Stage

Film listings are edited by Cheryl Eddy. Reviewers are Kimberly Chun, Michelle Devereaux, Max Goldberg, Dennis Harvey, Johnny Ray Huston, Louis Peitzman, Lynn Rapoport, Ben Richardson, Matt Sussman, and Laura Swanbeck. The film intern is Fernando F. Croce. For rep house showtimes, see Rep Clock. For first-run showtimes, see Movie Guide.

SF DOCFEST

The eighth annual San Francisco Documentary Film Festival runs through Oct 29 at the Roxie, 3117 16th St, SF. Tickets ($11) are available by visiting www.sfindie.com. All times p.m.

WED/28

American Artifact: The Rise of American Rock Poster Art 7. The Great Contemporary Art Bubble 7. The Philosopher Kings 9:15. Pop Star on Ice 9:15.

THURS/20

Nursery University 7. Speaking in Code 7. Trimpin: The Sound of Invention 9:15. Cropsey 9:15.

OPENING

*The Beaches of Agnès Director’s commentaries are par for the course in the DVD age, but few filmmakers posses the élan to warrant a feature length auto-exegesis. Agnès Varda is one, and her most recent memory machine — she claims it’s her last — cheerfully dissolves the boundaries between memoir, retrospective, and installation. We begin on the beach, with the 80-year old Varda spryly instructing her young assistants on the placement of various mirrors. "If we opened people up, we’d find landscapes," she explains of her motivation for filmmaking, before embarking on an unclassifiable daisy chain of reenactment and reminiscence. The film moves at the leisurely pace of the flâneur’s walk, the better to relish Varda’s joie de vivre and sweet bawdiness. Her chameleon colored bowl cut dares us to keep abreast of her quicksilver digressions on the past (fact or fiction matters less than then and now). As with 2000’s The Gleaners and I, she’s most free with the things she adores: blurry foregrounds, old photographs, heart-shaped potatoes, ancient frescoes, the human body and neighbors. "All the dead lead me back to Jacques," she says, referring to her great love, Jacques Demy, and their life together loops The Beaches of Agnès with a beauty not soon forgotten. (1:40) Opera Plaza. (Goldberg)

Brain Dead With the zombedy combedy genre — I’m sick of "zomcom," aren’t you? — having reached mass impact via Zombietown, you might be hungry if not chalk-facedly ravenous for more of the same. In which case you’ll enjoy this Thrillville-presented West Coast theatrical debut of 1980s horror fave (1986’s Witchboard) Kevin Tenney’s own more modestly scaled mixup of undead mayhem and laughs. When a tiny asteroid lands in a rural area — instantly turning one unlucky fisherman into green-faced chomper and his buddy into lunch — it’s not long before shambling carnivores are imperiling the requisite cabinful of ill-matched strandees. Their number include a televangelist, lost sorority sisters, and two escaped convicts, one nice and one psycho-mean. While the latter takes everyone hostage at gunpoint, those carnivorous ghouls gathering outside have a strictly take-no-hostages policy. They’ll take brains, though. BRAAAAAAAAINS!!! Brain Dead is fun — if kinda dumb fun, compared to Shaun of the Dead or even Zombieland. (Let alone Peter Jackson’s 1992 splatsterpiece Braindead, or the 1990 Bill Paxton-Bill Pullman non-zom horror faceoff also called Brain Dead). But if it lacks that special edge of originality and/or wit, it’s still a whole lot better than 2008’s Zombie Strippers, of which we shall never speak again. (1:35) Four Star. (Harvey)

*Bronson In 2000’s Chopper (2000), Eric Bana killed as Australia’s most notorious psychotic extortionist-killer-jailbird-celebrity autobiographer — more vividly than in any part serving his subsequent, slightly bland leading-hunk status. Tom Hardy is another handsome bloke at risk of looking competent and versatile without fully impressing. Yet here comes Bronson, a film (and role) offering up a dramatized "Man. Myth. Celebrity" (as per its ad line) of actual "worst prisoner in Britain." The real Michael Gordon Peterson, better known as "Charles Bronson" (a PR-minded friend fitted the Death Wish star as nom de notoriety), was an extreme anger-management case whose working-class struggle ended when he robbed a post office in 1974. As the film details, prison spectacularly agreed with him. He enjoyed the tension and violence — between himself and fellow inmates as well as guards — so much that he got sent to a high-security psychiatric hospital. Worry not: even drugged to the gills, he managed to create ruckuses that won national attention. This is the second English-language directing effort by Dane Nicolas Winding Refn, of the crime-drama Pusher trilogy. Bronson is utterly revved up in a way that’s showy but not at all dumbed-down, and it’s pure cinematic inspiration at least half-transcending even a case of snarkish homophobia as you haven’t seen since … well, Chopper maybe? (1:32) Lumiere. (Harvey)

The Canyon See "Into the Wild." (1:42) Opera Plaza.

Gentlemen Broncos The latest from Napoleon Dynamite (2004) director Jared Hess is about a Utah teen (Michael Angarano) who is obsessed with science fiction. (1:51)

*Heart of Stone With metal-detectors blocking its entrance, gang fights breaking out in the halls, and teachers wearing bulletproof vests, it’s clear that Weequahic High School is not your usual blackboard jungle. Once one of the nation’s most respected schools, the Newark, NJ institution was by 2000 plagued by the urban violence that claimed an alarming number of lives. Beth Toni Kruvant’s first-rate documentary chronicles the place’s gradual recovery thanks to Ron Stone, the passionate principal who, using a mixture of diplomacy and compassion, struggled to control the brutality that loomed over a new generation of students. Though similar in subject to Rollin Binzer’s recent The Providence Effect, Heart of Stone is easily the better film, less an infomercial for enrollment than a tough-minded analysis of the historical upheavals and social conditions forming Weequahic’s fall and rise. "Inspiring" is an abused term when it comes to movies about teachers, but Kruvant’s inquiry and Stone’s dedication earn it. (1:24) Roxie. (Croce)

Michael Jackson’s This Is It This concert doc compiles behind-the-scenes rehearsal footage for what would have been Jacko’s run of London shows. (1:52) Cerrito , Four Star, Marina.

Walt and El Grupo This highly authorized documentary chronicles the 1941 South American tour Disney staff took as part of the U.S. "Good Neighbor" policies. The creative results were several fascinating wartime pastiches, including 1944’s anarchic, marvelous feature Three Caballeros. But that last is inexplicably not excerpted here — while tedious home-movie footage with Walt and company on their well-recorded trip, not to mention surviving relatives’ clucking over how wonderful it all was, go on and on. It’s worth noting that this studio vanity project has reached theaters, if minimally — while John-Paul Davidson and Trudi Styler’s The Sweatbox, an unvarnished behind-scenes portrait of the thorny processes behind latter-day Disney ‘toon The Emperor’s New Groove (2000), mysteriously vanished from the planet after its 2002 festival debut. That documentary offered real insight without reducing appreciation for its original talents. This one is a timid, worshipful bore. (1:46) (Harvey)

*The Yes Men Fix the World Can you prank shame, if not sense, into the Powers That Be? Andy Bichlbaum and Mike Bonnano, the jesters-activists who punked right-wing big-business in the documentary The Yes Men (2003), continue to play Groucho Marx to capitalism’s mortified Margaret Dumont in this gleeful sequel. Decked in sharp suits and packing fake websites and catchphrases, the duo bluffs its way into conferences and proceeds to give corporate giants the Borat treatment. The stunts are often inspired and, in their visions of fantasy justice, poignant: Bichlbaum and Bonnano pose as Dow envoys and announce the company’s plans to send billions to treat victims of the 1984 Bhopal chemical disaster, and later appear as HUD representatives offering a corrective to the shameful neglect of New Orleans in the wake of Hurricane Katrina. The Yes Men may not fix the world, but their ruses once more prove the awareness-raising potential of comedy. (1:30) Oaks, Roxie. (Croce)

ONGOING

Amelia Unending speculation surrounds the fate of aviator Amelia Earhart, who, with navigator Fred Noonan, disappeared in 1937 over the Pacific while attempting to circumnavigate the globe. However, Mira Nair’s biopic Amelia clarifies at least one fact: that Earhart (played by Hilary Swank) was a free-spirited freedom-loving lover of being free. We learn this through passages of her writing intoned in voice-over; during scenes with publisher and eventual husband George Putnam (Richard Gere); and via wildlife observations as she flies her Lockheed Electra over some 22,000 miles of the world. Not much could diminish the glory of Earhart’s achievements in aviation, particularly in helping open the field to other female pilots. And Swank creates the impression of a charming, intelligent, self-possessed woman who manages to sidestep many of fame’s pitfalls while remaining resolute in her lofty aims. She’s also slightly unknowable in her cheery, near-seamless virtue, and the film’s adoring depiction, with its broad, heavy strokes, at times inspires a different sort of restlessness than the kind that compels Earhart to take flight. Amelia is structured as a series of flashbacks in which the aviator, while circling the earth, retraces her life –- or rather, the highlights of her career in flying, her marriage to Putnam, and her affair with Gene Vidal (Ewan McGregor), another champion of aviation (and the father of author Gore). And this, too, begins to feel lazily repetitive, as we return and return again to that cockpit to stare at a doomed woman as she stares emotively into the wild blue yonder. (1:51) California, 1000 Van Ness, Piedmont, SF Center, Sundance Kabuki. (Rapoport)

Antichrist Will history judge Lars von Trier as the genius he’s sure he is? Or as a humorless, slightly less cartoonish Ken Russell, whipping images and actors into contrived frenzies for ersatz art’s sake? You’re probably already on one side of the fence or the other. Notorious Cannes shocker Antichrist will only further divide the yeas and nays, though the film does offers perhaps the most formally beautiful filmmaking von Trier’s bothered with since 1984’s The Element of Crime. Grieving parents Charlotte Gainsbourg and Willem Dafoe retreat to a forest primeval enabling widescreen images of poetic succulence. Yet that beauty only underlines Antichrist‘s garishness. One film festival viewer purportedly barfed onto the next row — and you too might recoil, particularly if unaccustomed to gore levels routinely surpassed by mainstream horror. Does Antichrist earn such viewer punishment by dint of moral, character, narrative, or artistic heft? Like slurp it does. What could be more reactionary than an opening in which our protagonists "cause" their angelic babe’s accidental death by obliviously enjoying one another? Shot in "lyrical" slow-mo black and white, it’s a shampoo commercial hard-selling Victorian sexual guilt.

Later, Dafoe’s "He" clings to hollow psychiatric reason as only an embittered perennial couch case might imagine. Gainsbourg’s "She" morphs from maternal mourner to castrating shrike as only one terrified of femininity could contrive. They’re tortured by psychological and/or supernatural events existing solely to bend game actors toward a tyrant artiste’s whims. There’s no devil here — just von Trier’s punitive narcissism. (1:49) Embarcadero, Shattuck. (Harvey)

*Astro Boy How can a robo-kid so cute be so sad? That’s the beautiful paradox of Astro Boy, the atomic age Japanese manga-cum-Pinocchio parable here given loving new life. Genius creator Osamu Tezuka’s original Astro Boy cannily grappled with the seductions and dangers of Japan’s economic miracle, the country’s conflicted emotions about the technology that fueled both Astro Boy and the war machine, and the struggle between industrialization and the environment. This update adds the recurring favorite sci-fi leitmotif of artificial intelligence — and by extension what it means to be human and non-human — to the mix. This adorable toaster (voiced by Freddie Highmore) awakens with memories of Toby, the brilliant, rebellious son of robotics genius Dr. Tenma (Nicolas Cage), believing he is a boy not a robot. The grief-stricken Tenma built him after the original Toby was killed during the test of a new robotic weapon. Eventually cast out by his Frankenstein father-creator and coping with some major identity issues, Astro Boy finds his place among a slew of outcasts on the now garbage- and robot part-strewn Wall-E-esque Earth, where his sense of compassion and mega powers threaten to bridge the seemingly insurmountable differences between humans and robots. Despite the speed with which director David Bowers and his team put together this animated feature, which boasts the voicings of stars like Charlize Theron and Nathan Lane, Astro Boy succeeds in delivering that crucial hybrid of action, comedy, and emotional heft that the best of classic animation offers, while touching lightly out relevant ideas about technology. (1:34) 1000 Van Ness, Presidio, Shattuck. (Chun)

*Big Fan The Wrestler screenwriter Robert Siegel continues to trawl tri-state working class blues for his directorial debut, Big Fan, a darkened fairy tale of sports mania and the male ego. Sandpaper rough comic Patton Oswalt is Paul Aufiero, a thirtysomething New York Giants nut who lives with his mother and scripts huffy raps for his nightly 1AM "Paul from Staten Island" call to the local sports radio station. Siegel locates a revealing stage for anxious performances of masculinity in the motor-mouthed rituals of sports talk radio. Big Fan is at its best when Aufiero is locked in dubious battle with abstract foes like "Philadelphia Phil," but the film starts to slow down as soon as our anti-hero and his lone pal Sal (Kevin Corrigan) spot Giants QB Quantrell Bishop (Jonathan Hamm) at a Staten Island gas station. They tail him to a strip club in New York City, where Bishop gives Aufiero a bruising upon discovering he’s been followed, thus compromising the Giants’ playoff chances. What a tangled web we weave and all that. It’s telling of Siegel’s limited talents that the best part of the fateful trip into Manhattan is Oswalt’s grimace when faced with a nine buck Budweiser. We’re so hungry for any kind of regionalism in mainstream filmmaking that even Big Fan‘s cheapest shots (all its women characters, for instance) don’t overpower the pleasure of Oswalt’s marshy profanities and the provincial jabber of New York vs. Philadelphia and Staten Island vs. Manhattan. (1:35) Lumiere, Shattuck. (Goldberg)

*Bright Star Is beauty truth; truth, beauty? John Keats, the poet famed for such works as "Ode on a Grecian Urn," and Jane Campion, the filmmaker intent on encapsuutf8g the last romance of the archetypal Romantic, would have undoubtedly bonded over a love of sensual details — and the way a certain vellum-like light can transport its viewer into elevated reverie. In truth, Campion doesn’t quite achieve the level of Keats’ verse with this somber glimpse at the tubercular writer and his final love, neighbor Fanny Brawne. But she does bottle some of their pale beauty. Less-educated than the already respected young scribe, Brawne nonetheless may have been his equal in imagination as a seamstress, judging from the petal-bonneted, ruffled-collar ensembles Campion outfits her in. As portrayed by the soulful-eyed Abbie Cornish, the otherwise-enigmatic, plucky Brawne is the singularly bright blossom ready to be wrapped in a poet’s adoration, worthy of rhapsody by Ben Whishaw’s shaggily, shabbily puppy-dog Keats, who snatches the preternaturally serene focus of a fine mind cut short by illness, with the gravitational pull of a serious indie-rock hottie. The two are drawn to each other like the butterflies flittering in Brawne’s bedroom/farm, one of the most memorable scenes in the dark yet sweetly glimmering Bright Star. Bathing her scenes in lengthy silence, shot through with far-from-flowery dialogue, Campion is at odds with this love story, so unlike her joyful 1990 ode to author Janet Frame, An Angel at My Table (Kerry Fox appears here, too, as Fanny’s mother): the filmmaker refuses to overplay it, sidestepping Austenian sprightliness. Instead she embraces the dark differences, the negative inevitability, of this death-steeped coupling, welcoming the odd glance at the era’s intellectual life, the interplay of light and shadow. (1:59) Elmwood, Opera Plaza. (Chun)

*Capitalism: A Love Story Gun control. The Bush administration. Healthcare. Over the past decade, Michael Moore has tackled some of the most contentious issues with his trademark blend of humor and liberal rage. In Capitalism: A Love Story, he sets his sights on an even grander subject. Where to begin when you’re talking about an economic system that has defined this nation? Predictably, Moore’s focus is on all those times capitalism has failed. By this point, his tactics are familiar, but he still has a few tricks up his sleeve. As with Sicko (2007), Moore proves he can restrain himself — he gets plenty of screen time, but he spends more time than ever behind the camera. This isn’t about Moore; it’s about the United States. When he steps out of the limelight, he’s ultimately more effective, crafting a film that’s bipartisan in nature, not just in name. No, he’s not likely to please all, but for every Glenn Beck, there’s a sane moderate wondering where all the money has gone. (2:07) California, Empire, Grand Lake, 1000 Van Ness, SF Center. (Peitzman)

Cirque du Freak: The Vampire’s Assistant (1:48) 1000 Van Ness, SF Center, Shattuck.

Cloudy With a Chance of Meatballs (1:21) Oaks.

Coco Before Chanel Like her designs, Gabrielle "Coco" Chanel was elegant, très chic, and utterly original. Director Anne Fontaine’s French biopic traces Coco (Audrey Tautou) from her childhood as a struggling orphan to one of the most influential designers of the 20th century. You’ll be disappointed if you expect a fashionista’s up close and personal look at the House of Chanel, as Fontaine keeps her story firmly rooted in Coco’s past, including her destructive relationship with French playboy Etienne Balsar (Benoît Poelvoorde) and her ill-fated love affair with dashing Englishman Arthur "Boy" Capel (Alessandro Nivola). The film functions best in scenes that display Coco’s imagination and aesthetic magnetism, like when she dances with Capel in her now famous "little black dress" amidst a sea of stiff, white meringues. Tautou imparts a quiet courage and quick wit as the trailblazing designer, and Nivola is unmistakably charming and compassionate as Boy. Nevertheless, Fontaine rushes the ending and never truly seizes the opportunity to explore how Coco’s personal life seeped into her timeless designs that were, in the end, an extension of herself. (1:50) Albany, SF Center, Sundance Kabuki. (Swanbeck)

Couples Retreat You could call Couples Retreat a romantic comedy, but that would imply that it was romantic and funny instead of an insipid, overlong waste of time. This story of a group of married friends trying to bond with their spouses in an exotic island locale is a failure on every level. Romantic? The titular couples — four total — represent eight of the most obnoxious characters in recent memory. Sure, you’re rooting for them to work out their issues, but that’s only because awful people deserve one another. (And in a scene with an almost-shark attack, you’re rooting for the shark.) Funny? The jokes are, at best, juvenile (boners are silly!) and, at worse, offensive (sexism and homophobia once more reign supreme). There is an impressive array of talent here: Vince Vaugh, Jason Bateman, Kristen Bell, Jean Reno, etc. Alas, there’s no excusing the script, which puts these otherwise solid actors into exceedingly unlikable roles. Even the gorgeous island scenery — Couples Retreat was filmed on location in Bora-Bora — can’t make up for this waterlogged mess. (1:47) 1000 Van Ness, Presidio, SF Center, Shattuck. (Peitzman)

*The Damned United Like last year’s Frost/Nixon, The Damned United features a lush 70’s backdrop, a screenplay by Peter Morgan, and a commanding performance by Michael Sheen as an ambitious egotist. A promising young actor, Sheen puts on the sharp tongue and charismatic monomania of real-life British soccer coach Brian Clough like a familiar garment, blustering his way through a fictionalized account of Clough’s unsuccessful 44-day stint as manager of Leeds United. Though the details of high-stakes professional "football" will likely be lost on American viewers, the tale of a talented, flawed sports hero spiraling deeper into obsession needs no trans-Atlantic translation, and the film is an engrossing portrait of a captivating, quotable character. (1:38) Elmwood, Embarcadero. (Richardson)

*An Education The pursuit of knowledge — both carnal and cultural — are at the tender core of this end-of-innocence valentine by Danish filmmaker Lone Scherfig (who first made her well-tempered voice heard with her 2000 Dogme entry, Italian for Beginners), based on journalist Lynn Barber’s memoir. Screenwriter Nick Hornby breaks further with his Peter Pan protagonists with this adaptation: no man-boy mopers or misfits here. Rather, 16-year-old schoolgirl Jenny (Carey Mulligan) is a good girl and ace student. It’s 1961, and England is only starting to stir from its somber, all-too-sober post-war slumber. The carefully cloistered Jenny is on track for Oxford, though swinging London and its high-style freedoms beckon just around the corner. Ushering in those freedoms — a new, more class-free world disorder — is the charming David (Peter Sarsgaard), stopping to give Jenny and her cello a ride in the rain and soon proffering concerts and late-night suppers in the city. He’s a sweet-faced, feline outsider: cultured, Jewish, and given to playing fast and loose in the margins of society. David can see Jenny for the gem she is and appreciate her innocence with the knowing pleasure of a decadent playing all the angles. The stakes are believably high, thanks to An Education‘s careful attention to time and place and its gently glamored performances. Scherfig revels in the smart, easy-on-eye curb appeal of David and his friends while giving a nod to the college-educated empowerment Jenny risks by skipping class to jet to Paris. And Mulligan lends it all credence by letting all those seduced, abandoned, conflicted, rebellious feelings flicker unbridled across her face. (1:35) Albany, Embarcadero, Empire, Piedmont, Sundance Kabuki. (Chun)

*Good Hair Spurred by his little daughter’s plaintive query ("Daddy, how come I don’t have good hair?"), Chris Rock gets his Michael Moore freak on and sets out to uncover the racial and cultural implications of African-American hairstyling. Visiting beauty salons, talking to specialists, and interviewing celebrities ranging from Maya Angelou to Ice-T, the comic wisecracks his way into some pretty trenchant insights about how black women’s coiffures can often reflect Caucasian-set definitions of beauty. (Leave it to Rev. Al Sharpton to voice it ingeniously: "You comb your oppression every morning!") Rock makes an affable guide in Jeff Stilson’s breezy documentary, which posits the hair industry as a global affair where relaxers work as "nap-antidotes" and locks sacrificially shorn in India end up as pricey weaves in Beverly Hills. Maybe startled by his more disquieting discoveries, Rock shifts the focus to flamboyant, crowd-pleasing shenanigans at the Bronner Bros. International Hair Show. Despite such softball detours, it’s a genial and revealing tour. (1:35) Lumiere, Shattuck. (Croce)

Inglourious Basterds With Inglourious Basterds Quentin Tarantino pulls off something that seemed not only impossible, but undesirable, and surely unnecessary: making yet another of his in-jokey movies about other movies, albeit one that also happens to be kinda about the Holocaust — or at least Jews getting their own back on the Nazis during World War II — and (the kicker) is not inherently repulsive. As Rube Goldbergian achievements go, this is up there. Nonetheless, Basterds is more fun, with less guilt, than it has any right to be. The "basterds" are Tennessee moonshiner Pvt. Brad Pitt’s unit of Jewish soldiers committed to infuriating Der Fuhrer by literally scalping all the uniformed Nazis they can bag. Meanwhile a survivor (Mélanie Laurent) of one of insidious SS "Jew Hunter" Christoph Waltz’s raids, now passing as racially "pure" and operating a Paris cinema (imagine the cineaste name-dropping possibilities!) finds her venue hosting a Third Reich hoedown that provides an opportunity to nuke Hitler, Himmler, Goebbels, and Goering in one swoop. Tactically, Tarantino’s movies have always been about the ventriloquizing of that yadadada-yadadada whose self-consciousness is bearable because the cleverness is actual; brief eruptions of lasciviously enjoyed violence aside, Basterds too almost entirely consists of lengthy dialogues or near-monologues in which characters pitch and receive tasty palaver amid lethal danger. Still, even if he’s practically writing theatre now, Tarantino does understand the language of cinema. There isn’t a pin-sharp edit, actor’s raised eyebrow, artful design excess, or musical incongruity here that isn’t just the business. (2:30) Oaks, SF Center. (Harvey)

*The Informant! The best satire makes you uncomfortable, but nothing will make you squirm in your seat like a true story that feels like satire. Director Steven Soderbergh introduces the exploits of real-life agribusiness whistleblower Mark Whitacre with whimsical fonts and campy music — just enough to get the audience’s guard down. As the pitch-perfect Matt Damon — laden with 30 extra pounds and a fright-wig toupee — gee-whizzes his way through an increasingly complicated role, Soderbergh doles out subtle doses of torturous reality, peeling back the curtain to reveal a different, unexpected curtain behind it. Informant!’s tale of board-room malfeasance is filled with mis-directing cameos, jokes, and devices, and its ingenious, layered narrative will provoke both anti-capitalist outrage and a more chimerical feeling of satisfied frustration. Above all, it’s disquietingly great. (1:48) SF Center. (Richardson)

The Invention of Lying Great concept. Great cast. All The Invention of Lying needed was a great script editor and it might have reached classic comedy territory. As it stands, it’s dragged down to mediocrity by a weak third act. This is the story of a world where no one can lie — and we’re not just talking about big lies either. The Invention of Lying presents a vision of no sarcasm, no white lies, no — gasp —creative fiction. All that changes when Mark Bellison (Ricky Gervais) realizes he can bend the truth. And because no one else can, everything Mark makes up becomes fact to the rubes around him. If you guessed that hilarity ensues, you’re right on the money! Watching Mark use his powers for evil (robbing the bank! seducing women!) makes for a very funny first hour. Then things take a turn for the heavy when Mark becomes a prophet by letting slip his vision of the afterlife. Faster than you can say "Jesus beard," he’s rocking a God complex and the audience is longing for the simpler laughs, like Jennifer Garner admitting to some pre-date masturbation. (1:40) 1000 Van Ness. (Peitzman)

Law Abiding Citizen "Spike Lee’s Inside Man (2006) as re-imagined by the Saw franchise folks" apparently sounded like a sweet pitch to someone, because here we are, stuck with Jamie Foxx and Gerard Butler playing bloody and increasingly ludicrous cat-and-mouse games. Foxx stars as a slick Philadelphia prosecutor whose deal-cutting careerist ways go easy on the scummy criminals responsible for murdering the wife and daughter of a local inventor (Butler). Cut to a decade later, and the doleful widower has become a vengeful mastermind with a yen for Hannibal Lecter-like skills, gruesome contraptions, and lines like "Lessons not learned in blood are soon forgotten." Butler metes out punishment to his family’s killers as well as to the bureocratic minions who let them off the hook. But the talk of moral consequences is less a critique of a faulty judicial system than mere white noise, vainly used by director F. Gary Gray and writer Kurt Wimmer in hopes of classing up a grinding exploitation drama. (1:48) 1000 Van Ness. (Croce)

My One and Only (1:48) Opera Plaza.

New York, I Love You A dreamy mash note to the city that never sleeps, New York, I Love You is the latest installment in a series of omnibus odes to world metropolises and the denizens that live and love within the city limits. Less successful than the Paris, je t’aime (2006) anthology — which roped in such disparate international directors as Gus Van Sant and Wes Craven, Alfonso Cuaron and Olivier Assayas — New York welcomes a more minor-key host of directors to the project with enjoyable if light-weight results. Surely any bite of the Big Apple would be considerably sexier. Bradley Cooper and Drea de Matteo tease out a one-night stand with legs, and Ethan Hawke and Maggie Q generate a wee bit of verbal fire over street-side cigs, yet there’s surprisingly little heat in this take on a few of the 8 million stories in the archetypal naked city. Most memorable are the strangest couplings, such as that of Natalie Portman, a Hasidic bride who flirtatiously haggles with Irrfan Khan, a Jain diamond merchant, in a tale directed by Mira Nair. Despite the pleasure of witnessing Julie Christie, Eli Wallach, and Cloris Leachman in action, many of these pieces — written by the late Anthony Minghella, Israel Horovitz, and Portman, among others — feel a mite too slight to nail down the attention of all but the most desperate romantics. (1:43) Bridge, Shattuck. (Chun)

The Nightmare Before Christmas 3D (1:16) Castro, Grand Lake.

Ong Bak 2: The Beginning Important: though it does star the original’s Tony Jaa, this is not a sequel to 2003 Thai hit Ong-bak, about a pious martial-arts master who journeys to the big city to retrieve the stolen head of his village’s sacred Buddha. Rather, Ong Bak 2 travels back in time so that lethally limber star Jaa (who also directs) can portray a young man adopted by bandits after his noble parents are slaughtered by a corrupt general. Along the way, he learns multiple fighting styles; bones are crunched, elephants are charmed, and emo flashbacks abound. The cool thing about Ong-bak was that it showcased Jaa’s unique Thai fighting style in an urban environment — his country-bumpkin character took down mobs of petty hoods and smugglers, and he faced an array of ridiculous foes in underground pit fights (for righteous reasons, natch). Ong Bak 2‘s historic setting feels a tad generic, even if it does provide an excuse for a crocodile-wrestling scene. Also, the tragic storyline calls for the kind of acting depth Jaa simply doesn’t have. Though he glowers with conviction, his fists and feet are the most charismatic things about him. (1:55) Lumiere, Shattuck. (Eddy)

*Paranormal Activity In this ostensible found-footage exercise, Katie (Katie Featherson) and Micah (Micah Sloat) are a young San Diego couple whose first home together has a problem: someone, or something, is making things go bump in the night. In fact, Katie has sporadically suffered these disturbances since childhood, when an amorphous, not-at-reassuring entity would appear at the foot of her bed. Skeptical technophile Micah’s solution is to record everything on his primo new video camera, including a setup to shoot their bedroom while they sleep — surveillance footage sequences that grow steadily more terrifying as incidents grow more and more invasive. Like 1999’s The Blair Witch Project, Oren Peli’s no-budget first feature may underwhelm mainstream genre fans who only like their horror slick and slasher-gory. But everybody else should appreciate how convincingly the film’s very ordinary, at times annoying protagonists (you’ll eventually want to throttle Micah, whose efforts are clearly making things worse) fall prey to a hostile presence that manifests itself in increments no less alarming for being (at first) very small. When this hits DVD, you’ll get to see the original, more low-key ending (the film has also been tightened up since its festival debut two years ago). But don’t wait — Paranormal‘s subtler effects will be lost on the small screen. Not to mention that it’s a great collective screaming-audience experience. (1:39) Metreon, 1000 Van Ness, Presidio, Sundance Kabuki. (Harvey)

*Paris Cédric Klapisch’s latest offers a series of interconnected stories with Paris as the backdrop, designed — if you’ll pardon the cliché — as a love letter to the city. On the surface, the plot of Paris sounds an awful lot like Paris, je t’aime (2006). But while the latter was composed entirely of vignettes, Paris has an actual, overarching plot. Perhaps that’s why it’s so much more effective. Juliette Binoche stars as Élise, whose brother Pierre (Romain Duris) is in dire need of a heart transplant. A dancer by trade, Pierre is also a world-class people watcher, and it’s his fascination with those around him that serves as Paris‘ wraparound device. He sees snippets of these people’s lives, but we get the full picture — or at least, something close to it. The strength of Paris is in the depth of its characters: every one we meet is more complex than you’d guess at first glance. The more they play off one another, the more we understand. Of course, the siblings remain at the film’s heart: sympathetic but not pitiable, moving but not maudlin. Both Binoche and Duris turn in strong performances, aided by a supporting cast of French actors who impress in even the smallest of roles. (2:04) Embarcadero, Shattuck. (Peitzman)

Saw VI (1:30) 1000 Van Ness.

*The September Issue The Lioness D’Wintour, the Devil Who Wears Prada, or the High Priestess of Condé Nasty — it doesn’t matter what you choose to call Vogue editor-in-chief Anna Wintour. If you’re in the fashion industry, you will call her — or at least be amused by the power she wields as the overseer of style’s luxury bible, then 700-plus pages strong for its legendary September fall fashion issue back in the heady days of ’07, pre-Great Recession. But you don’t have to be a publishing insider to be fascinated by director R.J. Cutler’s frisky, sharp-eyed look at the making of fashion’s fave editorial doorstop. Wintour’s laser-gazed facade is humanized, as Cutler opens with footage of a sparkling-eyed editor breaking down fashion’s fluffy reputation. He then follows her as she assumes the warrior pose in, say, the studio of Yves St. Laurent, where she has designer Stefano Pilati fluttering over his morose color choices, and in the offices of the magazine, where she slices, dices, and kills photo shoots like a sartorial samurai. Many of the other characters at Vogue (like OTT columnist André Leon Talley) are given mere cameos, but Wintour finds a worthy adversary-compatriot in creative director Grace Coddington, another Englishwoman and ex-model — the red-tressed, pale-as-a-wraith Pre-Raphaelite dreamer to Wintour’s well-armored knight. The two keep each other honest and craftily ingenious, and both the magazine and this doc benefit. (1:28) Presidio. (Chun)

*A Serious Man You don’t have to be Jewish to like A Serious Man — or to identify with beleaguered physics professor Larry Gopnik (the grandly aggrieved Michael Stuhlbarg), the well-meaning nebbishly center unable to hold onto a world quickly falling apart and looking for spiritual answers. It’s a coming of age for father and son, spurred by the small loss of a radio and a 20-dollar bill. Larry’s about-to-be-bar-mitzvahed son is listening to Jefferson Airplane instead of his Hebrew school teachers and beginning to chafe against authority. His daughter has commandeered the family bathroom for epic hair-washing sessions. His wife is leaving him for a silkily presumptuous family friend and has exiled Larry to the Jolly Roger Motel. His failure-to-launch brother is a closeted mathematical genius and has set up housekeeping on his couch. Larry’s chances of tenure could be spoiled by either an anonymous poison-pen writer or a disgruntled student intent on bribing him into a passing grade. One gun-toting neighbor vaguely menaces the borders of his property; the other sultry nude sunbather tempts with "new freedoms" and high times. What’s a mild-mannered prof to do, except envy Schrodinger’s Cat and approach three rungs of rabbis in his quest for answers to life’s most befuddling proofs? Reaching for a heightened, touched-by-advertising style that recalls Mad Men in look and Barton Fink (1991) in narrative — and stooping for the subtle jokes as well as the ones branded "wide load" — the Coen Brothers seem to be turning over, examining, and flirting with personally meaningful, serious narrative, though their Looney Tunes sense of humor can’t help but throw a surrealistic wrench into the works. (1:45) California, Embarcadero, Empire, Piedmont, Sundance Kabuki. (Chun)

The Stepfather (1:41) 1000 Van Ness.

The Vanished Empire Pink Floyd records may become contraband once behind the Iron Curtain, but coming-of-age clichés remain the same in Karen Shakhnazarov’s seriocomic tale of adolescent ecstasies and agonies in 1973 Moscow. Lenin’s words are taught in school, though 18-year-old Sergey (Alexander Lyapin) is more interested in chasing girls, scoring pot, and savoring such illicit pop pleasures as jeans and rock music. Cool Kostya (Ivan Kupreyenko) and geeky Stepan (Yegor Baranovsky) are his contrasting cohorts, forming a trio of pubescent anxiety whose rites of passage are complicated by the arrival of Sergey’s girlfriend, Lyuda (Lidiya Milyuzina). The empire of the title is an ideological one, crumbled by a pleasure-seeking new generation who sell their grandfathers’ Marxist tomes in order to pay for Mick Jagger’s latest hit. Despite its evocative sense of time and place, however, the film’s teen nostalgia remains frustratingly amorphous, squandering the chance to find the youthful pulse of the nation’s transitory upheavals. (1:45) Sundance Kabuki. (Croce)

Where the Wild Things Are From the richly delineated illustrations and sparse text of Maurice Sendak’s 1963 children’s book, director Spike Jonze and cowriter (with Jones) Dave Eggers have constructed a full-length film about the passions, travails, and interior/exterior wanderings of Sendak’s energetic young antihero, Max. Equally prone to feats of world-building and fits of overpowering, destructive rage, Max (Max Records) stampedes off into the night during one of the latter and journeys to the island where the Wild Things (voiced by James Gandolfini, Catherine O’Hara, Forest Whitaker, Chris Cooper, Lauren Ambrose, Paul Dano, and Michael Berry Jr.) live — and bicker and tantrum and give in to existential despair and no longer all sleep together in a big pile. The place has possibilities, though, and Max, once crowned king, tries his best to realize them. What its inhabitants need, however, is not so much a visionary king as a good family therapist — these are some gripey, defensive, passive-aggressive Wild Things, and Max, aged somewhere around 10, can’t fix their interpersonal problems. Jonze and Eggers do well at depicting Max’s temporary kingdom, its forests and deserts, its creatures and their half-finished creations from a past golden era, as well as subtly reminding us now and again that all of this — the island, the arguments, the sadness — is streaming from the mind of a fierce, wildly imaginative young child with familial troubles of his own, equally beyond his power to resolve. They’ve also invested the film with a slow, grim depressive mood that can make for unsettling viewing, particularly when pondering the Maxes in the audience, digesting an oft-disheartening tale about family conflict and relationship repair. (1:48) Cerrito, Four Star, Grand Lake, Marina, 1000 Van Ness, Sundance Kabuki. (Rapoport)

Whip It What’s a girl to do? Stuck in small town hell, Bliss Cavendar (Ellen Page), the gawky teen heroine of Drew Barrymore’s directorial debut, Whip It, faces a pressing dilemma — conform to the standards of stifling beauty pageantry to appease her mother or rebel and enter the rough-and tumble world of roller derby. Shockingly enough, Bliss chooses to escape to Austin and join the Hurl Scouts, a rowdy band of misfits led by the maternal Maggie Mayhem (Kristin Wiig) and the accident-prone Smashley Simpson (Barrymore). Making a bid for grrrl empowerment, Bliss dawns a pair of skates, assumes the moniker Babe Ruthless, and is suddenly throwing her weight around not only in the rink, but also in school where she’s bullied. Painfully predictable, the action comes to a head when, lo and behold, the dates for the Bluebonnet Pageant and the roller derby championship coincide. At times funny and charming with understated performances by Page and Alia Shawcat as Bliss’ best friend, Whip It can’t overcome its paper-thin characters, plot contrivances, and requisite scenery chewing by Jimmy Fallon as a cheesy announcer and Juliette Lewis as a cutthroat competitor. (1:51) SF Center. (Swanbeck)

*Zombieland First things first: it’s clever, but it ain’t no Shaun of the Dead (2004). That said, Zombieland is an outstanding zombie comedy, largely thanks to Woody Harrelson’s performance as Tallahassee, a tough guy whose passion for offing the undead is rivaled only by his raging Twinkie jones. Set in a world where zombies have already taken over (the beginning stages of the outbreak are glimpsed only in flashback), Zombieland presents the creatures as yet another annoyance for Columbus (Jesse Eisenberg, who’s nearly finished morphing into Michael Cera), a onetime antisocial shut-in who has survived only by sticking to a strict set of rules (the "double tap," or always shooting each zombie twice, etc.) This odd couple meets a sister team (Emma Stone, Abigail Breslin), who eventually lay off their grifting ways so that Columbus can have a love interest (in Stone) and Tallahassee, still smarting from losing a loved one to zombies, can soften up a scoch by schooling the erstwhile Little Miss Sunshine in target practice. Sure, it’s a little heavy on the nerd-boy voiceover, but Zombieland has just enough goofiness and gushing guts to counteract all them brrraiiinss. (1:23) 1000 Van Ness, Shattuck, Sundance Kabuki. (Eddy)