem to know how to build up to his eventual fall naturally, ultimately allowing him to be defined only by his fanaticism rather than his humanity. (Gluckstern)

Can You Dig It? Back Down East 14th — the 60s and Beyond Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $15-50. Sat, 8:30pm; Sun, 7pm. Extended through Dec 15. Don Reed’s new show offers more stories from his colorful upbringing in East Oakland in the 1960s and ’70s. More hilarious and heartfelt depictions of his exceptional parents, independent siblings, and his mostly African American but ethnically mixed working-class community — punctuated with period pop, Motown, and funk classics, to which Reed shimmies and spins with effortless grace. And of course there’s more too of the expert physical comedy and charm that made long-running hits of Reed’s last two solo shows, East 14th and The Kipling Hotel (both launched, like this newest, at the Marsh). Can You Dig It? reaches, for the most part, into the “early” early years, Reed’s grammar-school days, before the events depicted in East 14th or Kipling Hotel came to pass. But in nearly two hours of material, not all of it of equal value or impact, there’s inevitably some overlap and indeed some recycling. Reed, who also directs the show, may start whittling it down as the run continues. But, as is, there are at least 20 unnecessary minutes diluting the overall impact of the piece, which is thin on plot already — much more a series of often very enjoyable vignettes and some painful but largely unexplored observations, wrapped up at the end in a sentimental moral that, while sincere, feels rushed and inadequate. (Avila)

Harvey Barn Theatre, 30 Sir Francis Drake, Ross; www.rossvalleyplayers.com. $10-22. Thu, 7:30pm; Fri-Sat, 8pm; Sun, 2pm. Through Dec 15. Ross Valley Players perform the Pulitzer-winning play by Mary Chase.

A Little Princess Julia Morgan Theater, 2640 College, Berk; www.berkeleyplayhouse.org. $17-60. Thu/5-Fri/6, 7pm; Sat/7, 1 and 6pm; Sun/8, noon and 5pm. Berkeley Playhouse opens its sixth season with Brian Crawley and Andrew Lippa’s musical adaptation of the Frances Hodgson Burnett story.

110 in the Shade Douglas Morrison Theatre, 22311 N. Third St, Hayward; www.dmtonline.org. $10-29. Thu/5-Sat/7, 8pm (also Sat/7, 2pm); Sun/8, 2pm. Douglas Morrison Theatre performs N. Richard Nash’s romantic musical, adapted from his classic play The Rainmaker.

The Pianist of Willesden Lane Berkeley Repertory Theatre, Thrust Theatre, 2015 Addison, Berk; www.berkeleyrep.org. $29-89. Tue and Thu-Sat, 8pm (also Thu/5 and Sat, 2pm; no shows Dec 24 or 31); Wed and Sun, 7pm (also Sun, 2pm; matinees only Dec 15, 22, and Jan 5; no show Dec 25). Extended through Jan 5. Mona Golabek stars in this solo performance inspired by her mother, a Jewish pianist whose dreams and life were threatened by the Nazi regime.

Troilus and Cressida La Val’s Subterranean, 1834 Euclid, Berk; www.impacttheatre.com. $10-25. Thu-Sat, 8pm; Sun, 7pm. Through Dec 15. One of Shakespeare’s more difficult and under-produced plays, Troilus and Cressida does wax in popularity during protracted times of war, so it’s about the right time for Impact Theatre to tackle it. Set during the seventh year of the Trojan War, the players are all either soldiers or spoils of war, and both morale and morals are at a low ebb. So-called heroes hide in their tents, the fair Helen (Julie Kuwabara) is a callow bawd, and everyone just wants the war to be over. Troilus (Eric Kerr), a Trojan, and Cressida (Sarah Coykendall), a Greek, meet-cute thanks to the machinations of the flamboyant Pandarus (Shawn J. West), only to be quickly separated by circumstances beyond their control, and thrust abruptly to the sidelines of their own tragedy, their eventual betrayal of each other lost within the greater treacheries of the battlefield. It’s a problematic script, not least of all because the only truly moral character is the very innocent, very mad Cassandra (Akemi Okamura), whose prophecies are written off as mere ravings, subtly mirrored by the nihilistic fool, Thersites (Miyaka Cochrane), who delivers his frontline ravings as prophecies. Director Melissa Hillman makes some bold choices, however, including casting Lauren Spencer as the level-headed Ulysses, and father-son team Jon Nagel and Jonah McClellan as Aeneas and Antenor, turning the walk-on role of a pawn into a tragic symbol of war’s all too-human cost. (Gluckstern)

PERFORMANCE/DANCE

“Broadway Bingo” Feinstein’s at the Nikko, Hotel Nikko, 222 Mason, SF; www.feinsteinssf.com. Wed, 7-9pm. Ongoing. Free. Countess Katya Smirnoff-Skyy and Joe Wicht host this Broadway-flavored night of games and performance.

“Buddy Club Children’s Shows” Randall Museum Theater, 199 Museum Wy, SF; www.thebuddyclub.com. Sun, 11am-noon. $8. “The Bubble Lady!” performs.

“Comedy Bottle with Kurtis Matthews” Purple Onion at Kells, 530 Jackson, SF; www.purpleonionatkells.com. Fri/6-Sat/7, 7pm. $15. Stand-up comedy.

“Comedy Returns to El Rio!” 3158 Mission, SF; www.brownpapertickets.com. Mon/9, 8pm. $7-20. Stand-up with Marga Gomez, Sammy Obeid, Bob McIntyre, Kevin Young, and Lisa Geduldig.

CounterPULSE 1310 Mission, SF; www.counterpulse.org. Wed/4, 8pm: Risa Jaroslow’s NYC and the Bay: Dancers and Dances from Then and There and Here and Now, free. Fri/6-Sat/7, 8pm: Keith Hennessy, Hana Lee Erdman, and Jassem Hindi’s ALMOST, Enemy in the Figure, and These children singing in stones, $15-20. Dec 12-15, 8pm: Mica Sigourney, John Foster Cartwright, and Maryam Rostami’s Nicole Kidman is Fucking Gorgeous, $20.

“Dolores: The Temporary Life of a 220-Year-Old Bionic Woman” Stage Werx Theater, 446 Valencia, SF; www.stagewerx.org. Dec 10-11, 7:30pm. $15-20. On a bare floor, physical theater maker Carolina Duncan, as her Colombian grandmother, pops opens her cranium like a steamer trunk and retrieves the scrapbook of a boundless life. Here memory and imagination exist in equal measures, as Duncan traces key moments and fleeting images from an arc of days defined by family, romance, and at least one titanic battle between an Amazonian dinosaur and a new secret-agent boyfriend. Combining mime, scattered dialogue, physical comedy, and a live soundscape, this loving and whimsical homage comes gracefully delivered and almost always vividly expressed. All the while, Duncan (a graduate of SF’s Clown Conservatory and James Donlon and Leonard Pitt’s Flying Actor Studio) exudes an infectious enthusiasm for her subject, who proves as alive in a passing but concrete image of first childhood steps as she does in her final outing, a prolonged spacewalk into the familiar and unknown. Note: review from an earlier run of this show. (Avila)

“Encuentro de Canto Popular” Brava Theater Center, 2781 24th St, SF; accionlatina.org/Encuentro2013. Sat/7, 7pm. $19. Music festival dedicated to the nuevo canción movement; this year’s theme, “Pasado y Futuro,” pays tribute to artists who have passed away, as well as artists on the rise.

“Fiesta Navidena” Peña Pachamama, 1630 Powell, SF; www.carolinalugo.com. Sat/7, Dec 15, 21-22, and 27-28, 6:15pm. $15-21. Carolina Lugo and Carolé Acuña’s Ballet Flamenco performs a holiday show.

“Get Your Life Unity Mini Ball” Dance Mission Theater, 3316 24th St, SF; www.dancemission.com. Sat/7, 7pm. $10. Dancing, vogueing, and other aspects of ballroom culture take the stage.

“Glide Annual Holiday Festival: Celebrate50” War Memorial Opera House, 301 Van Ness, SF; www.glide.org. Wed/4, 7pm. $65-250. Maya Angelou, Judith Hill, Tom Johnston, and other luminaries lead this evening honoring Janice Mirikitani and Rev. Cecil Williams’ 50 years at Tenderloin community beacon Glide.

“Hand to Mouth Comedy” Dark Room, 2263 Mission, SF; www.handtomouthcomedy.com. Fri/6, 10pm. $8. Comedians Kellan Erksine, Kelly Anneken, Jules Posner, and others join host Trevor Hill in presenting all-new material on one specific topic: “fantasy.”

“Hysterical Historical San Francisco, Holiday Edition” Shelton Theater, 533 Sutter, SF; www.sheltontheater.org. Sun, 7pm. Through Dec 29. $30-40. Comic Kurt Weitzman performs.

“I Eat People Like YOU For Breakfast!” Marsh, 1062 Valencia, SF; www.themarsh.org. Wed/4, 7:30pm. $10-15. Comedian Steven Alan Green performs his solo show inspired by Jerry Lewis.

“The Jewish Nutcracker” Theater at Children’s Creativity Museum, 221 Fourth St, SF; www.jewishnutcracker.com. Fri/6-Sun/8, 2pm (also Fri/6-Sat/7, 6:30pm). $18-32. The Hanukkah story is interpreted via authentic cultural dance from Spain, India, China, Russia, and more.

“Mark Foehringer’s Nutcracker Sweets” Southside Theater, Fort Mason Center, Marina at Laguna, SF; www.brownpapertickets.com. Sat/7-Sun/8, Dec 14-15, Dec 20-24, 11am and 2pm (also Dec 14-15 and Dec 21-22, 4pm). $18-28. Contemporary ballet company Mark Foehringer Dance Project SF performs its fifth annual production of this Nutcracker-inspired work aimed at families with young children.

“The Metrics of Intimacy” Garage, 715 Bryant, SF; www.brownpapertickets.com. Wed/4-Thu/5, 8pm. $10-20. Contemporary dance performers Hope Mohr and Christian Burns collaborate with visual designer David Szlasa.

“Mine” Joe Goode Annex, 401 Alabama, SF; www.rawdance.org. Fri/6-Sun/8 and Dec 11-15, 8pm. $21-25. RAWdance performs a world premiere by company founders Ryan T. Smith and Wendy Rein.

“Okeanos Intimate” Aquarium of the Bay, Pier 39, SF; www.capacitor.org. Sat, 8pm. $20-30 (free aquarium ticket with show ticket). Extended through Dec 28. Choreographer Jodi Lomask and her company, Capacitor, revive 2012’s Okeanos — a cirque-dance piece exploring the wonder and fragility of our innate connection to the world’s oceans — in a special “intimate” version designed for the mid-size theater at Pier 39’s Aquarium of the Bay. The show, developed in collaboration with scientists and engineers, comes preceded by a short talk by a guest expert — for a recent Saturday performance it was a down-to-earth and truly fascinating local ecological history lesson by the Bay Institute’s Marc Holmes. In addition to its Cirque du Soleil-like blend of quasi-representational modern dance and circus acrobatics — powered by a synth-heavy blend of atmospheric pop music — Okeanos makes use of some stunning underwater photography and an intermittent narrative that includes testimonials from the likes of marine biologist and filmmaker Dr. Tierney Thys. The performers, including contortionists, also interact with some original physical properties hanging from the flies — a swirling vortex and a spherical shell — as they wrap and warp their bodies in a kind of metamorphic homage to the capacity and resiliency of evolution, the varied ingenuity of all life forms. If the movement vocabulary can seem limited at times, and too derivative, the show also feels a little cramped on the Aquarium Theater stage, whose proscenium arrangement does the piece few favors aesthetically. Nevertheless, the family-oriented Okeanos Intimate spurs a conversation with the ocean that is nothing if not urgent. (Avila)

“One Man Band Extravaganza” Great Star Theater, 636 Jackson, SF; www.jordanbwilson.com. Sat/7, 8pm. $5. One-man bands, including Jordan B. Wilson, One Man Banjo, Shovelman, Slow Poisoner, and Cello Joe, perform.

“La Posarela” Brava Theater Center, 2781 24th St, SF; www.sfcmc.org. Sun/8, 1 and 5pm. $7. Community Music Center presents a Mexican Christmas musical tailored to the Mission.

“Point Break Live!” DNA Lounge, 373 11th St, SF; www.dnalounge.com. Fri/6 and Jan 3, Feb 7, March 7, and April 4, 7:30 and 11pm. $25-50. Dude, Point Break Live! is like dropping into a monster wave, or holding up a bank, like, just a pure adrenaline rush, man. Ahem. Sorry, but I really can’t help but channel Keanu Reeves and his Johnny Utah character when thinking about the awesomely bad 1991 movie Point Break or its equally yummily cheesy stage adaptation. And if you do an even better Keanu impression than me — the trick is in the vacant stare and stoner drawl — then you can play his starring role amid a cast of solid actors, reading from cue cards from a hilarious production assistant in order to more closely approximate Keanu’s acting ability. This play is just so much fun, even better now at DNA Lounge than it was a couple years ago at CELLspace. But definitely buy the poncho pack and wear it, because the blood, spit, and surf spray really do make this a fully immersive experience. (Steven T. Jones)

“A Renaissance Christmas” St. Gregory of Nyssa Episcopal, 500 De Haro, SF; www.baychoralguild.org. Sat/7, 8pm. $5-25. Bay Choral Guild performs “familiar and unusual” Advent, Christmas, and Epiphany music.

“San Francisco Magic Parlor” Chancellor Hotel Union Square, 433 Powell, SF; www.sfmagicparlor.com. Thu-Sat, 8pm. Ongoing. $40. Magic vignettes with conjurer and storyteller Walt Anthony.

“she’s near she’s now she’s nowhere” Margaret Jenkins’ Dance Lab, 301 Eighth St, Studio 200, SF; www.funschdance.org. Thu/5, 7pm. Free. Also Fri/6, 8pm and Sat/7, 2pm, free, Studio LP, ODC Theater, 3153 17th St, SF; and Sun/8, 3pm, Feintech Studio, ODC Dance Commons, 351 Shotwell, SF. Christy Funsch’s trio/quintet “reveals the impact of a mover on spaces by playing with her presence and absence from them.”

“Shine! Our Brightest Holiday Show Ever!” War Memorial Opera House, 301 Van Ness, SF; www.sfgmc.org. Fri/6, 8pm. $25-75. The San Francisco Gay Men’s Chorus performs season favorites and “outrageous surprises.”

“Soul+Mates” Z Space, 450 Florida, SF; www.zspace.org. Wed/4-Sat/7, 8pm (also Sat/7, 2pm). $22-25. Printz Dance Project presents the world premiere of an immersive dance performance, photography exhibit, and short film exploring the concept of soul mates.

“The Velveteen Rabbit” Yerba Buena Center for the Arts, Lam Research Theater, 700 Howard, SF; www.odcdance.org. Thu/5-Fri/6 and Dec 12-13, 11am; Sat/7 and Dec 15, 1 and 4pm; Sun/8 and Dec 15, 2pm. $20-75. ODC/Dance performs its popular holiday show, directed with fresh perspective this year by ODC founder Brenda Way.

“Zambomba Gitana!” Brava Theater Center, 2781 24th St, SF; www.bayareaflamenco.org. Fri/6, 8pm. $25-65. Also Sat/7, 8pm, $25-45, La Peña Cultural Center, 3105 Shattuck, Berk; and Sun/8, 6pm, $25-45, Kuumbwa Jazz Center, 320 Cedar, Santa Cruz. Traditional flamenco holiday celebration, with artists from Jerez de la Frontera, Spain.

BAY AREA

“Buddy Club Children’s Shows” JCC of the East Bay Theater, 1414 Walnut, Berk; www.thebuddyclub.com. Sun/8, 11am-noon. $8. Comedy improv with Kenn Adams Adventure Theater. Also Sun/8, 11am-12:30pm, $8, Kanbar Center for the Performing Arts Theater, 200 North San Pedro, San Rafael; www.thebuddyclub.com. The Juggling Genius, Daniel DaVinci, performs.

“Following the Wrong God Home” Osher Studio in the Arts Passage of Berkeley Central, 2055 Center, Berk; www.brownpapertickets.com. Sat/7 and Dec 16, 8pm; Sun/8, 5pm. $15-25. Company 212 presents a physical theater piece choreographed and directed by MaryBeth Cavanaugh that imagines six Shakespeare characters on alternate journeys beyond the plays they appear in.

“Noel, Noel” First Congregational Church, 2345 Channing, Berk; www.cityboxoffice.com. Fri/6, 8pm. $18-65. The San Francisco Girls Chorus performs “Carol of the Bells” and other holiday favorites.

“Oakland Interfaith Gospel Choir 28th Annual Holiday Concert” Paramount Theatre, 2025 Broadway, Oakl; www.oigc.com. Sat/7, 7:30pm. $12-42. The choir performs its popular annual concert, led by director Terrance Kelly and featuring guests Tuck and Patti, and Imani Ya Watume Liturgical Dance Company.

“Once Upon a Christmas” Lesher Center for the Arts, Hoffman Theatre, 1601 Civic, Walnut Creek; www.leshercenter.org. Fri/6-Sat/7, 7:30pm (Sat/7, 2pm). $20-25. Lareen Fender’s Ballet Joyeux performs.

“The Shout: Life’s True Stories” Grand Lake Coffee House, 440 Grand, Oakl; www.theshoutstorytelling.com. Mon/9, 7:30pm. $5-20. Live storytelling event featuring 10-minute true tales.

“XXmas: The Christmas Ballet, 2013 Edition” Mountain View Center for the Performing Arts, 500 Castro, Mtn View; www.smuinballet.org. Dec 11-14, 8pm (also Dec 14, 2pm); Dec 15, 2pm, $49-65. Also Dec 18-28, $24-64, Yerba Buena Center for the Arts, Lam Research Theater, 700 Howard, SF. Smuin Ballet’s annual holiday show boasts festive ballet, tap, and swing-dance numbers. *

 

Who dares challenge Katniss for box-office supremacy? New movies!

Sue Vaughan
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2
Who dares challenge Katniss for box-office supremacy? New movies!

This week, The Hunger Games: Catching Fire stands poised to crush all who dare step to it, but there are some alternatives out there. There’s the San Francsico Film Society’s weekend-long Cinema By the Bay festival (my overview here), as well as the latest from acclaimed director Alexander Payne, the small-scale but still very moving Nebraska (Dennis Harvey’s review here.)

Plus: a festival favorite from Belgium, and Vince Vaughn’s sperm-bank comedy. Reviews for both (plus guaranteed big kahuna Catching Fire) below.

http://www.youtube.com/watch?v=3a50DJkCxqw

Broken Circle Breakdown This Belgian movie by director Felix Van Groeningen arrives bearing major awards (from the Berlin and Tribeca festivals) and promising to nab plenty more of them. Why, you ask? I haven’t the faintest idea. Didier (Johan Heldenbergh) is leader of a bluegrass group; Elise (Veerle Baetens) is a tattoo artist until she meets him, they get together, and it’s discovered that when she opens her mouth Alison Krauss falls out. They have a child, Maybelle (Nell Cattrysse), who develops cancer at age six or so, and whose prospects are grim. So far, so ordinary — Once (2007) meets Lorenzo’s Oil (1992), a tearjerker in which people sing high lonesome American roots music (in English, too) well enough, but not so well that you ever stop wondering “Why are these Belgians doing this?” The expected tragedy hits halfway through, and that’s when the movie really gets into trouble. Its protagonists fall apart, understandably, but in irksome ways — mostly picking on each other — with particularly annoying sequences occurring in both past and present tense. It’s hard to tell which one is worse, the arch flashback wedding scene, her deciding to rename herself “Alabama,” his endless onstage outburst about Yahweh, the climactic psychedelic flashback crisis montage, or the wholly gratuitous final … well, never mind. This was originally a stage play, and in the usual way that seeing musicians act and actors play instruments live is exciting, it probably worked well in that medium. But on film it seems like a contrived pileup of ill-matched ideas and plot devices. Don’t take my word for it, though: From Seattle to Osaka, apparently there’s been nary a dry eye in the house. So knock yerself out. (1:50) (Dennis Harvey)

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

Delivery Man Twenty years ago David Wozniak (Vince Vaughn) “put love in a cup” 600-plus times to finance a family trip to Italy. His mother was sick, his father couldn’t afford it, and with time running out, David embarked on a harebrained scheme to make (a lot of) “it” happen. The sperm bank that paid him $23K for his “seed” overused it, and 18 years later he has 533 kids, 143 of which are on a hunt to find their biological father, “Starbuck.” (This also the name of the 2011 Canadian comedy on which Delivery Man is based.) With a premise this quirky you’ll have a hard time finding something to hate, even if this is technically a film about runaway jizz. This heartwarming Thanksgiving release isn’t really appropriate for youngsters (unless you’re been trying to find a entrée to explain sperm banks) but the way Delivery Man deals with the seemingly limitless generosity contained in each of us is both touching and inspiring. Maybe David’s contribution to “Starbuck’s Kids” doesn’t obligate him to reveal his identity, but he’s desperately attached, and goes embarrassingly far outside his comfort zone to interact. The kids’ emotional stake in this is murky, but the way their search for identity finds a voice in tune with the current tech-confident yet socially-confused younger generation could make Delivery Man relevant to more generations than X or Y. (1:45) (Sara Maria Vizcarrondo)

The Hunger Games: Catching Fire Before succumbing to the hot and heavy action inside the arena (intensely directed by Francis Lawrence), The Hunger Games: Catching Fire force-feeds you a world of heinous concept fashions that’d make Lady Gaga laugh. But that’s ok, because the second film about one girl’s epic struggle to change the world of Panem may be even more exciting than the first. Suzanne Collins’ YA novel The Hunger Games was an over-literal metaphor for junior high social survival and the glory of Catching Fire is that it depicts what comes after you reach the cool kids’ table. Katniss (Jennifer Lawrence) inspired so much hope among the 12 districts she now faces pressures from President Snow (a portentous Donald Sutherland) and the fanatical press of Capital City (Stanley Tucci with big teeth and Toby Jones with big hair). After she’s forced to fake a romance with Peeta (Josh Hutcherson), the two watch with horror as they’re faced with a new Hunger Game: for returning victors, many of whom are too old to run. Amanda Plummer and Jeffrey Wright are fun as brainy wackjobs and Jena Malone is hilariously Amazonian as a serial axe grinder still screaming like an eighth grader. Inside the arena, alliances and rivalries shift but the winner’s circle could survive to see another revolution; to save this city, they may have to burn it down. (2:26) (Sara Maria Vizcarrondo)

New movies: a great week for docs

Sue Vaughan
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1
New movies: a great week for docs

This week, doc lovers are in luck: not only is Chris Marker’s seminal 1962 Le Joli Mai making a return to theaters (Sam Stander’s take here), but Oscar-winning director Alex Gibney delves into cycling’s greatest scandal in The Armstrong Lie (my review here).

Plus! The moving American Promise, filmed over 13 years; the latest from Lynne Sachs, Your Day Is My Night; and more, after the jump.

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

American Promise This remarkable look at race, education, parenting, and coming-of-age in contemporary America is the result of 13 years spent following African American youths Seun and Idris (the latter the son of filmmakers Joe Brewster and Michèle Stephenson). At the beginning, the Brooklyn pals are both starting at the exclusive Dalton School, where most of their classmates are rich white kids. This translates into culture-clash experiences both comical (a 13-year-old Idris estimates he’s been to 20 bar mitzvahs) and distressing, as both boys struggle socially and academically for reasons that seem to have a lot to do with their minority status at the school. Culled from hundreds of hours of footage — a mix of interviews and cinéma vérité — Brewster and Stephenson’s film captures honest moments both mundane and monumental, sometimes simultaneously, as when Seun’s mother, driving the kids to school, discusses her battle with cancer as his younger siblings trill a Journey song in the back seat. (And even this seemingly light-hearted aside takes on heft later in the film.) Extra props to Brewster and Stephenson, who clearly made a conscious choice not to edit out any of their own foibles — for the most part, they’re caring, involved parents, but be warned: strident homework nagging is a recurrent theme. (2:20) Roxie. (Eddy)

The Best Man Holiday Taye Diggs and Sanaa Lathan lead an ensemble cast in this seasonal sequel to 1999 hit The Best Man. (2:00)

http://www.youtube.com/watch?v=0sPr4snZqcM

The Book Thief One of those novels that seems to have been categorized as “young adult” more for reasons of marketing than anything else, Markus Zusak’s international best seller gets an effective screen adaptation from director Brian Percival and scenarist Michael Petroni. Liesl (Sophie Nelisse) is an illiterate orphan — for all practical purposes, that is, given the likely fate of her left-leaning parents in a just-pre-World War II Nazi Germany — deposited by authorities on the doorstep of the middle-aged, childless Hubermanns in 1938. Rosa (Emily Watson) is a ceaseless nag and worrywart, even if her bark is worse than her bite; kindly housepainter Hans (Geoffrey Rush), who’s lost work by refusing to join “the Party,” makes a game of teacher Liesl how to read. Her subsequent fascination with books attracts the notice of the local Burgermeister’s wife (Barbara Auer), who under the nose of her stern husband lets the girl peruse tomes from her manse’s extensive library. But that secret is trivial compared to the Hubermanns’ hiding of Max Vandenburg (Ben Schnetzer), son of Jewish comrade who’d saved Hans’ life in the prior world war. When war breaks out anew, this harboring of a fugitive becomes even more dangerous, something Liesl can’t share even with her best friend Rudy (Nico Liersch). While some of the book’s subplots and secondary characters are sacrificed for the sake of expediency, the filmmakers have crafted a potent, intelligent drama whose judicious understatement extends to the subtlest (and first non-Spielberg) score John Williams has written in years. Rush, Watson, and newcomer Schnetzer are particularly good in the well-chosen cast. (2:11) (Dennis Harvey)

How I Live Now As 16-year-old Daisy (Saoirse Ronan) arrives to spend the summer with cousins she’s never met, England is on the brink of war with an unnamed adversary. Daisy wants nothing to do with her new family and their idyllic countryside home — she’s too caught up in self-loathing image and diet obsessions, which manifest in the movie as overwhelming voiceover chatter. Her eldest cousin, Eddie (George MacKay), begins to draw her out of her shell, but everything changes when a nuclear explosion hits the country. At first, the cousins’ post-apocalyptic life is a charming bucolic, soundtracked by British folk-rock. But the horrors of war soon find them, and the movie’s latter half takes on a quite different tone. Adapted from Meg Rosoff’s YA novel, How I Live Now is almost eager to tackle the ugliest aspects of wartime existence — mass graves, prisoner abuse, work camps — and this unflinching approach is compelling, despite some flaws in the acting and character development. (1:41) (Sam Stander)

Your Day Is My Night Multidisciplinary artist Lynne Sachs returns to SF with this feature set in the world of NYC’s Chinatown “shift bed” apartments — ones whose crowded tenants take turns using sleeping space, a phenomenon that exists in many US cities and immigrant communities. An experimental mix of documentary and staged narrative, Day’s cohabiting protagonists are primarily older émigrés from China with diverse current jobs and divergent memories of life back home — from fond family reminiscences to the horrors of the Cultural Revolution. The individual stories told here are related not just in verbiage (both scripted and improvised), but song, dance, theater, poetical imagery, and composer-sound designer Stephen Vitiello’s collage soundtrack. At Other Cinema, Sachs will also present several of her short film works, including 2006’s Three Cheers for the Whale, a collaboration with the late Chris Marker that revised his 1972 Viva la Baleine, which was co-directed with Mario Ruspoli. In addition to its ATA screening Sat/16, Your Day Is My Night also plays the Pacific Film Archive Nov 20. (1:03) Artists’ Television Access. (Dennis Harvey)

BART “mistake” threatens its contract agreement with workers UPDATED

Sasha Cuttler
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35
BART “mistake” threatens its contract agreement with workers UPDATED

Just when it appeared the ugly contract impasse between BART management and workers was over — a divisive struggle that resulted in two debilitating four-day strikes and the Oct. 19 death of two workers struck by a train being used to train possible replacement drivers — BART management is threatening to scuttle the deal over a provision it says was mistakenly added to the contract.

At issue is a contract provision where BART workers from SEIU Local 1021 and ATU Local 1555 who go on leave under the federal Family and Medical Leave Act will be paid for six of the 12 weeks the law allows them to take unpaid, BART spokesperson Luna Salaver told the Guardian.

While BART management and its negotiators — including Assistant General Manager of Operations Paul Oversier and Thomas Hock, a contractor who the district paid $400,000 to lead its negotiations — signed off on the provision back in July and again when the final deal was reached last month, Salaver said BART didn’t mean to include it.

“It was a mistake that a provision rejected twice by BART management ended up in the stack of approved documents,” Salaver said, noting that it was caught this week as the district prepared to give the contract final approval on Nov. 21. It has already been approved by the two unions.

“We were never confused as to the status of the Family and Medical Leave Act agreement,” Local 1021 Political Director Chris Daly told the Guardian, calling the provision a reasonable benefit similar to one that he sponsored for city employees when he was on the San Francisco Board of Supervisors.

But Salaver said it could add tens of millions of dollars in costs (the district still isn’t sure how much) to a contact that will already cost the district an additional $67 million, so management is convening a special session of BART’s Board of Directors this afternoon (Fri/15) to discuss the issue, saying that management isn’t yet recommending the contract be rejected, as some had reported. [UPDATE: The BART board told administrators to re-open negotiations with the unions, but the unions are resisting a return to the bargaining table and urge the board to approve the contract on Thursday].

“There is an erroneous report that BART management is going to tell the BART board to reject the contract,” Salaver told us, inside calling the closed-session discussion a “fact-finding session.”

But Daly said BART management had told the unions that it would recommend rejection of the contract, and that it is now backpedaling because some directors are unhappy with the snafu. It also has a serious public relations problem on its hands, finding itself in a position to reignite the battle with workers while also contending with angry state legislators and an ongoing NTSB investigation into its culpability in the worker deaths.   

 

The complete prepared statement issued last night from SEIU 1021 Executive Director Pete Castelli follows:  

“BART Management has been in contact regarding the tentative agreement they reached with SEIU 1021 and ATU 1555 on October 21st and which our members unanimously ratified. We’ve been informed that they’ve scheduled a special meeting with the BART Board of Directors to discuss the terms of the contract and to clarify details regarding certain provisions for tomorrowafternoon.

“In July, BART Management and its unions reached a tentative agreement on family medical leave, which was signed by BART Management and their chief negotiator. During a thorough review of the final settlement last month, BART Management and their attorneys did not raise any concerns about how this tentative agreement or other provisions in the final settlement would prevent them from recommending the contract to the Board for approval.

“It’s disappointing to hear BART Management would recommend that the BART Board reject this agreement—a contract they negotiated with their workers for more than five months, signed, and praised in the public as a fair compromise.

“We expect the BART Board of Directors to vote on and approve this fair and reasonable contract.”

Schooled

Michael Redmond
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10
Schooled

joe@sfbg.com

Federal politicians are blasting the commission that would close City College of San Francisco, calling the entire accreditation process a debacle.

At a forum US Rep. Jackie Speier (D-SF) and Rep. Anna Eshoo (D-Palo Alto) convened at City College on Nov. 7, Speier trumpeted what local advocates have said all along: The evaluation of CCSF was bungled, lacked transparency, and violated federal education regulations, all pointing to a desperate need for reform of its accreditors.

Accreditation has been the means to check the quality of education in colleges, but now a growing chorus of critics says the process can be used to carry out an ideological agenda and usurp local control (“Whose college?” Aug. 13).

Yet upending the accreditation process could also have unintended consequences, perhaps letting corporate and conservative interests seize the chance to implement their long-simmering agendas.

Either way, it is beginning to look like the fight to save City College could end up being about more than just City College.

 

ACCJC UNDER FIRE

The Accrediting Commission of Community and Junior Colleges keeps a watchful eye on the community colleges of California, Guam, and Hawaii. After a six-year review, the ACCJC this summer rocked City College by terminating its accreditation, pending appeals before the sentence is carried out in July 2014.

At the forum, Speier said the debacle with the ACCJC signaled a need to reform accreditation on a national level, citing a lack of public accountability.

“I think the ACCJC has run amok, they have lost their vision — if they ever had one,” Speier said in an interview after the forum. “They are riddled with conflicts of interest and arbitrariness.”

Teachers, faculty, and education advocates packed City College’s Diego Rivera Theater, all cheering at every jibe toward the ACCJC. Pressure on the group is mounting. A third lawsuit against the body was announced the day of the forum, this one filed by the activist group Save CCSF.

But Speier sees the problems as stemming from the US Department of Education, which she said needs the tools to correct problems at the ACCJC, something she plans to meet with Education Secretary Arne Duncan to discuss.

“The Department of Education only has one hammer, and that is to deny the ACCJC certification,” she said.

The group is slated to undergo this evaluation in December, which could spell its end. But if the fight for City College sparks a change in accreditation nationally, what would take its place?

There are wolves at the door of the US education system, for-profit colleges with a history of taking vulnerable students to the bank with nothing to show for it. And they want accreditation reform too.

 

THE DEVIL YOU KNOW

The ideological argument between the ACCJC and City College is taking place nationally.

President Obama called for a change to college accreditation in his last State of the Union speech, calling for higher graduation and transfer rates for community colleges (see “Who killed City College?” July 9).

One of the biggest cheerleaders of the president’s reform is the American Enterprise Institute, a conservative think tank. At a conference it held on accreditation last month, AEI and its partners lampooned accreditation as it stands now.

“This is a system that is flawed, unable to deal with the rapidly changing higher education landscape,” Anne D. Neal, a partner of the American Council of Trustees and Alumni, a national education reform group, said at the conference. “If meat inspections were as loose as college accreditation… most of us would have mad cow disease.”

On the surface, the critique seems reasonable. More people should transfer, and more people should graduate. But how colleges get those numbers is the challenge. The ACCJC asking City College to jettison students not aiming for a higher degree was just the start, one higher education watchdog told us.

“There are people on both sides saying that accreditation is broken. The White House is pushing this, as are Republicans. You almost never hear that,” Paul Fain, a reporter for Inside Higher Ed, told the Guardian.

But the reform may lead to the transformation of accreditation, allowing tech companies and long distance online learning universities to bypass the process entirely.

Accreditation is seen as “holding back innovators who are trying to transform the Internet,” Fain said.

These “innovators” are largely for-profit colleges that want to offer single courses or shortened courses online, like the Minerva Project or Straighterline, both online universities lobbying Congress to loosen accreditation requirements.

But for-profit colleges have been attacked nationally for their abysmal job placement rates, and their graduation rates aren’t much better. A widely circulated 2010 report by the think tank Education Trust found that for-profits in the U.S. had a graduation rate of 22 percent.

And with many of those for-profits fighting for accreditation reform by Congress, it’s unclear how a push to reform accreditation from Speier would aid or stall them.

 

FEAR FACTOR

ACCJC President Barbara Beno said that City College is having problems facing reality. Beno would only speak with the Guardian by email through a representative. She defended the accountability of the ACCJC, saying that her doors were always open.

“Colleges don’t need a forum like that held on Nov. 7; they can write to the commission at any time, or ask to address the decision-making commissioners at one of their two meetings each year, or can call up the commission chair or president,” Beno wrote.

“Instead of joining forces to help improve City College, many purported supporters of the college are bent on disrupting the ACCJC operations. It is simple to blame the messenger of bad news,” she wrote. “People unhappy with the commissioners’ decisions are targeting [me] for doing [my] job.”

But Rafael Mandelman, a newly elected member of CCSF Board of Trustees, told those assembled at the forum that ACCJC was unprofessional and unduly punitive: “I went from ACCJC agnostic, to skeptic, to foe”

Dr. Sarah Perkins, vice president of instruction of Skyline College, told the forum that ACCJC is hard to work with.

“I came here to California after spending 25 years in the middle part of the country under the Higher Learning Commission,” she said, contrasting that accrediting agency with the bullying done by ACCJC. “That I even feel like I’m putting my college at risk by speaking at this forum speaks volumes.”

Indeed, the ACCJC even makes criticism of the agency or its methods grounds for a revocation of accreditation, making “collegiality” part of its “policy on institutional integrity and ethics.” CCSF Special Trustee Bob Agrella in September cited that as one reason not to criticize the agency.

Sen. Jim Beall and Assemblymember Tom Ammiano were also in attendance at the forum, and promised to continue the fight at the state level to preserve City College. The Joint Legislative Audit Committee is evaluating ACCJC at the request of those legislators and Sen. Jim Nielsen (R-Gerber).

“We will kick a lot of butt, with class, of course,” Ammiano said.

And would City College close down? “It’s not going to happen,” Speier said to the cheering crowd.

NYT asks, “Is it okay to kill cyclists?”

Sasha Cuttler
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157
NYT asks, “Is it okay to kill cyclists?”

It was great to read the provocative opinion piece about cycling in San Francisco in yesterday’s The New York Times’ Sunday Review (“Is It O.K. to Kill Cyclists?”), which amplified recent reporting and editorial messages from the Bay Guardian.

Kudos especially to the writer of that headline, which crystallizes the issue beautifully. San Francisco and other cities have essentially sanctioned violence against cyclists by refusing to issue citations against negligent motorists who kill and seriously injure cyclists. (It’s a sadly similar story with pedestrians, as a Bay Citizen investigation found last year).

“There is something undeniably screwy about a justice system that makes it de facto legal to kill people, even when it is clearly your fault, as long you’re driving a car and the victim is on a bike and you’re not obviously drunk and don’t flee the scene,” wrote Daniel Duane, a San Franciscan who now says he’s too scared to ride local roadways.

San Francisco will never get anywhere close to its official goal of having 20 percent of all vehicle trips being by bicycle by 2020 if the San Francisco Police Department focuses more on harassing cyclists running stop signs than it does on citing motorists that are actually responsible for most car versus cyclist collisions (according to a study cited in the article).

The reasoning for going easy on drivers who kill cyclists and pedestrians has been the assumption that juries won’t convict because “accidents happen” and we all need to keep driving, right? But that societal attitude causes problems ranging for needless death to global warming, and it only begins to change with good think-pieces like the New York Times piece.    

Hunky Vikings! Crusading Texans! And more new movies!

Sue Vaughan
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1
Hunky Vikings! Crusading Texans! And more new movies!

Two big ‘uns this week: blockbuster-to-be Thor: The Dark World (review below), and the very fine drama Dallas Buyers Club, featuring standout performances by Matthew McConaughey and Jared Leto (Dennis Harvey’s review here). If you seek a respite from Hollywood, check out San Francisco’s own South Asian International Film Festival (some recommendations from me, here), or read on for more short takes on this week’s new offerings.

The Motel Life Brothers (Stephen Dorff, Emile Hirsch) go on the run after a tragic accident. Kris Kristofferson and Dakota Fanning co-star. (1:25) Roxie.

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

Running From Crazy Can one ever escape one’s toxic genetic legacy, especially when one’s makeup, and even one’s genius, is so entangled with mental illness, the shadow of substance abuse, and a kind of burden of history? Actor, author, healthy-living proponent, and now suicide prevention activist Mariel Hemingway seems cut out to try, as, eh, earnestly as she can, to offer up hope. Part of that involves opening the door to documentarian Barbara Kopple, in this look at the 20th century’s most infamous literary suicide, Mariel’s grandfather Ernest Hemingway, and just one of his familial threads, one full of lives cut deliberately short. For Running From Crazy, Kopple generally keeps the focus on Mariel, who displays all the disarming groundedness and humility of the youngest care-taking, “good” child. Her father, Ernest’s eldest son, Jack, regularly indulged in “wine time” with his ailing wife and, according to Mariel, had a pitch-black side of his own. But we don’t look to closely at him as the filmmaker favors the present, preferring to watch Mariel mountain climb and bicker with her stuntman boyfriend, meet up with her eldest sister Muffet, and ‘fess up about the depression that runs through the Hemingway line to her own daughters. Little is made of Mariel’s own artistic contributions in acting, though Kopple’s work is aided immeasurably by the footage Mariel’s rival middle sister Margaux shot for a documentary she planned to do on Ernest. Once the highest paid model in the world, Margaux leaves the viewer with a vivid impression of her brash, raw, eccentric, and endearingly goofy spirit — she’s courageous in her own way as she sips vino with her parents and older sister and tears up during a Spanish bull fight. Are these just first world problems for scions who never hesitated to trade on their name? Kopple is more interested in the humans behind the gloss of fame, spectacle and sensation — the women left in the wake of a literary patriarch’s monumental brand of masculinity and misogyny. And you feel like you get that here, plainly and honestly, in a way that even Papa might appreciate. (1:40) (Kimberly Chun)

http://www.youtube.com/watch?v=PPHaLkd4J28

Spinning Plates Joseph Levy’s enjoyable documentary contrasts life at three widely disparate U.S. restaurants: the Martinez family’s modest enterprise La Cocina de Gabby, a Tucson showcase for a wife and mother’s Mexican cooking; Breitbach’s Country Dining in rural Iowa, a 151-year-old purveyor of all-American comfort food; and superstar chef Grant Achatz’s Chicago Alinea, where a 24-course meal of culinary art/science experiments can set you back $800 (yes, that’s for one diner). The latter is a global destination for serious foodies, acclaimed by the industry’s most prestigious observers. (Its nearly 24/7 supply deliveries are also a noisy nightmare for someone I know whose apartment is next door.) The teensy town that’s grown up around Breitbach’s has a population of 70; on a busy weekend, the business attracts up to 2,000, many driving long distances to get there. Yet the people we get to know the best here, the émigré Martinezes, illustrate another side of restaurant life — the side in which a majority of new eateries fail within three years, despite (as seemingly is the case at Gabby’s) all palate-pleasing, reasonable pricing and tireless labor. Tying together these three stories is … well, nothing, really, beyond some vague notion that good food is something that breeds “community.” (Yet high-ticket Alinea can hardly be said to reflect that, while Levy doesn’t actually bother interviewing any patrons to let us know whether the other two establishments’ food is anything special.) Still, and despite some rather bogus dramatic chronology-manipulation of events that happened several years ago, Spinning Plates is an entertaining sampler plate of a movie. And the Martinez family’s story lends it a bit of real gravitas. (1:32) (Dennis Harvey)

http://www.youtube.com/watch?v=npvJ9FTgZbM

Thor: The Dark World Since any tentacle of Marvel’s Avengers universe now comes equipped with its own money-printing factory, it’s likely we’ll keep seeing sequels and spin-offs for approximately the next 100 years. With its by-the-numbers plot and “Yeah, seen that before” 3D effects, Thor: The Dark World is forced to rely heavily on the charisma of its leads — Chris Hemsworth as the titular hammer-swinger; Tom Hiddleston as his brooding brother Loki — to hold audience interest. Fortunately, these two (along with Anthony Hopkins, Natalie Portman, Idris Elba, and the rest of the supporting cast, most of whom return from the first film) appear to be having a blast under the direction of Alan Taylor, a TV veteran whose credits include multiple Game of Thrones eps. Not that any Avengers flick carries much heft, but especially here, jokey asides far outweigh any moments of actual drama (the plot, about an alien race led by Christopher Eccleston in “dark elf” drag intent on capturing an ancient weapon with the power to destroy all the realms, etc. etc., matters very little). Fanboys and -girls, this one’s for you … and only you. (2:00) (Cheryl Eddy)

Film Listings: November 6 – 12, 2013

Michael Redmond
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0

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

OPENING

Dallas Buyers Club See “Life’s Work.” (1:58) Embarcadero.

The Motel Life Brothers (Stephen Dorff, Emile Hirsch) go on the run after a tragic accident. Kris Kristofferson and Dakota Fanning co-star. (1:25) Roxie.

Running From Crazy Can one ever escape one’s toxic genetic legacy, especially when one’s makeup, and even one’s genius, is so entangled with mental illness, the shadow of substance abuse, and a kind of burden of history? Actor, author, healthy-living proponent, and now suicide prevention activist Mariel Hemingway seems cut out to try, as, eh, earnestly as she can, to offer up hope. Part of that involves opening the door to documentarian Barbara Kopple, in this look at the 20th century’s most infamous literary suicide, Mariel’s grandfather Ernest Hemingway, and just one of his familial threads, one full of lives cut deliberately short. For Running From Crazy, Kopple generally keeps the focus on Mariel, who displays all the disarming groundedness and humility of the youngest care-taking, “good” child. Her father, Ernest’s eldest son, Jack, regularly indulged in “wine time” with his ailing wife and, according to Mariel, had a pitch-black side of his own. But we don’t look to closely at him as the filmmaker favors the present, preferring to watch Mariel mountain climb and bicker with her stuntman boyfriend, meet up with her eldest sister Muffet, and ‘fess up about the depression that runs through the Hemingway line to her own daughters. Little is made of Mariel’s own artistic contributions in acting, though Kopple’s work is aided immeasurably by the footage Mariel’s rival middle sister Margaux shot for a documentary she planned to do on Ernest. Once the highest paid model in the world, Margaux leaves the viewer with a vivid impression of her brash, raw, eccentric, and endearingly goofy spirit — she’s courageous in her own way as she sips vino with her parents and older sister and tears up during a Spanish bull fight. Are these just first world problems for scions who never hesitated to trade on their name? Kopple is more interested in the humans behind the gloss of fame, spectacle and sensation — the women left in the wake of a literary patriarch’s monumental brand of masculinity and misogyny. And you feel like you get that here, plainly and honestly, in a way that even Papa might appreciate. (1:40) Opera Plaza, Smith Rafael. (Chun)

Spinning Plates Joseph Levy’s enjoyable documentary contrasts life at three widely disparate U.S. restaurants: the Martinez family’s modest enterprise La Cocina de Gabby, a Tucson showcase for a wife and mother’s Mexican cooking; Breitbach’s Country Dining in rural Iowa, a 151-year-old purveyor of all-American comfort food; and superstar chef Grant Achatz’s Chicago Alinea, where a 24-course meal of culinary art/science experiments can set you back $800 (yes, that’s for one diner). The latter is a global destination for serious foodies, acclaimed by the industry’s most prestigious observers. (Its nearly 24/7 supply deliveries are also a noisy nightmare for someone I know whose apartment is next door.) The teensy town that’s grown up around Breitbach’s has a population of 70; on a busy weekend, the business attracts up to 2,000, many driving long distances to get there. Yet the people we get to know the best here, the émigré Martinezes, illustrate another side of restaurant life — the side in which a majority of new eateries fail within three years, despite (as seemingly is the case at Gabby’s) all palate-pleasing, reasonable pricing and tireless labor. Tying together these three stories is … well, nothing, really, beyond some vague notion that good food is something that breeds “community.” (Yet high-ticket Alinea can hardly be said to reflect that, while Levy doesn’t actually bother interviewing any patrons to let us know whether the other two establishments’ food is anything special.) Still, and despite some rather bogus dramatic chronology-manipulation of events that happened several years ago, Spinning Plates is an entertaining sampler plate of a movie. And the Martinez family’s story lends it a bit of real gravitas. (1:32) Opera Plaza, Shattuck. (Harvey)

Thor: The Dark World The Avengers juggernaut rolls on as Thor (Chris Hemsworth) grabs his hammer for a stand-alone sequel. See review at www.sfbg.com. (2:00) Balboa, Presidio.

ONGOING

About Time Richard Curtis, the man behind 2003’s Love Actually, must be enjoying his days in England, rolling in large piles of money. Coinciding with the 10-year anniversary of that twee cinematic love fest comes Curtis’ latest ode to joy, About Time. The film begins in Cornwall at an idyllic stone beach house, as Tim (Domhnall Gleeson) describes his family members (Bill Nighy is dad; Richard Cordery is the crazy uncle) and their pleasures (rituals (tea on the beach, ping pong). Despite beachside bliss, Tim is lovelorn and ready to begin a career as a barrister (which feels as out of the blue as the coming first act break). Oh! And as it happens, the men in Tim’s family can travel back in time. There are no clear rules, though births and deaths are like no-trespass signs on the imaginary timeline. When he meets Mary (Rachel McAdams), he falls in love, but if he paves over his own evening by bouncing back and spending that night elsewhere, he loses the path he’s worn into the map and has to fix it. Again and again. Despite potential repetition, About Time moves smoothly, sweetly, slowly along, giving its audience time enough to feel for the characters, and then feel for the characters again, and then keep crying just because the ball’s already in motion. It’s the most nest-like catharsis any British film ever built. (2:03) Marina, SF Center, Shattuck, Sundance Kabuki. (Vizcarrondo)

All Is Lost As other reviewers have pointed out, All Is Lost‘s nearly dialogue-free script (OK, there is one really, really well-placed “Fuuuuuck!”) is about as far from J.C. Chandor’s Oscar-nominated script for 2011’s Margin Call as possible. Props to the filmmaker, then, for crafting as much pulse-pounding magic out of austerity as he did with that multi-character gabfest. Here, Robert Redford plays “Our Man,” a solo sailor whose race to survive begins along with the film, as his boat collides with a hunk of Indian Ocean detritus. Before long, he’s completely adrift, yet determined to outwit the forces of nature that seem intent on bringing him down. The 77-year-old Redford turns in a surprisingly physical performance that’s sure to be remembered as a late-career highlight. (1:46) Albany, SF Center, Sundance Kabuki. (Eddy)

Big Sur (1:21) 1000 Van Ness, Smith Rafael.

Blue is the Warmest Color The stars (Adèle Exarchopoulos and Léa Seydoux) say the director was brutal. The director says he wishes the film had never been released (but he might make a sequel). The graphic novelist is uncomfortable with the explicit 10-minute sex scene. And most of the state of Idaho will have to wait to see the film on Netflix. The noise of recrimination, the lesser murmur of backpedaling, and a difficult-to-argue NC-17 rating could make it harder, as French director Abdellatif Kechiche has predicted, to find a calm, neutral zone in which to watch Blue is the Warmest Color, his Palme d’Or–winning adaptation (with co-writer Ghalya Lacroix) of Julie Maroh’s 2010 graphic novel Le Blue Est une Couleur Chaude. But once you’ve committed to the three-hour runtime, it’s not too difficult to tune out all the extra noise and focus on a film that trains its mesmerized gaze on a young woman’s transforming experience of first love. (2:59) Embarcadero, Shattuck, Smith Rafael, Sundance Kabuki. (Rapoport)

Blue Jasmine The good news about Blue Jasmine isn’t that it’s set in San Francisco, but that it’s Woody Allen’s best movie in years. Although some familiar characteristics are duly present, it’s not quite like anything he’s done before, and carries its essentially dramatic weight more effectively than he’s managed in at least a couple decades. Not long ago Jasmine (a fearless Cate Blanchett) was the quintessential Manhattan hostess, but that glittering bubble has burst — exactly how revealed in flashbacks that spring surprises up to the script’s end. She crawls to the West Coast to “start over” in the sole place available where she won’t be mortified by the pity of erstwhile society friends. That would be the SF apartment of Ginger (Sally Hawkins), a fellow adoptive sister who was always looked down on by comparison to pretty, clever Jasmine. Theirs is an uneasy alliance — but Ginger’s too big-hearted to say no. It’s somewhat disappointing that Blue Jasmine doesn’t really do much with San Francisco. Really, the film could take place anywhere — although setting it in a non-picture-postcard SF does bolster the film’s unsettled, unpredictable air. Without being an outright villain, Jasmine is one of the least likable characters to carry a major US film since Noah Baumbach’s underrated Margot at the Wedding (2007); the general plot shell, moreover, is strongly redolent of A Streetcar Named Desire. But whatever inspiration Allen took from prior works, Blue Jasmine is still distinctively his own invention. It’s frequently funny in throwaway performance bits, yet disturbing, even devastating in cumulative impact. (1:38) Metreon, Opera Plaza, Shattuck, Vogue. (Harvey)

Captain Phillips In 2009, Captain Richard Phillips was taken hostage by Somali pirates who’d hijacked the Kenya-bound Maersk Alabama. His subsequent rescue by Navy SEALs came after a standoff that ended in the death of three pirates; a fourth, Abduwali Abdukhadir Muse, surrendered and is serving a hefty term in federal prison. A year later, Phillips penned a book about his ordeal, and Hollywood pounced. Tom Hanks is perfectly cast as Phillips, an everyman who runs a tight ship but displays an admirable ability to improvise under pressure — and, once rescued, finally allows that pressure to diffuse in a scene of memorably raw catharsis. Newcomer Barkhad Abdi, cast from an open call among Minneapolis’ large Somali community, plays Muse; his character development goes deep enough to emphasize that piracy is one of few grim career options for Somali youths. But the real star here is probably director Paul Greengrass, who adds this suspenseful high-seas tale to his slate of intelligent, doc-inspired thrillers (2006’s United 93, 2007’s The Bourne Ultimatum). Suffice to say fans of the reigning king of fast-paced, handheld-camera action will not be disappointed. (2:14) Four Star, 1000 Van Ness, Piedmont, SF Center, Sundance Kabuki. (Eddy)

Carrie Is the world ready for a candy-covered Carrie? It’s a sad state of affairs when the best thing about a movie, particularly a wholly superfluous remake like this, is its creepy poster. That’s the closest thing this Carrie has to offer next to that retina-scorching, iconic 1976 image of blood-saturated Sissy Spacek that continues to lend inspiration to baby Billiths everywhere. Nonetheless, like a shy violet cowering in the gym showers, this Carrie comes loaded with potential, with Boys Don’t Cry (1999) director Kimberly Peirce at the helm, the casting of Julianne Moore and Chloe Grace Moretz in the critical mother-daughter roles, and the unfortunately topical bullying theme. Peirce makes a half-hearted attempt to update the, um, franchise when the tormented Carrie (a miscast Moretz) is virally videoed by spoiled rival Chris (Portia Doubleday), but the filmmaker’s heart — and guts — aren’t in this pointless exercise. We speed through the buildup — which unconvincingly sets up Carrie’s torments at home, instigated by obviously mentally ill, Christian fundamentalist mom Margaret (Moore), and at school, where the PE teacher (Judy Greer) pep-talks Carrie and Sue Snell (Gabriella White) is mysteriously hellbent on paying penance for her bullying misdeeds — to the far-from-scary denouement. Let’s say mean-spirited reflexive revenge-taking is no real substitute for true horror and shock. Supposedly drawn to Carrie for its female-empowerment message, Peirce nevertheless isn’t cut out to wade into horror’s crimson waters — especially when one compares this weak rendition with Brian De Palma’s double-screen brio and high-camp Freudian passion play. (1:32) Metreon, 1000 Van Ness, Shattuck. (Chun)

Cloudy With a Chance of Meatballs 2 (1:35) Metreon.

The Counselor The reviews are in, and it’s clear Ridley Scott has made the most polarizing film of the season. Most of The Counselor‘s detractors blame Cormac McCarthy’s screenplay, the acclaimed author’s first that isn’t drawn from a prexisting novel. To date, the best film made from a McCarthy tale is 2007’s No Country for Old Men, and The Counselor trawls in similar border-noir genre trappings in its tale of a sleek, greedy lawyer (Michael Fassbender) who gets in way over his head after a drug deal (entered into with slippery compadres played by Brad Pitt and Javier Bardem) goes wrong. Yes, there are some problems here, with very few unexpected twists in a downbeat story that’s laden with overlong monologues, most of them delivered by random characters that appear, talk, and are never seen again. But some of those speeches are doozies — and haters are overlooking The Counselor‘s sleazy pleasures (many of which are supplied by Cameron Diaz’s fierce, feline femme fatale) and attention to grimy detail. One suspects cult appreciation awaits. (1:57) Metreon, 1000 Van Ness, Sundance Kabuki. (Eddy)

Diana The final years of Diana, Princess of Wales are explored in what’s essentially a classed-up Lifetime drama, delving into the on-off romance between “the most famous woman in the world” (Naomi Watts) and heart surgeon Hasnat Khan (Naveen Andrews). Relationship roadblocks (his Muslim family, back home in Pakistan, is hesistant to accept a divorced, Christian Brit as their son’s partner) are further complicated by extraordinary circumstances (Diana’s fame, which leads to paparazzi intrusions on the very private doctor’s life), but there’s real love between the two, which keeps them returning to each other again and again. By the third or fourth tearful breakup — followed by a passionate reunion — Diana‘s story becomes repetitive as it marches toward its inevitable tragic end. Still, director Oliver Hirschbiegel (2004’s Downfall, another last-days-in-the-life biopic, albeit of a slightly different nature) includes some light-hearted moments, as when a giggling Diana smuggles Hasnat through the palace gates (past guards who know exactly what she’s up to). As you’d expect, Watts is the best thing here, bringing warmth and complexity to a performance that strives to reach beyond imitation. (1:52) SF Center. (Eddy)

Don Jon Shouldering the duties of writer, director, and star for the comedy Don Jon, Joseph Gordon-Levitt has also picked up a broad Jersey accent, the physique of a gym rat, and a grammar of meathead posturing — verbal, physical, and at times metaphysical. His character, Jon, is the reigning kingpin in a triad of nightclubbing douchebags who pass their evenings assessing their cocktail-sipping opposite numbers via a well-worn one-to-10 rating system. Sadly for pretty much everyone involved, Jon’s rote attempts to bed the high-scorers are spectacularly successful — the title refers to his prowess in the art of the random hookup — that is, until he meets an alluring “dime” named Barbara (Scarlett Johansson), who institutes a waiting period so foreign to Jon that it comes to feel a bit like that thing called love. Amid the well-earned laughs, there are several repulsive-looking flies in the ointment, but the most conspicuous is Jon’s stealthy addiction to Internet porn, which he watches at all hours of the day, but with a particularly ritualistic regularity after each night’s IRL conquest has fallen asleep. These circumstances entail a fair amount of screen time with Jon’s O face and, eventually, after a season of growth — during which he befriends an older woman named Esther (Julianne Moore) and learns about the existence of arty retro Swedish porn — his “Ohhh&ldots;” face. Driven by deft, tight editing, Don Jon comically and capably sketches a web of bad habits, and Gordon-Levitt steers us through a transformation without straining our capacity to recognize the character we met at the outset — which makes the clumsy over-enunciations that mar the ending all the more jarring. (1:30) Elmwood, Metreon, 1000 Van Ness. (Rapoport)

Ender’s Game Those entering Ender’s Game in search of homophobic threads or politically unsavory themes will likely be frustrated. After all, Orson Scott Card — once a board member of the National Organization for Marriage, and here serving as a producer intent on preserving the 1985 novel that netted him acclaim — has revisited what was initially a short story multiple times over the years, tweaking it to reflect a new political climate, to ready it for new expedient uses. Who knows — the times are a-changin’ fast enough, with the outcry of LGBT activists and the growing acceptance of gay military members, to hope that a gay character might enter the mix someday. Of course, sexuality of all sorts is kept firmly in check in the Ender‘s world. Earth has been invaded by an insect-like species called the Formics, and the planet unifies to serve up its best and brightest (and, it’s implied, most ruthless) young minds, sharpened on first-person-shooters and tactical games, to the cause of defeating the alien “other.” Andrew “Ender” Wiggin (Asa Butterfield) is the knowing hybrid of his sociopath brother Peter (Jimmy Pinchak) and compassionate sister Valentine (Abigail Breslin) — of the trinity, he’s “the One,” as Han Solo, I mean, Harrison Ford, cadet talent-spotter and trainer Colonel Graff, puts it. Ender impresses the leather off the hardened old war horse, though the Colonel’s psychologically more equipped cohort Major Anderson (Viola Davis) suspects there’s more going on within their chosen leader. Director-screenwriter Gavin Hood demonstrates his allegiance to Card’s vision, valorizing the discipline and teamwork instilled by military school with the grim purpose and dead serious pleasure one might take in studying a well-oiled machine, while Ender is sharpened and employed as a stunningly effective tool in a war he never truly conceived of. This game has a bit more in common with the recent Wii-meets-Rock ‘Em Sock ‘Em Godzillas of Pacific Rim than the winking, acidic satire of Starship Troopers (1997), echoing a drone-driven War on Terror that has a way of detaching even the most evolved fighter from the consequences of his or her actions. The question is how to undo, or rewrite, the damage done. (1:54) 1000 Van Ness, Presidio, SF Center, Sundance Kabuki. (Chun)

Enough Said Eva (Julia Louis-Dreyfus) is a divorced LA masseuse who sees naked bodies all day but has become pretty wary of wanting any in her bed at night. She reluctantly changes her mind upon meeting the also-divorced Albert (James Gandolfini), a television archivist who, also like her, is about to see his only child off to college. He’s no Adonis, but their relationship develops rapidly — the only speed bumps being provided by the many nit-picking advisors Eva has in her orbit, which exacerbate her natural tendency toward glass-half-empty neurosis. This latest and least feature from writer-director Nicole Holofcener is a sitcom-y thing of the type that expects us to find characters all the more adorable the more abrasive and self-centered they are. That goes for Louis-Dreyfus’ annoying heroine as well as such wasted talents as Toni Colette as her kvetching best friend and Catherine Keener as a new client turned new pal so bitchy it makes no sense Eva would desire her company. The only nice person here is Albert, whom the late Gandolfini makes a charming, low-key teddy bear in an atypical turn. The revelation of an unexpected past tie between his figure and Keener’s puts Eva in an ethically disastrous position she handles dismally. In fact, while it’s certainly not Holofcener’s intention, Eva’s behavior becomes so indefensible that Enough Said commits rom-com suicide: The longer it goes on, the more fervently you hope its leads will not end up together. (1:33) Albany, Piedmont. (Harvey)

Escape Plan It’s fascinating how ruined faces and silvered goatees can lend an air of, uh, gravitas to even the most muscle-bound action-movie veterans. The logic: Sylvester Stallone and Arnold Schwarzenegger have been around so long that they must possess more than a few brain cells to rub together. And rub they do — to surprisingly pleasing effect in this cut-above-the-next-Expendables-sequel meeting of blockbuster behemoths. Stallone’s Ray Breslin is a prison security specialist so nerdily devoted to his work that he gets himself locked up to test his clients’ jails. He gets in over his head when he’s thrown into the most secure private prison in the world, which happens to be run by former Blackwater mercenaries. It’s essentially the next, rather permanent-looking step after your not-so-friendly rendition flight. Breslin befriends security man Rottmayer (Schwarzenegger), who’s in the clink on behalf of his “digital Robin Hood” boss. Menaced by warden Hobbs (Jim Caviezel) and brawny Drake (Vinnie Jones), the two prisoners kick off a changeable game, Muslim prisoner Javed (Faran Tahir) in tow. Director Mikael Håfström lays out the plans with geeky enthusiasm by way of zippy point-of-view shots that are supposed to let you into Breslin’s noggin. Shockingly, after Stallone’s recent brain-dead exercises (2012’s Bullet to the Head), it’s not an unhappy experience in this smarter-than-it-looks post-9/11 prison-break drama that wears its complicated feelings about War on Terror-era crime and punishment — and torture — on its sleeve. Still, matters never get too bleeding-heart liberal here, at the risk of alienating the stars’ audiences. Sly obviously embraces this opportunity to play smarter than usual, while the ex-Governator sinks his choppers into his role with glee, trotting out a Commando-style slo-mo gun-swinging move that will have his geek brigade cheering. (1:56) SF Center. (Chun)

Free Birds (1:31) Elmwood, Metreon, 1000 Van Ness.

God Loves Uganda Most contemporary Americans don’t know much about Uganda — that is, beyond Forest Whitaker’s Oscar-winning performance as Idi Amin in 2006’s The Last King of Scotland. Though that film took some liberties with the truth, it did effectively convey the grotesque terrors of the dictator’s 1970s reign. But even decades post-Amin, the East African nation has somehow retained its horrific human-rights record. For example: what extremist force was behind the country’s Anti-Homosexuality Bill, which proposed the death penalty as punishment for gayness? The answer might surprise you, or not. As the gripping, fury-fomenting doc God Loves Uganda reveals, America’s own Christian Right has been exporting hate under the guise of missionary work for some time. Taking advantage of Uganda’s social fragility — by building schools and medical clinics, passing out food, etc. — evangelical mega churches, particularly the Kansas City, Mo.-based, breakfast-invoking International House of Prayer, have converted large swaths of the population to their ultra-conservative beliefs. Filmmaker Roger Ross Williams, an Oscar winner for 2010 short Music by Prudence, follows naive “prayer warriors” as they journey to Uganda for the first time; his apparent all-access relationship with the group shows that they aren’t outwardly evil people — but neither do they comprehend the very real consequences of their actions. His other sources, including two Ugandan clergymen who’ve seen their country change for the worse and an LGBT activist who lives every day in peril, offer a more harrowing perspective. Evocative and disturbing, God Loves Uganda seems likely to earn Williams more Oscar attention. (1:23) Roxie. (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, 1000 Van Ness, Presidio, Sundance Kabuki. (Eddy)

Inequality for All Jacob Kornbluth’s Inequality for All is the latest and certainly not the last documentary to explore why the American Dream is increasingly out of touch with everyday reality, and how the definition of “middle class” somehow morphed from “comfortable” to “struggling, endangered, and hanging by a thread.” This lively overview has an ace up its sleeve in the form of the director’s friend, collaborator, and principal interviewee Robert Reich — the former Clinton-era Secretary of Labor, prolific author, political pundit, and UC Berkeley Professor of Public Policy. Whether he’s holding forth on TV, going one-on-one with Kornbluth’s camera, talking to disgruntled working class laborers, or engaging students in his Wealth and Poverty class, Inequality is basically a resourcefully illustrated Reich lecture — as the press notes put it, “an Inconvenient Truth for the economy.” Fortunately, the diminutive Reich is a natural comedian as well as a superbly cogent communicator, turning yet another summary of how the system has fucked almost everybody (excluding the one percent) into the one you might most want to recommend to the bewildered folks back home. He’s sugar on the pill, making it easier to swallow so much horrible news. (1:25) California. (Harvey)

Jackass Presents: Bad Grandpa (1:32) Metreon, 1000 Van Ness.

Kill Your Darlings Relieved to escape his Jersey home, dominated by the miseries of an oft-institutionalized mother (Jennifer Jason Leigh) and long-suffering father (David Cross), Allen Ginsberg (Daniel Radcliffe) enters Columbia University in 1944 as a freshman already interested in the new and avant-garde. He’s thus immediately enchanted by bad-boy fellow student Lucien Carr (Dane DeHaan), a veteran of numerous prestigious schools and well on the road to getting kicked out of this one. Charismatic and reckless, Carr has a circle of fellow eccentrics buzzing around him, including dyspeptic William S. Burroughs (Ben Foster) and merchant marine wild child Jack Kerouac (Jack Huston). Variably included in or ostracized from this training ground for future Beat luminaries is the older David Kammerer (Michael C. Hall), a disgraced former academic who’d known Carr since the latter was 14, and followed him around with pathetic, enamored devotion. It’s this last figure’s apparent murder by Carr that provides the bookending crux of John Krokidas’ impressive first feature, a tragedy whose motivations and means remain disputed. Partly blessed by being about a (comparatively) lesser-known chapter in an overexposed, much-mythologized history, Kill Your Darlings is easily one of the best dramatizations yet of Beat lore, with excellent performances all around. (Yes, Harry Potter actually does pass quite well as a somewhat cuter junior Ginsberg.) It’s sad if somewhat inevitable that the most intriguing figure here — Hall’s hapless, lovelorn stalker-slash-victim — is the one that remains least knowable to both the film and to the ages. (1:40) SF Center, Shattuck. (Harvey)

Last Vegas This buddy film may look like a Bucket List-Hangover hybrid, but it’s got a lot more Spring Breakers in it than you expect — who beats Vegas for most bikinis per capita? Four old friends reunite for a wedding in Vegas, where they drink, gamble, and are confused for legendary men. Morgan Freeman sneaks out of his son’s house to go. Kevin Kline’s wife gave him a hall pass to regain his lost sense of fun. Kline and Freeman trick Robert De Niro into going — he’s got a grudge against Michael Douglas, so why celebrate that jerk’s nuptials to a 30-year-old? The conflicts are mostly safe and insubstantial, but the in-joke here is that all of these acting legends are confused for legends by their accidentally obtained VIP host (Romany Malco). These guys have earned their stature, so what gives? When De Niro flings fists you shudder inside remembering Jake LaMotta. Kline’s velvety comic delivery is just as swaggery as it was during his 80s era collaborations with Lawrence Kasdan. Douglas is “not as charming as he thinks he is,” yet again, and voice-of-God Freeman faces a conflict specific to paternal protective urges. Yes, Last Vegas jokes about the ravages of age and prescribes tenacity for all that ails us, but I want a cast this great celebrated at least as obviously as The Expendables films. Confuse these guys for better? Show me who. (1:44) Four Star, Metreon, 1000 Van Ness, Presidio. (Vizcarrondo)

Man of Tai Chi (1:45) Metreon.

Muscle Shoals Hard on the heels of Dave Grohl’s Sound City comes another documentary about a legendary American recording studio. Located in the titular podunk Northern Alabama burg, Fame Studio drew an extraordinary lineup of musicians and producers to make fabled hits from the early 1960s through the early ’80s. Among them: Percy Sledge’s “When a Man Loves a Woman,” a slew of peak era Aretha Franklin smashes, the Rolling Stones’ “Brown Sugar,” and those cornerstones of Southern rock, Lynyrd Skynyrd’s “Freebird” and “Sweet Home Alabama.” Tales of how particular tracks came about are entertaining, especially when related by the still-lively likes of Etta James, Wilson Pickett, and Keith Richards. (Richards is a hoot, while surprisingly Mick Jagger doesn’t have much to say.) Director Greg Camalier’s feature can be too worshipful and digressive at times, and he’s skittish about probing fallouts between Fame’s founder Rick Hall and some long-term collaborators (notably the local in-house session musicians known as the Swampers who were themselves a big lure for many artists, and who left Fame to start their own successful studio). Still, there’s enough fascinating material here — also including a lot of archival footage — that any music fan whose memory or interest stretches back a few decades will find much to enjoy. (1:51) Opera Plaza, Shattuck. (Harvey)

12 Years a Slave Pop culture’s engagement with slavery has always been uneasy. Landmark 1977 miniseries Roots set ratings records, but the prestigious production capped off a decade that had seen some more questionable endeavors, including 1975 exploitation flick Mandingo — often cited by Quentin Tarantino as one of his favorite films; it was a clear influence on his 2012 revenge fantasy Django Unchained, which approached its subject matter in a manner that paid homage to the Westerns it riffed on: with guns blazing. By contrast, Steve McQueen’s 12 Years a Slave is nuanced and steeped in realism. Though it does contain scenes of violence (deliberately captured in long takes by regular McQueen collaborator Sean Bobbitt, whose cinematography is one of the film’s many stylistic achievements), the film emphasizes the horrors of “the peculiar institution” by repeatedly showing how accepted and ingrained it was. Slave is based on the true story of Solomon Northup, an African American man who was sold into slavery in 1841 and survived to pen a wrenching account of his experiences. He’s portrayed here by the powerful Chiwetel Ejiofor. Other standout performances come courtesy of McQueen favorite Michael Fassbender (as Epps, a plantation owner who exacerbates what’s clearly an unwell mind with copious amounts of booze) and newcomer Lupita Nyong’o, as a slave who attracts Epps’ cruel attentions. (2:14) California, Embarcadero, Marina, Piedmont, Sundance Kabuki. (Eddy)

Wadjda Hijabs, headmistresses, and errant fathers fall away before the will and wherewithal of the 11-year-old title character of Wadjda, the first feature by a female Saudi Arabian filmmaker. Director Haifaa al-Mansour’s own story — which included filming on the streets of Riyadh from the isolation of a van because she couldn’t work publicly with the men in the crew — is the stuff of drama, and it follows that her movie lays out, in the neorealist style of 1948’s The Bicycle Thief, the obstacles to freedom set in the path of women and girls in Saudi Arabia, in terms that cross cultural, geographic, and religious boundaries. The fresh star setting the course is Wadjda (first-time actor Waad Mohammed), a smart, irrepressibly feisty girl practically bursting out of her purple high-tops and intent on racing her young neighborhood friend Abudullah (Abdullrahman Algohani) on a bike. So many things stand in her way: the high price of bicycles and the belief that girls will jeopardize their virginity if they ride them; her distracted mother (Reem Abdullah) who’s worried that Wadjda’s father will take a new wife who can bear him a son; and a harsh, elegant headmistress (Ahd) intent on knuckling down on girlish rebellion. So Wadjda embarks on studying for a Qu’ran recital competition to win money for her bike and in the process learns a matter or two about discipline — and the bigger picture. Director al-Mansour teaches us a few things about her world as well — and reminds us of the indomitable spirit of girls — with this inspiring peek behind an ordinarily veiled world. (1:37) Opera Plaza, Shattuck. (Chun)

Zaytoun It’s 1982 in war-torn Beirut, and on the semi-rare occasion that streetwise 12-year-old Palestinian refugee Fahed (Abdallah El Akal) attends school, he’s faced with an increasing number of empty desks, marked by photos of the dead classmates who used to sit there. His own father is killed in an air strike as Zaytoun begins. When an Israeli pilot (Stephen Dorff — a surprising casting choice, but not a bad one) is shot down and becomes a PLO prisoner, Fahed’s feelings of hatred give way to curiosity, and he agrees to help the man escape back to Israel, so long as he brings Fahed, who’s intent on planting his father’s olive sapling in his family’s former village, along. It’s not an easy journey, and a bond inevitably forms — just as problems inevitably ensue when they reach the border. Israeli director Eran Riklis (2008’s Lemon Tree) avoids sentimentality in this tale that nonetheless travels a pretty predictable path. (1:50) Smith Rafael. (Eddy) *

 

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