SF

Film listings are edited by Cheryl Eddy. Reviewers are Kimberly Chun, Max Goldberg, Dennis Harvey, Lynn Rapoport, and Matt Sussman. For rep house showtimes, see Rep Clock.

OPENING

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

The Darkest Hour Aliens invade and drain the planet’s power supply, or something. Save us, Emile Hirsch! (1:29) Shattuck.

The Flowers of War Christian Bale stars in Zhang Yimou’s period drama as a man who poses as a priest to protect a group of women during the 1937 Nanking Massacre. (2:21) Bridge.

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

I Melt With You See “The Unbearable Triteness of Being.” (1:47) Lumiere.

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

*My Reincarnation Reincarnation may not only sound far-fetched to a Westerner, but also unsettling. Imagine being told that you’re the manifestation of someone else — a dead stranger, essentially — and that your life is a mere shadow of that someone’s past life. At the heart of Jennifer Fox’s sweeping documentary is a father-son relationship strained by this clash between Western culture and Buddhist tradition. Filmed over 20 years, the documentary follows a Tibetan Buddhist Master, Chögyal Namkhai Norbu, and his son, Yeshi, who is believed to be the reincarnation of his great uncle. Yeshi is a normal Italian teenager who wants to be a photographer and play music, and receive some attention from his detached father. But Chögyal Namkhai Norbu insists on treating his son like a student, not his own flesh and blood. Reincarnation is a vast and intriguing look at a faith and a family, how the two intertwine, and how they can both ultimately change. (1:22) Roxie, Smith Rafael. (James H. Miller)

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

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

We Bought A Zoo Notorious heartstring manipulator Cameron Crowe directs this tale of a single dad (Matt Damon) who unexpectedly becomes the owner of a small zoo. (2:03) Balboa.

ONGOING

Alvin and the Chipmunks: Chip-wrecked (1:27) 1000 Van Ness.

Arthur Christmas (1:37) 1000 Van Ness.

*The Artist With the charisma-oozing agility of Douglas Fairbanks swashbuckling his way past opponents and the supreme confidence of Rudolph Valentino leaning, mid-swoon, into a maiden, French director-writer Michel Hazanavicius hits a sweet spot, or beauty mark of sorts, with his radiant new film The Artist. In a feat worthy of Fairbanks or Errol Flynn, Hazanavicius juggles a marvelously layered love story between a man and a woman, tensions between the silents and the talkies, and a movie buff’s appreciation of the power of film — embodied in particular by early Hollywood’s union of European artistry and American commerce. Dashing silent film star George Valentin (Jean Dujardin, who channels Fairbanks, Flynn, and William Powell — and won this year’s Cannes best actor prize) is at the height of his career, adorable Jack Russell by his side, until the talkies threaten to relegate him to yesterday’s news. The talent nurtured in the thick of the studio system yearns for real power, telling the newspapers, “I’m not a puppet anymore — I’m an artist,” and finances and directs his own melodrama, while his youthful protégé Peppy Miller (Bérénice Béjo) becomes a yakky flapper age’s new It Girl. Both a crowd-pleasing entertainment and a loving précis on early film history, The Artist never checks its brains at the door, remaining self-aware of its own conceit and its forebears, yet unashamed to touch the audience, without an ounce of cynicism. (1:40) California, Embarcadero, Piedmont. (Chun)

Being Elmo: A Puppeteer’s Journey (1:25) Opera Plaza, Shattuck.

A Dangerous Method (1:39) Albany, Embarcadero, Sundance Kabuki.

*The Descendants (1:55) California, Marina, 1000 Van Ness, Piedmont, SF Center, Sundance Kabuki.

*Drive (1:40) Castro, Lumiere.

Footprints (1:20) Roxie.

Le Havre (1:43) Opera Plaza.

Hugo (2:07) 1000 Van Ness, Shattuck, Sundance Kabuki.

Immortals (1:50) 1000 Van Ness.

J. Edgar (2:17) 1000 Van Ness, Opera Plaza, SF Center.

*Melancholia (2:15) Lumiere, Shattuck.

Midnight in Paris (1:34) Shattuck.

The Muppets (1:38) 1000 Van Ness, Presidio.

My Week With Marilyn (1:36) Albany, Clay, 1000 Van Ness, Piedmont.

New Year’s Eve (1:58) 1000 Van Ness, Sundance Kabuki.

Paul McCartney: The Love We Make (1:34) Roxie.

*Shame (1:39) Embarcadero, Shattuck, Sundance Kabuki.

Sherlock Holmes: A Game of Shadows Maybe Guy Ritchie should’ve quit while he was ahead. Thanks to strong performances from Robert Downey Jr. and Jude Law, the British director’s first Holmes flick proved surprisingly fun. Two years later, it’s clear that Ritchie’s well of creatitivity has run dry. Sherlock Holmes: A Game of Shadows is cliched and overlong, burying a few good ideas under an avalanche of tired action movie stalwarts gone steampunk. To be fair, the set design and art direction are still sumptuous, creating a hyperbolic, detailed vision of Victorian Europe. New cast additions Jared Harris (as Moriarty, maliciously polite) and Stephen Fry (as Mycroft, eccentric and nude) do well with limited material. Noomi Rapace, playing a helpful gypsy, is superfluous. Downey Jr. and Law are still game for some amusing PG-13 homoeroticism, but it’s the former’s disinterested performance that ensures the movie’s downfall. Forced to make do without witty quips or interesting deductions, the Holmes of A Game of Shadows is part bruiser, part buffoon. The game’s a flop, Watson. (2:09) Four Star, Marina, 1000 Van Ness, SF Center, Sundance Kabuki. (Ben Richardson)

The Sitter (1:21) 1000 Van Ness.

The Skin I Live In (1:57) Opera Plaza, Shattuck.

*Tinker Tailor Soldier Spy (2:07) SF Center, Shattuck, Sundance Kabuki.

*Tomboy (1:22) Shattuck.

The Tree of Life Mainstream American films are so rarely adventuresome that overreactive gratitude frequently greets those rare, self-conscious, usually Oscar-baiting stabs at profundity. Terrence Malick has made those gestures so sparingly over four decades that his scarcity is widely taken for genius. Now there’s The Tree of Life, at once astonishingly ambitious — insofar as general addressing the origin/meaning of life goes — and a small domestic narrative artificially inflated to a maximally pretentious pressure-point. The thesis here is a conflict between “nature” (the way of striving, dissatisfied, angry humanity) and “grace” (the way of love, femininity, and God). After a while Tree settles into a fairly conventional narrative groove, dissecting — albeit in meandering fashion — the travails of a middle-class Texas household whose patriarch (a solid Brad Pitt) is sternly demanding of his three young sons. As a modern-day survivor of that household, Malick’s career-reviving ally Sean Penn has little to do but look angst-ridden while wandering about various alien landscapes. Set in Waco but also shot in Rome, at Versailles, and in Saturn’s orbit (trust me), The Tree of Life is so astonishingly self-important while so undernourished on some basic levels that it would be easy to dismiss as lofty bullshit. Its Cannes premiere audience booed and cheered — both factions right, to an extent. (2:18) Castro. (Harvey)

Twilight Saga: Breaking Dawn — Part One (1:57) 1000 Van Ness, SF Center.

*Young Adult (1:34) California, 1000 Van Ness.