Theater

Hot sexy events: September 14-20

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There are times to rejoice that we live in a city as alt-hot as we do, and this is one of them. Around the country, pornography theater might call up images of lonely men in trenchcoats – but in SF, it can mean a community celebration of sex positivity – and yeah, it’s going to be hot. 

The Indie Erotic Film Festival starts this weekend and continues to the middle of next week (Sat/17-Thu/22). The sweaty-palmed nights will include screenings of films, from Naked Sword to the works of Shine Louis Houston and the ever-fabulous short film competition, for which festival sponsor Good Vibrations has solicited snippets from around the world (New Zealand makes porn? Hooray!).

New to skin flicking? Worry not because opening night of IXFF doubles as its own 101 course. Susie Bright, sex activist is putting her erotic film criticism to work for a showing of her American porn retrospective. She’ll be speaking about the revolutionaries of pornography – maybe at the end of the festival you’ll have learned other names she can add to her list.  


Bawdy Storytelling: Candy From Strangers

The City Clinic triage survey includes a question that goes roughly like this: have you ever had sex with someone you weren’t able to contact the next day? That’s stranger danger, boys and girls – lust that has to be congratulated for its sheer simplicity. This month’s Bawdy features live stories told by local luminaries about anonymous encounters. Hey, maybe you’ll meet someone in the crowd… 

Wed/14 8 p.m., $10

The Blue Macaw

2565 Mission, SF

www.bawdystorytelling.com


Kinky Salon’s Pussyfest

Faster pussycat, faster – if you’re down to strap-on a tail and purr suggestively you’re gonna love this edition of the swinger’s party. It’s all cat costumes this time around – grab a partner and bring your catnip. 

Sat/17 10 p.m., $25-30 members only

Mission Control 

www.missioncontrolsf.org


Indie Erotic Film Festival

Gay, queer, straight as an arrow – you’re going to find something on screen you can scream to. Presentations of the films of Spain’s Erika Lust, Pink and White Production’s feminist queer porn producer Shine Louis Houston, even a night of shorts from around the world (this on Thu/22 at the Castro, preceded by a festival closing party with a mustache photo booth and burlesque prancers). 

Sat/17-Thu/22

Various times, prices, locations

www.gv-ixff.org


“Alchemy: Partner Tantra Yoga”

The town’s tantric center Dakini Temple is sending out its director out into the world to share its teachings. Bast is this emissary, and she’ll be teaching partners the basic of yogic sexuality. Male ejaculation control will be explored, as well as multi-orgasmic states and amrita – the female orgasmic ejaculation.

Tues/20 6:30-8:30 p.m., $45-50

Good Vibrations

1620 Polk, SF

(415) 345-0500

www.goodvibes.com 

 

Fighting to be free

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arts@sfbg.com

DANCE This past weekend, an unlikely double bill once again proved how fertile the Bay Area soil is for dancers’ imaginations. FACT/SF’s Pretonically Oriented v.3 was steeped in critical theory yet physically grounded. Drawing on local history, Lenora Lee Dance’s Reflections offered a window into self-assertion. While employing Asian American images — martial arts and lion dancing — the work resonated beyond its specific cultural context. Both works were developed during summer residencies at CounterPULSE.

“Pretonic,” a program note explained, refers to the unstressed (“pre”) syllable which precedes a stressed one (“tonic) in a word. Charles Slender used this linguistic precept to fold his rehearsal process into the actual piece. While his trio of exceptionally focused dancers — James Graham, Erin Kraemer, and Catherine Newman — performed variations of material they had accessed through free-writing, we also watched and listened to streamed videos, including Slender at his most slyly professorial, of the rehearsal material that had gone into the making of Pretonically. These layers of information sometimes looked as solid as what happened in real time, sometimes as evanescent as memory floating by.

The idea of conjoining process and product is intriguing. Pretonically could prove utterly absorbing. Watching the trio in one corner of the stage in front of videos taken in exactly the same spot (but depicting different movements) suggested a fascinating sense of simultaneity. Listening to Slender’s voice while his face on the wall clearly spoke different words created a disconnect between two modes of communication.

Toward the end, just as the work seemed to have run its course, the dancers returned and went into a retrograde mode, performing some of their material backwards. It looked as if someone had pushed the reverse button, and they had joined their own selves in a different reality.

At 40 minutes, however, Pretonically could not sustain itself. Once you understood the complex structure, the piece needed to communicate beyond what it became. Like so much conceptual art, the idea behind it often proved more intriguing than its physical realization.

Having said that, the dancers were mesmerizing by the sheer force of their presence. Moving glacially, they inexorably focused on something ungraspable. Perhaps Kraemer’s energy originated from the bottom of her spine, Graham lived off percussive lines, and, though ground-hogging, Newman fixated on the above. Slender is lucky to have dancers as excellent as these; they could run circles around most Butoh practitioners.

Lee’s fine Reflections also benefited from excellent dancers. Translating to the stage the difficulties of retaining or creating one’s identity in an unwelcoming environment is a theme that runs through much of contemporary dance and theater. Lee has previously examined the topic with her Chinese American background in mind; she based 2010’s Passages on her grandmother’s life. In Reflections she strikes a fiercer note as she examines the ferocious, even brutal strength required for self-assertion. A male narrator’s voice movingly personalized the struggle of escaping the bondage of being “the good son.”

Lee made a brilliant choice in enlisting two martial arts group, Kei Lun Martial Arts and Enshin Karate, South San Francisco Dojo. They were the warriors who fought each other in the “cold streets of Chinatown,” but also embodied the ongoing struggle within. Raymond Fong, who is as fine an actor as he is at practicing karate, became Reflections’ everyman. Lee’s mixing of her own choreography with pure martial arts worked well; seeing the real thing onstage (and not often-vacuous “martial arts inspired moves”) was thrilling. At the same these performers looked more nuanced than they might otherwise. Weakest was the choreography for the two women characters, Marina Fukushima as the unattainable dream and Lee herself as a compassionate woman warrior.

Making fine use of a lion dance, including bamboo lion heads that imprisoned, Lee strung together the work’s seven scenes rather straightforwardly. Weaving them more tightly together and including better transitions might strengthen Reflections‘ backbone in future performances.

Still weird after all these years

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THEATER Here’s a preliminary accounting from the San Francisco Fringe Festival, which remarkably turns the big two-oh this year. (There’s a nifty 2012 wall calendar to mark the occasion available somewhere in the Exit Theatre complex, traditional nerve center for the lottery-based festival started by Exit stalwarts Christina Augello and Richard Livingston.)

Opening night’s grab bag was another of those half-arbitrary groupings that ends up feeling so thematically right you can’t help getting a little creeped out. It started with Angela Neff’s sharp and poignant family tale, Another Picnic at the Asylum, the autobiographical story of her childhood (spent partly in the Bay Area) with seven siblings, a much put-upon young mother, and a wild, reckless, manic depressive cowboy crooner of a dad. Life with Father this ain’t, but the story’s gathering darkness is winningly offset by good-natured humor and an offbeat, almost zany embrace of eccentricity. Neff, a local writer-performer, works with only one prop — a simple wooden box — but you have no trouble imagining an entire landscape and cast of characters, including her intense, unpredictable father and his moth-to-flame charm. This is a well-honed show (developed with director David Ford), featuring vivid acting, nicely tailored prose, and a precise gestural vocabulary. A daughter’s complex fascination and frustration with a parent’s madness ultimately becomes not only the basis for a tribute, but a kind of afflatus too, as Neff reclaims a touch of her father’s larger-then-life scope as her own artistic inspiration.

There’s a similar alchemy underway in director Jeremy Aluma’s fantastic 4 Clowns. Rowdy, irreverent, totally inappropriate, slightly dangerous, and very funny, the titular madcaps — wonderfully individual performances unleashed with fine ensemble precision by Alexis Jones, Turner Munch, Raymond Lee, and Amir Levi — take their unsuspecting audience through the phases of life, dwelling on all its hideous temporal suffering with a macabre glee, accompanied by the fancy piano work of Mario Granville. Morbid curiosity, however, proves an invigorating tonic, beating back despair with fierce gallows humor as only a crazed ejaculating demon clown can.

Evan Kennedy’s Quatre-Vingt-Quatre, while the weakest of the three shows caught before print deadline, fits in pretty well with the fine line between terror and transcendence gracefully negotiated in the two shows above. Five actors in messy but iconic garb (a miner, a hunter, a strongman, a farmer, and a soldier) mince and mewl about the stage, counting off in French until they hit the magic number in the title with the aid of assorted instruments including an abacas. The play between order and chaos here extends subtly to various social norms and categories of existence, a clever calculus that offsets the otherwise wearying numbers game reminiscent of the pedagogical Dada of Sesame Street

“SAN FRANCISCO FRINGE FESTIVAL”

Through Sun/18, $7-$10

Exit Theatre

156 Eddy, SF

(415) 673-3847

www.sffringe.org

It’s people!

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arts@sfbg.com

THEATER Last Thursday afternoon, the floor before the stage at Z Space was strewn with dollar-store paraphernalia, neon-colored wigs, and the odd piece of kitchenware. On the stage itself, near the front, ran a long makeshift video screen about four-and-a-half feet high. Immediately behind that, at regular intervals, four small video cameras on thin stands faced the back of the stage. Caden Manson, New York–based Big Art Group’s artistic director, had been leading a workshop all week in performance media techniques for about 15 locals (most of them active in the dance-performance scene) but today they were crafting something that would actually be a part of this week’s much anticipated Big Art Group premiere, The People: San Francisco.

To that end, performers picked through the detritus on the floor and fashioned neo-classical costumes for themselves: a broom brush for a centurion’s plume, pot lids for shields, a colander for a battle helmet, a table cloth for a toga, an incongruous toy gun, a festive pair of streamers on sticks, a black cap with beaded veil, swords, plastic flowers, and other pop neo-classical accoutrement. “If anybody wants a Molotov cocktail, there’s four of them right there,” offers one of the group’s members helpfully.

By the time they had assembled themselves on stage they had become a strikingly photogenic band of miscreants and martyrs, like the crew of the Bad Ship Lollipop. Manson, a 40ish blond with an equanimous mien and contrastingly subdued in black coat and blue sneakers, announces they have ten minutes to produce a narrative tableau in an epic vein. Maybe because most of these folks — among them Evan Johnson, Ben Randle, Honey McMoney, Maryam Rostami, Laura Arrington, Rachael Dichter, and Sara Kraft — have worked together before, this all happens surprisingly on schedule.

Manson — who with a few directorial adjustments soon has them all grandly and neatly materializing on the video screen at the front of the stage — explains to me that the pop-up tableau of civil strife the performers have just concocted will act as one of several backdrops to passages from the Oresteia, the ancient trilogy of plays by Aeschylus, which itself acts as counterpoint to the series of contemporary interviews of random Bay Area citizens that forms a key component of The People.

The results you can see for yourself this weekend, as Florida Street outside Z Space (formerly Theater Artaud) becomes a re-imagined public square where a localized discussion of democracy gets played out in a big way, through massive video projections, personal perspectives, and live performance in a dazzlingly intricate and thought-provoking merger of bodies and images, the epic and the mundane, the spectacular and the quotidian.

Big Art Group’s last appearance in the Bay Area was 2009’s deft and rowdy “action media performance,” SOS, at Yerba Buena Center for the Arts. Founded and led by Manson and executive director and writer Jemma Nelson, Big Art’s distinctive, highly integrated blend of theater and media into something it calls “real-time film” was the basis then for a rousing camp send-up and critique of this culture’s media-immersive materialism and its social ramifications.

The People: San Francisco takes Big Art’s fundamental approach to performance and democratizes it. The fourth installment of a serial project begun in 2007 in Polverigi, Italy (before moving onto Halle, Germany and Salzburg, Austria), The People was designed with two goals in mind, according to Manson. One was to craft a collaborative project that might allow Manson and Nelson greater contact with the communities they’ve been regularly traveling through on Big Art’s annual performance tours. The tradeoff would be some of the precision and expertise on display in shows like SOS for an immediate and interactive bead on a specific locale. In the Bay Area, this contact was managed through three host organizations: Marin’s Headlands Center for the Arts (where Manson and Nelson were in residency a few months ago), YBCA, and Z Space. Through this relationship, the project gathered some 40 hours of taped interviews with 42 subjects (including this writer) who were asked an identical set of questions about terrorism, justice, democracy, and war. (Manson was last week still carefully whittling down those 40 hours to a manageable 16 minutes, but notes the remainder will be archived online).

The other goal was related but more specific and immediate: “At the time we started this, in 2007, Bush was in office and he was always talking about promoting democracy,” explains Manson. “We were touring all over Europe at this time, and we’re wondering: What exactly does that mean, democracy? So we started asking. It’s the first time we’ve asked here, in the United States.”

The timing, coming just after the 10th anniversary of 9/11, is auspicious (if coincidental). As a localized act of public discussion of words like terrorism, justice, democracy, and war, The People reclaims from the centers of power and their diffuse mouthpieces the shibboleths and catchwords that normally act as so many parade floats leading us all down blind alleys, if not over cliffs. Wasn’t this the real discussion we should have had ten years ago? Some did; some tried and were shouted down. This weekend, at least, the conversation continues. 

THE PEOPLE: SAN FRANCISCO

Fri/16-Sat/17, 8 p.m., $10

Z Space

450 Florida, SF

(415) 978-2787

www.ybca.org

 

Our Weekly Picks: September 14-20

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WEDNESDAY 14

MUSIC

Fake Your Own Death

A few years back, local indie rockers Elephone received an infusion of new life via a teenage singer. Unfortunately, the procedure didn’t stick and the band met its demise. But if someone has to die, let it be the group. At least then the members can go on to new lives like the Downer Party and Kill Moi. Elephone guitarist Terry Ashkinos has found a survivor’s group in Fake Your Own Death. “Open my mouth to speak, but it’s old technology. Fake your own death, watch it on TV,” the band sings on one listless, sonorous track recalling the National. Dying is easy, what comes after is harder. (Ryan Prendiville)

With Bruises, Excuses for Skipping, DJ Neil Martinson (SMiLE!)

9:30 p.m., $10

Cafe Du Nord

2170 Market, SF

(415) 861-5016

www.cafedunord.com


MUSIC

Kylesa

Set your head to banging as Kylesa returns to San Francisco. The Savannah, Ga. double-drummed metal titans have taken music to its heaviest extremes, defying genre boundaries in favor of sheer crushing aggression. Formed by members of 90s sludge innovators Damad, Kylesa obliterates the boundaries between punk and metal, drawing fans of loud and heavy from all over the spectrum — its Pushead-designed logo is practically required adornment on black denim vests worn by crusties and longhairs alike. Last year’s Spiral Shadow, the band’s fifth full length album, proves that Kylesa shows no sign of mellowing out, even as they explore new horizons and incorporate increasingly psychedelic twists to their booming Southern sound. (Cooper Berkmoyer)

With Deafheaven and Castle

8 p.m., $15

859 O’Farrel, SF

(415) 885-0750

www.gamh.com


THURSDAY 15

DANCE

“Extinction Burst: a dance of lost movement”

How refreshing! For once we don’t have to feel guilty about contributing to the extinction of so many threatened species. Think those bottom-of-the-ocean crawlers who will be gone before we have even discovered them. Thank you, Chris Black. Her latest five-person dance installation, “Extinction Burst: a dance of lost movement” brings back to life — sort of — animals who are gone. She is a smart, experienced choreographer who can peek below of just about anything and twist her findings into dance theater that smiles as it informs. (Rita Felciano)

7:30 p.m., $10–$12

California Academy of Sciences

55 Music Concourse, Golden Gate Park, SF

(415) 379-8000

www.calacademy.org


EVENT

Bonny Doon Press Club

Attention local oenophiles! As part of Press Club’s Visiting Vintner Series, Randall Grahm, the founder of Bonny Doon Vineyards (located just to our south in Santa Cruz County) will be on hand tonight for a meet and greet — and to lead tastings of his outstanding wines. The independent owner and author of Been Doon So Long (University of California Press, 2009) has gained a well-earned reputation for innovative ideas in several areas of his business, including the introduction of screw cap bottles and unique labels. His delicious wines, however, remain the real reason for his success, and he’ll be bringing along several limited production varieties for aficionados to enjoy. (Sean McCourt)

6-9 p.m, free admission, tasting flight $21

Press Club

20 Yerba Buena Lane, SF

(415) 744-5000

www.pressclubsf.com


MUSIC

Part Time

Part Time, San Francisco’s lo-fi darling of the moment, is a visitor from another time, a dimension in which the early 80s never soured and the party lived on forever. The debut album What Would You Say?, released by Mexican Summer earlier this year, plays like some fabled bedroom pop gem, thought lost for decades until rediscovered one sunny day at a flea market, wedged between a Barbra Streisand Christmas album and The Return of Bruno. Don’t be fooled into thinking it’s just a novelty band, though. The vintage aesthetic belies Part Time’s innovation on a retro template and the captivating pop goodness it crafts — danceable tunes that sound like home recorded Prince demos with a teenage goth edge. (Berkmoyer)

With Pamela, Surf Club, and Permanent Collection

9 p.m., $5

Thee Parkside

1600 17th St., SF

(415) 252-1330

www.theeparkside.com


DANCE

Project Bandaloop A vertical dance floor ain’t no thing for Project Bandaloop. They’ve been soaring across mountains, skyscrapers, and other breathtaking sites for two decades with work inspired by the possibilities of climbing and rappelling. For the group’s 20th anniversary season, it will take on the Great Wall of Oakland in Bound(less), a multimedia event, synthesizing years of creativity under the direction of Amelia Rudolph. The free performance features a live band in addition to fearless physicality and grace. After years of interacting with environments and audiences around the world, Project Bandaloop’s aerial dance brings a daring artistic edge to the notion of climbing as the vertical ballet. (Julie Potter)

Thurs/15-Sat/17, 8:30 p.m., free

The Great Wall

West Grand Ave. at Broadway, Oakl.

(415) 421-5667

www.projectbandaloop.com


FRIDAY 16

MUSIC

 

Bayonics

On a cold San Francisco summer night in a Bayview recording studio, Bayonics were talking about when they knew they’d made it big. It happened on Craigslist actually. Members of the Latin-hip-hop-soul-funk-reggae-country (yeah, it goes there) big band spotted an ad from an SF high school bandleader that was looking for new musicians “with a Bayonics-style sound.” Such a tale could only come from a crew with a strong sense of place — and the group (which shares tonight’s bill with Samoa-via-Compton island reggae smoothie J. Boog) sure enough struts its Bay cred during its live shows. Guaranteed to be an ass-shaker, the long-awaited release party for the new album Mission Statement celebrates urban SF sound. (Caitlin Donohue)

With J. Boog 9 p.m., $25

Mezzanine

444 Jessie, SF

www.mezzaninesf.com


SATURDAY 17

EVENT

Rock Make Street Festival

There are so few things in this life that are truly good and free without some sort of hitch. The Rock Make Street Festival — now in its fourth year — is a genuinely fun (and free) outdoor party in the Mission, presented by the Bay Bridged blog, the band Tartufi, and accessory makers Cookie and the Dude. Live bands this year include mainstay Tartufi, along with Birds & Batteries, Bare Wires, Battlehooch, Cannons & Clouds, and more ampersand-less acts. There also will be not-free food truck eats and crafts made by local merchants. True story: I bought my brother a heather gray shirt with a huge California screen-print at the first Rock Make Street Festival and he’s worn that thing into the ground — it’s nearly threadbare. (Emily Savage)

Noon-7 p.m., free

Treat at 18th St., SF

www.rockmake.com


MUSIC

Bring Your Own Queer

You can either load your favorite rainbow-flavored, gender-hopping, sexually transgressive buddy into your bright red Radio Flyer wagon and haul zhim down to this wild free daytime outdoor dance party and arts festival at the Golden Gate Park bandshell — or you can just polish the unicorn horn on your own inner Q until it becomes a blinding beacon and go mingle with a planetload of other fabulosities. (Say, is “Planet Unicorn” retro yet?) In any case: come here, be queer, get shoes for it. DJs Juanita More, the Honey Soundsystem queens, and very special person DJ Bus Station John will provide diverse sounds. Appearances by Adonisaurus, Chica Boom, Philip Huang, the Vagine Regime from Bay Area Derby Girls, and Titland will surely tickle. There will be a fashion forest OMG hi. (Marke B.)

Noon-6 p.m., free

Golden Gate Park Music Concourse

50 Hagiwara Tea Garden Dr., SF

www.byoq.org


MUSIC

Peter Hook and the Light performing Closer

The odd thing about New Order’s disintegration in 2007, with Peter Hook leaving seemingly for good, is that he would tour on Joy Division material. Perhaps it’s simply a commentary on the state of affairs: Hook has attributed illegal downloading to shrinking royalties and live performance are the way to work the back catalog. In any case, his band will perform Joy Division’s final album Closer, a highly acclaimed, darker work that appears on t-shirts less often than Unknown Pleasures, which he played to a packed crowd last year. Obviously, it’s no more Joy Division than upcoming New Order dates without Hook will be New Order, but it will be a showcase for the man’s influential bass style. (Prendiville)

With Oona, DJ Tomas Diablo (Strangelove) 9 p.m., $22

Mezzanine

444 Jessie, SF

(415) 625-8880

www.mezzaninesf.com


MUSIC

Basscenter III

Tempo-mashing electronic artist Bassnectar returns to the Bay Area for the first time since last year’s sold out show at the Fox Theater. This time, however, he’s bringing his Basscenter event started in 2010, previously held in Broomfield, Colo. and Asheville, NC. Bass-ically it’s a three ring circus (no really — the Vau de Vire Society will be performing) with an eclectic lineup of support. With a more straightforward electro sound, it should be interesting to hear how Wolfgang Gartner works the crowd. And while I don’t generally think of wobbly bass when I think of Dan Deacon, his Tim and Eric musical aesthetic brings a certain ADHD liveliness that only the headliner can match. (Prendiville)

With Bassnectar, Big Gigantic, Wolfgang Gartner, Dan Deacon 7 p.m., $40

Bill Graham Civic Auditorium

99 Grove, SF

www.apeconcerts.com


SUNDAY 18

MUSIC

Rorschach

Listening to Rorschach is like being held down and methodically punched in the face. The powerviolence progenitor from New Jersey paved the way for the last two decades of hardcore, alternating between breakneck blast-beat assaults and almost unbearably heavy breakdowns. The 1991 Rorschach/Neanderthal split is a classic of the genre: four songs in under five minutes that helped launch the race to make the meanest music in the world. Although Rorschach called it quits in 1993 after only four years, the band’s varied catalogue has remained an important influence in both the punk and metal scenes; after jumpstarting 90s hardcore, Rorschach went on to lay the foundations of metalcore. Reformed in 2009 for a short East Coast tour, Rorschach is making its way to the bay for what’s sure to be a memorable, if brutal, night. (Berkmoyer)

With Early Graves, Kowloon Walled City, and Kicker

9 p.m., $10

Thee Parkside

1600 17th St., SF

(415) 252-1330

www.theeparkside.com


TUESDAY 20

MUSIC

Laudanum

Laudanum is the East Bay king of doom and gloom, a four piece of the most crushing proportions that features members of Asunder, the other heaviest band in the bay, as well as the now defunct Graves at Sea. If a regent of hell ever enslaved the earth, or a zombie monarch rose to reclaim its throne, it would make sense for Laudanum to compose the coronation march. The slow atmospheric drone is notably more sinister sounding that most contemporaries, drawing black metal influences into the rigor of stoner metal with tortured vocals and dissonant progressions. It’s what an evil bearded wizard riding on the shoulders of a club wielding giant puts on his iPod to jam out to as he lays waste to his enemies and slaughters the innocent. Or, ya’ know, it could be a Zune: evil wizards don’t have brand loyalty. (Berkmoyer)

With the Body and Braveyoung

9 p.m., $7

Hemlock Tavern

1131 Polk, SF

(415) 923-0923

www.hemlocktavern.com

No shushing

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emilysavage@sfbg.com

MUSIC Something unexpectedly noisy is happening in the museums of San Francisco. There are two shows taking place in the next couple of weeks that will defy expectations of appropriate gallery sound levels.

The idea for one event was born when artist-quilter Ben Venom wrote a proposal to bring heavy metal music to the Yerba Buena Center for the Arts. Venom’s massive heavy metal quilt, See You on the Other Side, is currently on display in between two motorcycle gang-inspired jackets as part of the ongoing BAN6 exhibition.

The Bay Area metal scene is woven into the fabric of See You on the Other Side. Shirts donated to Venom from local bands such as Hightower, Black Cobra, and Walken — along with old tees for his own collection — were cut up and sewn into his most ambitious design yet: a skull with seven Medusa-style snakes with slithering tongues, multiple pyramids, and lightning bolts.

Venom sewed four other (smaller) heavy metal quilts in the past, so his own collection of vintage shirts has nearly run dry. Along with his friends’ bands, acts such as Gwar, Kylesa, and Red Fang have approached Venom, offering support for his vision or their own collections of shirts to include in future quilts. So far, the only criticisms Venom has faced are from those pissed off that he’s cutting up classic shirts — some of which, like his vintage Testament shirt, can sell for upwards of $80 on Ebay. But he doesn’t see it as destroying something, he’s sees it as giving shirts a new life, a new function. “At the very end of the day, even the beasts of metal need a warm blanket,” he says smiling.

Likely very warm at 13×15-feet, See You on the Other Side includes more than 125 repurposed shirts with vivid and macabre imagery; the red of the snakes’ tongues popping against the white bulls-eye quilting pattern.

The Mission resident takes inspiration from his life growing up in deeply religious, creative family in Southern Georgia, conversely citing heavy metal, the occult, and alchemy imagery as similarly over-the-top exalting. “The way I look at my work is a collision of the outrageous stage antics of Ozzy Osborne collided together with the domestic nature of crafts,” says Venom, arms folded, peering at his work on the high-ceilinged wall.

Another artistic collision of sorts will take place in a few weeks to compliment Venom’s pieces: three local heavy metal bands will play in the sculpture garden at YBCA on Sept. 22, just outside the gallery where Venom’s work hangs.

Venom came up with the event idea when the curator sent out a query to the artists involved in the BAN6 exhibition, to see if anyone wanted to tack on a lecture or performance. “It totally ties into what I’m doing. It’s like, heavy metal at the museum — that’s a little weird,” Venom chuckles. “I contacted Hightower, Black Cobra, and Walken and they were all super amped on it.”

Those three bands are also represented with imagery in the quilt, having donated shirts to Venom, something that the artist notes as meaningful to the spirit of the piece. “I’m hosting the event, but the bands are playing — it’s their night.”

There will be a uniquely different live rock show in a nearby museum this month. The formerly San Franciscan foursome, Deerhoof, is flying in from across the country (New York City, Portland, Oreg., Albuquerque, N.M) to play in the main lobby of the San Francisco Museum of Modern Art this Thursday, Sept. 15, as part of the SFMOMA: Now Playing series.

Deerhoof — Greg Saunier, John Dieterich, Ed Rodriguez and Satomi Matsuzaki — was documented by filmmaker Adam Pendelton for his video installation, BAND, a reinterpretation of Jean-Luc Godard’s 1968 film Sympathy for the Devil. Godard’s original included scenes of the Rolling Stones working on the track from Beggar’s Banquet, interlaced with clips of the Black Panthers. Pendelton’s three channel video installation, shot in 2009 while Deerhoof was working on its most recent record Deerhoof vs. Evil, includes beautiful close-ups of the avant-garde musicians working on a song, mixed with audio footage of a day in the life of a politically conscious teenager.

The eight-hour shoot caught the band’s first tinkering with “I Did Crimes For You,” a deceptively upbeat, repetitious pop track that kicks off with clean guitar, hand-clapping, and Matsuzaki’s recognizably high girlish vocals explaining: this is a stick-up/this is a stick-up/smash the windows.

“I don’t know what other bands are like when they’re working on music, but it can be pretty high tension,” says Dieterich, from his new home in Albuquerque, “It’s not like we’re in a war zone or something, but at the time it can pretty nerve-wracking.”

Despite the nerves and early unfounded fears about being filmed, Dieterich says the band ended up enjoying the experience. “It’s good to do things like that, to force yourself to be transparent…to be able to operate under any circumstance.” Deerhoof does have a track record of flexibility, whether it be taking risks with new tones or equipment, switching instruments during live shows, or reaching out beyond the traditional album-concert rock band format. The band created and performed an original score to Harry Smith’s silent film Heaven and Earth Magic during the San Francisco International Film Festival a few years back, and its album Milk Man was turned into a piece of modern dance theater by schoolchildren who performed it in Maine.

The SFMOMA event will include Deerhoof’s performance along with a screening of BAND. There also will be a projection of a different Pendelton project; footage of David Hilliard (former chief of staff of the Black Panther Party) touring landmark Black Panther Party sites in Oakland, and an onstage interview with Hilliard.

Deerhoof hasn’t performed in conjunction with Pendelton’s film since the premiere in New York City last year; Dieterich says he’s looking forward to taking it to the museum. “We’re going to be playing in this big entryway, I don’t know acoustically what that room is like — just thinking from a sound perspective, it will have its own strong character.” 

 

DEERHOOF

Thurs/15, 6 p.m., free with admission

San Francisco Museum of Modern Artist

151 Third St., SF

www.sfmoma.org

 

BLACK COBRA, WALKEN, AND HIGHTOWER

Sept. 22, 6 p.m., free with admission

Yerba Buena Center for the Arts 701 Mission, SF (415) 978-2787 www.ybca.org

Stage Listings

0

THEATER

OPENING

Hunter’s Point St. Boniface Church Theater, 175 Golden Gate, SF; www.strangeangelstheater.org. $15-25 (no one turned away for lack of funds). Opens Fri/16, 7pm. Runs Sat/17, Sept 23-24, and Sept 28-Oct 1, 7pm (also Sept 23, 2pm). Strange Angels Theater in collaboration with Jump! Theatre performs Elizabeth Gjelten’s musical drama about homelessness.

Night Over Erzinga South Side Theatre, Magic Theatre, Fort Mason Center, Marina at Laguna, SF; (415) 345-7575, www.goldenthread.org. $20-100. Previews Thurs/15, 8:30pm; Fri/16-Sat/17, 8pm. Opens Sun/18, 5pm. Runs Thurs, 8:30pm; Fri-Sat, 8pm; Sun, 2pm. Through Oct 9. Golden Thread Productions premieres Adriana Sevahn Nichols’ story about the immigrant experience in the United States, set just after the Armenian Genocide.

The Odyssey Aboard Alma, Hyde Street Pier, San Francisco Maritime National Historic Park, SF; www.weplayers.org. $160. Opens Sat/17, 12:30pm. Runs Sun/18, Oct 1, 28-29, Nov 4-6, 11-12, and 18, 12:30pm. This “full afternoon adventure” (12:30-5pm) includes a sailing performance of tales from Homer by We Players (aboard an 1891 scow schooner), plus a light meal.

ONGOING

“AfroSolo Arts Festival” Various venues, SF; www.afrosolo.org. Free-$100. Through Oct 20. The AfroSolo Theatre Company presents its 18th annual festival celebrating African American artists, musicians, and performers.

All Atheists Are Muslim Stage Werx Theatre, 533 Sutter, SF; (415) 517-3581, www.brownpapertickets.com. $20. Thurs-Sat, 8pm. Through Oct 1. On the TV, CNN carries the dismal thumping of the Bush gang for more war. In the living room, a father and daughter are in a standoff over a proposed live-in boyfriend. It’s 2005, and a clash of generations, as Zahra tries to convince her immigrant Iranian American Muslim father that her white infidel boyfriend Duncan would make an ideal roommate. For her Muslim father, “the Duncan” has plenty of acceptable virtues — even his professed atheism is hardly an insurmountable obstacle to dad, who doesn’t seem to recognize the word but is sure it translates into a wishy-washy approach to the divine through an enthusiastic appreciation for gravity. But moving in together is a different story. How it plays out is the heart of comedian and solo performer Zahra Noorbakhsh’s uneven but charming and funny take on a familiar American family dynamic whose particular ethnic flavor includes a mild but timely geopolitical aroma. Playing herself as well as her loving mother, her bounding and big-hearted father (with his priceless Persian accent), and her good-natured but recalcitrant boyfriend, Noorbakhsh celebrates the immigrant experience while beating back the age’s pernicious appeal to stereotype and xenophobia with the far more realistic metaphor of a nice, crazy family dinner. (Avila)

American Buffalo Actors Theatre of San Francisco, 855 Bush, SF; (415) 345-1287, www.actorstheatresf.org. $26-38. Wed-Sat, 8pm (no show Sept 22). Extended through Oct 8. Actors Theatre of San Francisco performs the David Mamet crime classic.

Cymbeline Parade Ground Lawn, Main Post, Presidio (between Graham and Keyes), SF; www.sfshakes.org. Free. Sat, 7:30pm; Sun, 2:30pm. Through Sept 25. The San Francisco Shakespeare Festival presents its annual “Free Shakespeare in the Park” performance.

Exit, Pursued By a Bear Boxcar Playhouse, 505 Natoma, SF; www.crowdedfire.org. $10-35. Wed/14-Sat/17, 8pm. Crowded Fire performs Lauren Gunderson’s new play, a feminist revenge comedy.

Geezer Marsh, 1062 Valencia, SF; (415) 282-3055. $25-100. Thurs/15, 8pm; Sat/17-Sun/18, 5pm. Geoff Hoyle returns to the Marsh with his acclaimed solo show.

Joy With Wings: A Daughter’s Tale Alcove Theater, 415 Mason, Fifth Flr, SF; www.brownpapertickets.com. $32-50. Wed-Thurs, 8pm. Through Oct 6. Chaucer Theater performs Becky Parker’s drama about a mother’s love.

King Henry the Sixth Boxcar Studios, 125a Hyde, SF; www.brownpapertickets.com. $12-15. Thurs/15-Sat/17, 8pm. Do It Live Productions debuts with a contemporary Shakespeare adaptation.

A Midsummer Night’s Dream Phoenix Theatere, 414 Mason, Sixth flr, SF; (415) 509-8656. $10-20. Thurs/15-Sat/17, 8pm (also Sat/17, 3pm). Ninjaz of Drama and Divinity Productions Presents Rey Carolino’s contemporary staging of the Bard’s classic.

Not Getting Any Younger Marsh San Francisco, Studio Theater, 1062 Valencia, SF; (415) 826-5750, www.themarsh.org. $15-50. Thurs-Fri, 8pm; Sat, 8:30pm; Sun, 3pm. Through Oct 23. Marga Gomez performs her comedy about “lies, vanity, and the good old days.”

*Patience Worth Thick House, 1695 18th St, SF; (415) 456-8892, www.symmetrytheatre.com. $20-30. Thurs-Sat, 8pm; Sun, 2pm. Through Oct 2. In the second decade of the 20th century, a young new St. Louis bride named Pearl Curran (Megan Trout), looking to rise above her humble Ozarks upbringing yet with hopeless aspirations to be a singer, suddenly began channeling the spirit of a 16th-century woman named Patience Worth. The rest was literary history, here uncovered and subtly examined by playwright Michelle Carter in Symmetry Theatre Company’s thoughtful, gradually stirring world premiere, its second production after last year’s strong debut (with Anthony Clarvoe’s Show and Tell). Introduced to Patience by Emily Hutchings (Elena Wright) and her Ouija board, Pearl soon displaces the chagrined Hutchings — who has literary aspirations of her own she pedals doggedly to the leading publisher of the day (Warren David Keith) — and inverts the patriarchal order as her much older husband (Keith) plays stenographer to the virtuosic verbosity of the spirit. When she adopts a child for Patience whome she names Patience Wee (Alona Bach), she drives the desperately lonely young girl into the arms of her equally isolated mother (Jessica Powell) toward an unexpected and terrible inspiration. Director Erika Chong Shuch sets her able cast (headed by Trout’s sure take on a complex figure) atop an area rug backed by a line of trees and strewn over the bare earth, like a floating island of bourgeois respectability amid a wild and mysterious sea of natural and supernatural impulses, in a complex tale of female liberation that intersects with questions of fame, status, self-invention, ventriloquism, and a dark bargain with destiny that has something quintessentially American about it. (Avila)

“San Francisco Fringe Festival” Exit Theatre, 156 Eddy, SF; (415) 673-3847, www.sffringe.org. $7-10 (passes, $40-75). Through Sun/18. The 20th annual fest contains over 40 shows highlighting unique indie theater.

Show Ho New Conservatory Theatre Center, 25 Van Ness, SF; (415) 861-8972, www.nctcsf.org. $20-32. Thurs-Sat, 8pm; Oct 9, 2pm. Through Oct 9. Sara Moore performs her multi-character story about a clown in a low-rent circus.

“3 Guys in Drag Selling Their Stuff” Garage, 975 Howard, SF; www.brownpapertickets.com. $20. Fri/16-Sat/17, 8pm. Edward Crosby Wells’ bawdy comedy is about a trio of friends who host an unusual yard sale.

True West NOHspace, 2840 Mariposa, SF; 1-800-838-3006, www.truewestsf.com. $10-28. Wed/14-Sat/17, 8pm. Expression Productions presents Sam Shepard’s tale of two brothers.

Turandot War Memorial Opera House, 201 Van Ness, SF; (415) 864-3330, www.sfopera.com. $21-389. Wed/14, Sept 22, and Oct 4, 7:30pm; Sat/17 and Oct 1, 8pm; Sept 25, 2pm. The San Francisco Opera performs Puccini’s classic in conjunction with the Lyric Opera of Chicago.

Unveiled Brava Theater, 2781 24th St, SF; (415) 647-2822, www.brava.org. $10-25. Thurs/15-Sat/17, 3pm. Brava Theater presents Rohina Malik’s solo show about five Muslim women in the post-9/11 world.

Waiting for Giovanni Decker Theater, New Conservatory Theatre Center, 25 Van Ness, SF; www.nctcsf.org. $25-36. Wed/14-Sat/17, 8pm; Sun/18, 2pm. This world-premiere play by Jewelle Gomez in collaboration with Harry Waters Jr. imagines a split-second of indecision in the mind of author James Baldwin.

BAY AREA

The Complete History of America (abridged) Dominican University of California, Forest Meadows Amphitheater, 1475 Grand, San Rafael; (415) 499-4488, www.marinshakespeare.org. $20-35. Performance times vary; check website for schedule. Through Sept. 25. Marin Shakespeare Company performs Adam Lon, Reed Martin, and Austin Tichenor’s three-person romp through American history.

*A Delicate Balance Aurora Theatre, 2081 Addison, Berk; (510) 843-4822, www.auroratheatre.org. $10-48. Tues, 7pm; Wed-Sat, 8pm; Sun, 2 and 7pm. Through Oct 9. Aurora Theatre performs Edward Albee’s comedy of manners.

Madhouse Rhythm Cabaret at Marsh Berkeley, 2120 Allston, Berk; (415) 282-3055, www.themarsh.org. $15-35. Thurs, 7:30pm. Extended through Oct 6. Joshua Walters performs his hip-hop-infused autobiographical show about his experiences with bipolar disorder.

The Merry Wives of Windsor Old Mill Park, 375 Throckmorton, Mill Valley; www.curtaintheatre.org. Free. Sat/17-Sun/18, 2pm. Curtain Theatre performs Shakespeare’s Falstaff-centric comedy.

Not a Genuine Black Man Marsh Berkeley, TheaterStage, 2120 Allston, Berk; 1-800-838-3006, www.themarsh.org. $20-50. Sat, 5pm (also Sept 22, 7:30pm). Through Sept 24. This is it: the final extension of Brian Copeland’s solo show about growing up in (nearly) all-white San Leandro.

Of Dice and Men La Val’s Subterranean, 1834 Euclid, Berk; www.impacttheatre.com. $10-20. Thurs-Sat, 8pm. Through Oct 1. Impact Theatre performs Cameron McNary’s comedy about a group of adult Dungeons and Dragons players.

*Rita Moreno: Life Without Makeup Berkeley Repertory Theatre, Roda Theatre, 2015 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. $14.50-73. Tues-Sun, showtimes vary. Through Oct 30. The life of stage and screen legend Rita Moreno is a subject that has no trouble filling two swift and varied acts, especially as related in anecdote, song, comedy, and dance by the serene multiple–award-winning performer and Berkeley resident herself. Indeed, that so much material gets covered so succinctly but rarely abruptly is a real achievement of this attractively adorned autobiographical solo show crafted with playwright and Berkeley Rep artistic director Tony Taccone. Director David Galligan even finds room for a couple of smart musical routines, including an expertly comic salute to Moreno’s Googie Gomez in The Ritz (routines and more nicely supported by dancers Ray Garcia and Salvatore Vassallo, and a live band under musical director César Cancino). Part immigrant’s tale, part insider memoir of Hollywood and Broadway — not to mention her tenure on PBS’s The Electric Company, basis of an especially winning sequence here — Moreno’s career as a Puerto Rican woman reared by an indomitable mother in Spanish Harlem tenements as well as the image-making entertainment industry resonates with the great historical-political themes of class, gender, and skin color. But it all remains perfectly, manageably circumscribed by an intriguing personal story of vacillating private and professional fortunes and the humble but vital roots that have afforded Moreno the rare achievement and accrued wisdom of a passionate life. (Avila)

Sense and Sensibility Mountain View Center for the Performing Arts, 500 Castro, Mtn View; (650) 463-1960, www.theatreworks.org. $19-69. Tues-Wed, 7:30pm; Thurs-Sat, 8pm (also Sat, 2pm); Sun, 2 and 7pm. Extended through Sept 25. TheatreWorks performs Roger Parsley and Andy Graham’s adaptation of the Jane Austen novel.

The Tempest Dominican University of California, Forest Meadows Amphitheater, 1475 Grand, San Rafael; (415) 499-4488, www.marinshakespeare.org. $20-35. Performance times vary; check website for schedule. Through Sept 25. Marin Shakespeare Company presents Shakespeare’s romance with a steampunk twist.

2012: The Musical! This week: Courthouse Square, 2200 Broadway, SF; www.sfmt.org. Free. Wed/14, 7pm. Also Sat/17-Sun/18, 2pm, Frances Willard/Ho Chi Minh Park, Hillegrass at Derby, Berk; and Mon/19, 7:30pm, Sebastiani Theatre on the Plaza, 476 First St., Sonoma. Continues through Sept 25 at various Bay Area venues. San Francisco Mime Troupe mounts their annual summer musical; this year’s show is about a political theater company torn between selling out and staying true to its anti-corporate roots.

PERFORMANCE/DANCE

“Bare Bones Crow” Garage, 975 Howard, SF; www.brownpapertickets.com. Wed-Thurs, 8pm, $10-20. Evangel King presents the premiere of a new “shape-shifting performance.”

“Extinction Burst: A Dance of Lost Movement” California Academy of Sciences, 55 Music Concourse Dr, SF; (415) 379-8000, www.calacademy.org. Thurs/15 and Sept 22, 27, 7:30pm; Tues/20 and Sept 29, 11am. Choreographer Chris Black presents a dance installation that pays homage to extinct species.

“Feast of Words: A Literary Potluck” SOMArts Cultural Center, 934 Brannan, SF; feastofwords.somarts.org. Tues, 7pm. $12. “Schoolhouse Rocks” is the theme of this dinner party for writers and foodies, with youth literary and culinary guests from 826 Valencia and Old Skool Café.

“4 Mercy: Friendly Fires” Royce Gallery, 2901 Mariposa, SF; www.brownpapertickets.com. Thurs-Sat, 8pm. $20. Southern Railroad Theatre Company performs four new short plays by Susan Jackson.

“Janaki: Daughter of the Dirt” Mission Cultural Center, 2868 Mission, SF; www.brownpapertickets.con, Fri-Sat, 7pm; Sun, 3pm. $20-45. Siren Theatre Project presents Virali Gokaldas’ reinterpretation of the Ramayana.

“A Night of Rejection” Cartoon Art Museum, 655 Mission, SF; www.cartoonart.org. Tues, 7pm. $10-85. Cartoonists discuss works rejected by the New Yorker.

“The People: San Francisco” Z Space, 450 Florida, SF; www.ybca.org. Fri-Sat, 8pm. $10. Big Art Group performs an outdoor live theater and real-time video event inspired by interviews with San Francisco residents.

“PianoFight’s Monday Night ForePlays” Dark Room, 2263 Mission, SF; www.pianofight.com. Mon, 8pm, Through Oct 24. $20-30. Original comedic sketches written, directed, and performed by women.

Lea Salonga Venetian Room, Fairmount San Francisco, 950 Mason, SF; www.bayareacabaret.org. Sat, 5pm, $50. The Tony-winning performer performs as part of the Bay Area Cabaret concert series.

“San Francisco’s Comedy Day” Sharon Meadow, Golden Gate Park, SF; www.comedyday.com. Sun, noon-5pm. Free. The 31st annual incarnation of the free comedy festival features 40 performers, plus the chance of A-list celebrity cameos.

“Stand Up for the Tender Gender” Punch Line Comedy Club, 444 Battery, SF; petalsfundraiser.eventbee.com. Mon, 7pm. $25-50. Female comedians perform to raise money for Petals in the Dust: India’s Missing Girls, a documentary about female genocide in India.

“What a Swell Party! The Cole Porter Salon” Alcazar Theater, 650 Geary, SF; (415) 255-8207, www.42ndstmoon.org. Thurs, 7pm. $70. Musical theater company 42nd Street Moon kicks off its 2011-2012 season with a salute to Porter.

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 further information on how to submit items for the listings, see Picks. For complete listings, see www.sfbg.com.

Film Listings

0

OPENING

*All She Can Muscle Milkers and protein powderheads might want to bottle the ferocity of Texas-small-town teen Luz Garcia (Corina Calderon): it’s all heat, marathon-level work ethic, and can-do pigheaded mettle — hold the heavy metals. Instead, Luz presses, or rather lifts, really heavy metal — her opportunity to rise above her Mexican American family’s working-class lot is to attend University of Texas at Austin on a scholarship pegged on winning the state power lifting championships. Unfortunately, there’s a gauntlet of obstacles facing the teenager: her family is struggling with the burden of debt, boyfriend Raynaldo (Jeremy Ray Valdez) is tempting her with performance-enhancement drugs, and Luz has a bit of an anger-management issue, so much so that her abuela (Julia Vera) is rubbing eggs on her and taking her to a bruja to exorcise her demons. In Luz’s favor, however, is filmmaker Amy Wendel, who has an empathetic, attentive eye for the petite blue-collar powerhouse who can dead lift 280 pounds yet must struggle to find her balance in the world. Screening as part of the Maya Indie Film Series. (1:36) Opera Plaza. (Chun)

Aurora Critics have been divided over Cristi Puiu’s Aurora since its 2010 Cannes debut. It’s not hard to see why: even filmgoers who loved Puiu’s 2005 The Death of Mr. Lazarescu, or are obsessed with Romania’s newly thriving film industry, or even enjoy films that are deliberately slow-moving and enigmatic (like 1975’s Jeanne Dielman) still may want to give Aurora a pass. For three hours, a man (played by Puiu) putters, drives around, spies, and has a series of increasingly frustrating and futile encounters (with neighbors, relatives, co-workers, and strangers). When a firearm appears around 45 minutes in, it seems that something might finally happen, but it’s no spoiler to reveal that the motivation behind what does happen is barely explained, and also that the events unfold in inscrutable long shots. It’s clear by the film’s extreme length that Puiu wants viewers to feel mind-numbed by his deconstructed genre film (its working title was the perhaps too-literal Scenes from a Crime). The artistic effort is admirable, but be warned: there’s a fine line between “challenging” and “boring.” (3:01) SFFS New People Cinema. (Eddy)

*Cold Fish Did you love (or find yourself baffled by) Sion Sono’s Love Exposure during its Roxie run? Sono’s Cold Fish is similarly occupied with indoctrination, masochism, and extreme behavior. However, it’s also somewhat better able to sustain a tone of hysteria escalating toward dementia. An unhappy family (father Mitsuru Fukikoshi, daughter Hikari Kajiwara, stepmother Megumi Kagurazaka) is yanked into the orbit of a tropical-fish tycoon (Denden) who at first seems a boisterous benefactor providing shock therapy to their depressed lives out of simple altruism. But he and his bombshell wife (Asuka Kurosawa) soon reveal sides not just sinister but psychopathic, ensnaring all three in diabolical doings that encompass murder, rape, grisly corpse disposals, and more. Structured like Love Exposure as one long countdown to a transformative moment, Cold Fish pushes black comedy way beyond the bounds of taste with an oddly neutralizing good cheer. It’s a manic Grand Guignol set to the soothing kitsch strains of retro Hawaiian-flavored lounge music. (2:24) Roxie. (Harvey)

*Connected: An Autoblogography About Love, Death, and Technology Local filmmaker Tiffany Shlain (founder of the Webby Awards) takes a look at 21st century connections, both technological and personal, in this documentary. And the film gets very personal at times; constructed mostly as a video collage (using animation, stock footage, etc.), its few original clips come from Shlain family movies, which become more poignant when it’s revealed that the filmmaker’s beloved father, an author and brain surgeon, is dying of brain cancer. Shlain’s film draws some of its themes from her father’s 1999 book The Alphabet Versus the Goddess, a study of literacy’s effect on male-female dynamics over history, and the film is dedicated to him. But though the Shlain family’s struggles with loss and life (the filmmaker was pregnant when her father died) form Connected‘s thru line, the film’s probing, lively exploration of links (on- and offline) is universally relatable, and ultimately quite thought-provoking. (1:20) Embarcadero, Shattuck. (Eddy)

Detective Dee and the Mystery of the Phantom Flame Tsui Hark directs this period epic starring Andy Lau and featuring fight choreography by Sammo Hung. (2:02) Embarcadero, Shattuck.

*Drive Such a lovely way to Drive, drunk on the sensual depths of a lush, saturated jewel tone palette and a dreamlike, almost luxurious pacing that gives off the steamy hothouse pop romanticism of ’80s-era Michael Mann and David Lynch — with the bracing, impactful flecks of threat and ultraviolence that might accompany a car chase, a moody noir, or both, as filtered through a first-wave music video. Drive comes dressed in the klassic komforts — from the Steve McQueen-esque stances and perfectly cut jackets of Ryan Gosling as the Driver Who Shall Remain Nameless to the foreboding lingering in the shadows and the wittily static, statuesque strippers that decorate the background. Gosling’s Driver is in line with Mann’s other upstanding working men who hew to an old-school moral code and are excellent at what they do, regardless of what side of the law they’re working: he likes to keep it clear and simple — his services as a wheelman boil down to five minutes, in and out — but matters get messy when he falls for sweet-faced neighbor Irene (Carey Mulligan), who lives down the hall with her small son, and her ex-con husband (Oscar Isaac) is dragged back into the game. Populated by pungent side players like Albert Brooks, Bryan Cranston, Ron Perlman, and Christina Hendricks, and scattered with readily embeddable moments like a life-changing elevator kiss that goes bloodily wrong-right, Drive turns into a real coming-out affair for both Danish director Nicolas Winding Refn (2008’s Bronson), who rises above any crisis of influence or confluence of genre to pick up the po-mo baton that Lynch left behind, and 2011’s MVP Ryan Gosling, who gets to flex his leading-man muscles in a truly cinematic role, an anti-hero and under-the-hood psychopath looking for the real hero within. (1:40) Presidio. (Chun)

Forged Strong performances mark the wintry, fateful indie Forged, which at times almost threatens to swallow up its players in its sooty, steel-town ambience. Two lives run in tandem: homeless teen Machito (David Castro) is scraping out a life alone, haunted by horrific memories, while father Chuco (Manny Perez) has just emerged from prison, released on good behavior and far from eager to return to his criminal past. Much stands between the father and son — Chuco murdered Machito’s mother in front of him, and has much to make up for. Dysfunctional grandmother Dianne (Margo Martindale) is little help. Will viewers care about these blighted figures, bundled up in the cold and attempting to thaw from the inside out? Director William Wedig dances with clichés, but the actors, particularly Perez, are critical in making us care about the outcome, positioned somewhere between Scranton, Penn., and oblivion. Screening as part of the Maya Indie Film Series.

(1:17) Opera Plaza. (Chun)

I Don’t Know How She Does It Sarah Jessica Parker stars in this comedy about a woman who struggles to balance her career, family, and (no doubt) fabulous wardrobe. (1:35) Presidio.

The Lion King 3D Hakuna matata — in your face! (1:29) Shattuck.

Mary Lou A musical fable for fans of Glee, Hedwig and the Angry Inch (2001), The Adventures of Priscilla, Queen of the Desert (1994), and Bollywood, the latest from Eytan Fox (2002’s Yossi and Jagger) is a drag-flavored dramedy (Israel’s first?) Originally a hit miniseries in its home country, Mary Lou screens at the Castro in one big chunk jammed with singing, dancing, and a dreamy cast. Pouty Ido Rosenberg stars as Meir, a gay boy obsessed with finding the mother who left him when he was 10. After a disastrous graduation party, Meir flees his homophobic high school for the worldly environs of Tel Aviv, where he soon becomes a drag star named Mary Lou, after his mother’s favorite song. Love, loss, friendship, tragedy, joy, coming-of-age, and quite a few elaborate musical numbers soon transpire — the plot is not without clichés, to be sure, but it’s hard to hate on anything possessed of such sparkly energy. Not familiar with Svika Pick, the Israeli legend whose music provides much of the soundtrack? It matters not, especially if you’re a fan of deliriously corny pop tunes. (2:30) Castro. (Eddy)

Mozart’s Sister Pity the talented sister of a world-shaking prodigy. Maria Anna “Nannerl” Mozart, who may have had just as much promise as a composer as her younger brother, according to Rene Féret’s Mozart’s Sister. A scant five years older, enlisted in the traveling family band led by father-teacher Leopold (Marc Barbe), yet forced to hide her music, being female and forbidden to play violin and compose, Nannerl (Marie Féret, the filmmaker’s daughter) tours the courts of Europe and is acclaimed as a keyboardist and vocalist but is expected to share little of her brother’s brilliant future. Following a chance carriage breakdown near a French monastery, Nannerl befriends one of its precious inhabitants, a daughter of Louis XV (Lisa Féret, another offspring), which leads her to Versailles, into a cross-dressing guise of a boy, and puts her into the sights of the Dauphin (Clovis Fouin, who could easily find a spot in the Cullen vampire clan). He’s seduced by her music and likewise charms Nannerl with his power and feline good looks — what’s a humble court minstrel to do? The conceit of casting one’s daughters in a narrative hinging on unjustly neglected female progeny — shades of Sofia Coppola in The Godfather: Part III (1990)! — almost capsizes this otherwise thoughtful re-imagination of Maria Anna’s thwarted life; despite the fact Féret has inserted his children in his films in the past, both girls offer little emotional depth to their roles. Nevertheless, as a feminist rediscovery pic akin to Camille Claudel (1988), Mozart’s Sister instructs on yet another tragically quashed woman artist and might inspire some righteous indignation. (2:00) Embarcadero, Shattuck, Smith Rafael. (Chun)

Straw Dogs Which is worse: a pointless remake of a classic movie, or a re-release of a classic movie with 3D slapped all over it? Discuss. (1:50) Shattuck.

ONGOING

Apollo 18 (1:26) Empire, 1000 Van Ness, SF Center.

*Bellflower Picture Two Lane Blacktop (1971) drifters armed with “dude”-centric vocabulary and an obsession with The Road Warrior (1981) and its apocalypse-wow survivalist chic. There are so many pleasures in this janky, so-very-DIY, heavy-on-the-sunblasted-atmosphere indie that you’re almost willing to overlook the clichés, the dead zones, and the annoying characters. Seeming every-dudes Woodrow (director-writer-producer Evan Glodell) and Aiden (Tyler Dawson) are far too obsessed with tricking out their cars and building a flamethrower for their own good — the misfits must force themselves out of the metal shop of the mind to meet women. So when Woodrow goes up against Milly (Jessie Wiseman) in a cricket-eating contest at a bar, it’s love at first bite. Their meet-gross morphs into a road trip and eventually a relationship, while the flamethrower nags, unexplained, in the background, like an unfired gun — or an unconsummated, not-funny bromance. These manifestations of male fantasy — muscle cars, weapons, and tough chicks — are cast in a dreamy, saturated, and burnt-at-the-edges light, as Glodell and company weave together barely articulated reveries and bad-new-west imagery with a kind of fuck-all intelligence, culminating in a finale that will either haunt you with its scattershot machismo-romanticism or leave you scratching your noggin wondering what just happened. (1:46) Roxie. (Chun)

Bucky Larson: Born to Be a Star (1:36) 1000 Van Ness.

Captain America: The First Avenger OK, Marvel. I could get behind 2008’s Iron Man (last year’s Iron Man 2, not so much), but after Thor and now Captain America, I’m starting to get cynical about this multi-year build-up to the full-on Avengers movie, due in May 2012. Can even a superhero-stuffed movie directed by Joss Whedon live up to all this hype? There’s plenty of time to ponder, and maybe worry a little, with Captain America’s backstory-explaining picture now in theaters. Chris Evans stars as the 90-pound weakling who morphs into a supersoldier, thanks to the World War II-era tinkerings of a scientist (Stanley Tucci) and an inventor (Dominic Cooper as Howard Stark, a.k.a. Iron Man’s dad). The original plan for the musclebound shield-bearer (fighting Nazis, natch) gets waylaid a bit when the newly famous Captain America becomes a PR prop for the U.S. government; it’s abandoned entirely when a worse-than-Hitler foe, in the guise of power-obsessed Red Skull (Hugo Weaving), threatens the world. Directed by Spielberg cohort Joe Johnston, Captain America is gee-whiz enjoyable enough, but it’s very nearly the same movie as Thor, which no amount of Tommy Lee Jones (as a sarcastic army colonel) wisecracks can conceal. And here’s an anti-spoiler: there’s no post-credits surprise in this one, so you can bolt as soon as they start to roll. (2:09) SF Center. (Eddy)

Chasing Madoff Bernie Madoff was a cold-blooded Ponzi schemer who ripped off billions from rich folks, average folks, little old ladies, children, charities, and so on, ruining lives while stoking the fire of the still-robust financial crisis. But he isn’t the only villain in Jeff Prosserman’s doc — there’s plenty of haterade left over to be (deservedly) dumped on the US Securities and Exchange Commission, which (willfully?) looked the other way for nearly a decade despite warnings about Madoff’s growing misdeeds. Chasing Madoff champions the few who dared speak up, chiefly fraud investigator Harry Markopolos, who badgered the SEC and the press for years and was eventually outed as the “Madoff whistleblower,” despite the fact that Madoff’s downfall came, more or less, when the man simply ran out of money. It was only after the fact that Markopolos gained fame by shaming the SEC with what must have been a deeply satisfying I-told-you-so testimony before Congress. Madoff’s crimes are so recent and notorious that anyone who watches this doc will already know what happens in the end; still, Chasing Madoff tries quite hard to build suspense. (As a result Markopolos comes off a bit paranoid — sure, Madoff may have had underworld connections, but do we really a re-enactment of Markopolos at the gun range, or groping ‘neath his minivan to check for car bombs?) Despite his ultimate triumph, Markopolos is reluctant to agree with anyone who calls him a hero, pointing out that because his findings were ignored, he wasn’t able to prevent Madoff from preying on more victims. The suicides associated with the Madoff collapse add an even sadder coda to the story. (1:31) Metreon. (Eddy)

Circumstance Thirteen (2003) goes to Tehran? The world of sex, drugs, and underground nightclubs in Iran provides the backdrop for writer-director Maryam Keshavarz’s lusty, dreamy take on the passionate teenagers behind the hijabs. Risking jail and worse are the sassy, privileged Atafeh (Nikohl Boosheri) and the beautiful, orphaned Shireen (Sarah Kazemy), who, much like young women anywhere, just want to be free — to swim, sing, dance, test boundaries, lose, and then find themselves. The difference here is that they’re under constant, unnerving surveillance, in a country where more than 70 percent of the population is less than 30 years old. Nevertheless, within their mansion walls and without, beneath graffitied walls and undulating at intoxicating house parties, the two girls begin to fall in love with each other, as Atafeh’s handsome, albeit creepy older brother Mehran (Palo Alto-bred Reza Sixo Safai) gazes on. The onetime musical talent’s back from rehab, has returned to the mosque with all the zeal of the prodigal, and has hooked up with the Morality Police that enforces the nation’s cultural laws. Filmed underground in Beirut, with layers that permit both pleasure and protest (wait for the hilarious moment when 2008’s Milk is dubbed in Farsi), Circumstance viscerally transmits the realities and fantasies of Iranian young women on the verge. (1:45) Embarcadero, Shattuck. (Chun)

Colombiana (1:47) 1000 Van Ness.

*Contagion Tasked with such panic-inducing material, one has to appreciate director Steven Soderbergh’s cool head and hand with Contagion. Some might even dub this epic thriller (of sorts) cold, clinical, and completely lacking in bedside manner. Still, for those who’d rather be in the hands of a doctor who refuses to talk down to the patient, Contagion comes on like a refreshingly smart, somewhat melodrama-free clean room, a clear-eyed response to a messy, terrifying subject. A deadly virus is spreading swiftly — sans cure, vaccine, or sense — starting with a few unlikely suspects: globe-trotting corporate exec Beth (Gwyneth Paltrow), a waiter, a European tourist, and a Japanese businessman. The chase is on to track the disease’s genesis and find a way to combat it, from the halls of the San Francisco Chronicle and blog posts of citizen activist-journalist Alan (Jude Law), to the emergency hospital in the Midwest set up by intrepid Dr. Mears (Kate Winslet), to a tiny village in China with a World Health investigator (Marion Cotillard). Soderbergh’s brisk, businesslike storytelling approach nicely counterpoints the hysteria going off on the ground, as looting and anarchy breaks out around Beth’s immune widower Mitch (Matt Damon), and draws you in — though the tact of making this disease’s Typhoid Mary a sexually profligate woman is unsettling and borderline offensive, as is the predictable blame-it-on-the-Chinese origin coda. (1:42) Balboa, California, Empire, Marina, 1000 Van Ness, Sundance Kabuki. (Chun)

Crazy, Stupid, Love Keep the poster’s allusion to 1967’s The Graduate to one side: there aren’t many revelations about midlife crises in this cleverly penned yet strangely flat ensemble rom-com, awkwardly pitched at almost every demographic at the cineplex. There’s the middle-aged romance that’s withered at the vine: nice but boring family man Cal (Steve Carell) finds himself at a hopeless loss when wife and onetime teenage sweetheart Emily (Julianne Moore) tells him she wants a divorce and she’s slept with a coworker (Kevin Bacon). He ends up waxing pathetic at a slick nightclub where he catches the eye of the well-dressed, spray-tanned smoothie Jacob (Ryan Gosling), who appears to have taken his ladies man stance from the Clooney playbook. It’s manly makeover time: GQ meets Pretty Woman (1990)! Cut to Cal and Emily’s babysitter Jessica (Analeigh Tipton), who is crushing out on Cal, while the separated couple’s tween Robbie (Jonah Bobo) hankers for Jessica. Somehow Josh Groban worms his way into the mix as the dullard suitor of Hannah (Emma Stone) in a hanging chad of a storyline that must somehow be resolved in this mad, mad, mad, mad — actually, the problem with Crazy, Stupid, Love is that it isn’t really that crazy. It tries far too hard to please everybody in the theater to its detriment, reminding the viewer of a tidy, episodic TV series (albeit a quality effort) like Modern Family more than an actual film. Likewise I yearned for a way to fast-forward through the too-cute Jessica-Robbie scenes in order to get back to the sleazy-smart, punchy complexity of Gosling, playing adeptly off both Carrell and Stone. (1:58) Presidio, SF Center, Shattuck, Sundance Kabuki. (Chun)

The Debt On paper, The Debt has a lot going for it: captivating history-based plot, “it” actor Jessica Chastain, Helen Mirren vs. Nazis. And while the latest from John Madden (1998’s Shakespeare in Love) is fairly entertaining, the film is ultimately forgettable. Chastain plays Rachel, a member of an Israeli team tasked with capturing a Nazi war criminal and bringing him to justice. Mirren is the older Rachel, who is haunted by the long-withheld true story of the mission. Although The Debt traffics in spy secrets, it’s actually rather predictable: the big reveal is shrug-worthy, and the shocking conclusion is expected. So while the entire cast — which also includes Tom Wilkinson, Sam Worthington, and Ciaran Hinds — turn in admirable performances, the script is lacking what it needs to make The Debt an effective drama or thriller. Like 2008’s overrated The Reader, the film tries to hide its inadequacies under heavy themes and the dread with which we remember the Holocaust. (1:54) Marina, 1000 Van Ness, Sundance Kabuki. (Peitzman)

Don’t Be Afraid of the Dark If you’re expecting a traditional haunted house story, Don’t Be Afraid of the Dark might be a disappointment. The film, which was co-written by Guillermo del Toro, has a lot in common with his Pan’s Labyrinth (2006) — both movies are more dark fairy tale than horror. They follow a young girl who discovers a mystical world around her, much to the disbelief of the adults around her. It’s worth noting that Don’t Be Afraid of the Dark is lighter fare: despite all the peril involved, it’s actually pretty fun. Young Bailee Madison, who made such an impression in 2009’s Brothers, is a charming lead, precocious but believable. And Katie Holmes is surprisingly sympathetic in her role as the caring stepmother, a nice switch from the standard fairy tale trope. As with Fright Night, the ad campaign for Don’t Be Afraid of the Dark is misleading, so here’s hoping audience members looking for a gory slasher will appreciate a whimsical fable instead. (1:40) 1000 Van Ness. (Peitzman)

The Guard Irish police sergeant Gerry Boyle (Brendan Gleeson) is used to running his small town on his own terms — not in a completely Bad Lieutenant (1992) kind of way, though he’s not afraid to sample drugs and hang with hookers. More like, he’s been running the show for years, and would prefer that big-city cops stay the hell out of his village. Alas, a gang of drug smugglers is doing business in the area, so an officious group of investigators from Dublin (horrors!) and America (in the form of an FBI agent played by Don Cheadle) soon descend. His mother’s dying, his brand-new partner’s missing, and between all the interlopers on both sides of the law, Boyle’s having a hard time having a pint in peace. Good thing he’s not as simple-minded as all who surround him think he is. Writer-director John Michael McDonagh (brother of playwright Martin, who directed 2008’s In Bruges — also starring Gleeson) puts an affable Irish spin on what’s essentially a pretty typical indie comedy, with some pretty typical crime-drama elements layered atop. Boyle’s character is memorably clever, but the film that contains him never quite elevates to his level. (1:36) Embarcadero, Shattuck, Sundance Kabuki. (Eddy)

*Harry Potter and the Deathly Hallows Part 2 Chances are you aren’t going to jump into the Harry Potter series with Harry Potter and the Deathly Hallows Part 2. So while the movie is probably the best Harry Potter film yet, it’s more a fitting conclusion than a standalone film. For fans of the books, there are no real surprises — this is a close adaptation. And for those Harry Potter movie fans who haven’t read the books, shame on you, and kudos if you managed to not get spoiled. It’s hard for me to offer a serious critical analysis of Part 2, because it represents the end of a long and very emotional journey. (Everyone in that audience was crying. Everyone.) I will say that, as was the case in the book, there are a few overdone, schmaltzy moments that aren’t really necessary. But in the context of the series, they’re forgivable — this may not be the great cinematic event of our generation, but Harry Potter as a whole is sure to be one of our most enduring cultural icons. (2:10) 1000 Van Ness. (Peitzman)

*The Hedgehog You needn’t possess the rough, everyday refinement of the characters of The Hedgehog to appreciate this debut feature by director-screenwriter Mona Achache — just an appreciation for a delicate touch and a tender heart. Eleven-year-old Paloma (the wonderful Garance Le Guillermic) is too smart for her own good, bored, neglected by her parents, and left to fend for herself with only her considerable imagination and a camcorder. She drifts around her fishbowl of privilege, a deluxe art nouveau-style apartment building in Paris, leveling her all-too-wise gaze on its denizens and plotting certain suicide on her 12th birthday — that is until a new resident appears in her viewfinder: a kindly Japanese gentleman Kakuro Ozu (Togo Igawa). He has as much of a connoisseur’s eye as Paloma — the proof is in his unlikely focus of attention, the building’s concierge Renée Michel (Josiane Balasko, resembling a burly Gertrude Stein), who hides her cultured and bookish inclinations behind a gruff, drab exterior. They recognize in each other a reverence for an almost monkish life of the mind, the austere elegance of wabi-sabi, and the transient beauty of rough-hewn imperfection, even in the sleek, well-heeled heart of the City of Light. To the credit of Achache, working with Muriel Barbery’s novel, these unlikely fragile friendships between outsiders take hold in a way that sidesteps preciousness and stays with you long after its pages have turned. (1:40) Opera Plaza, Smith Rafael. (Chun)

The Help It’s tough to stitch ‘n’ bitch ‘n’ moan in the face of such heart-felt female bonding, even after you brush away the tears away and wonder why the so-called help’s stories needed to be cobbled with those of the creamy-skinned daughters of privilege that employed them. The Help purports to be the tale of the 1960s African American maids hired by a bourgie segment of Southern womanhood — resourceful hard-workers like Aibileen (Viola Davis) and Minny (Octavia Spencer) raise their employers’ daughters, filling them with pride and strength if they do their job well, while missing out on their own kids’ childhood. Then those daughters turn around and hurt their caretakers, often treating them little better than the slaves their families once owned. Hinging on a self-hatred that devalues the nurturing, housekeeping skills that were considered women’s birthright, this unending ugly, heartbreaking story of the everyday injustices spells separate-and-unequal bathrooms for the family and their help when it comes to certain sniping queen bees like Hilly (Bryce Dallas Howard). But the times they are a-changing, and the help get an assist from ugly duckling of a writer Skeeter (Emma Stone, playing against type, sort of, with fizzy hair), who risks social ostracism to get the housekeepers’ experiences down on paper, amid the Junior League gossip girls and the seismic shifts coming in the civil rights-era South. Based on the best-seller by Kathryn Stockett, The Help hitches the fortunes of two forces together — the African American women who are trying to survive and find respect, and the white women who have to define themselves as more than dependent breeders — under the banner of a feel-good weepie, though not without its guilty shadings, from the way the pale-faced ladies already have a jump, in so many ways, on their African American sisters to the Keane-eyed meekness of Davis’ Aibileen to The Help‘s most memorable performances, which are also tellingly throwback (Howard’s stinging hornet of a Southern belle and Jessica Chastain’s white-trash bimbo-with-a-heart-of-gold). (2:17) California, Empire, 1000 Van Ness, Presidio, SF Center, Sundance Kabuki. (Chun)

*Higher Ground Higher Ground does not bite off more than it can chew. I guess that should go without saying, but it’s striking how comfortably Vera Farmiga (in her directorial debut) tackles this story of devotion and doubt. Based on the memoirs of Carolyn S. Briggs, who co-wrote the screenplay, this deeply personal film follows Corrine Walker (Vera Farmiga) from her adolescence through the trials of youth and middle age, her marriage to high school sweetheart Ethan (Joshua Leonard), and their lives as members of a small hippie Christian community. Although religion serves as a backdrop for Higher Ground, it doesn’t suffocate the human element of the story; it’s less a film about Christianity than it is about the challenges one woman faces as she tries to find room for herself amidst faith. Farmiga treats her subjects with empathy and humor and crafts a thoughtful, tender slice of sixties Midwest Americana. (1:49) Opera Plaza, Sundance Kabuki. (Cooper Berkmoyer)

*The Interrupters With concern from society and government as a whole at low ebb, communities at greater risk of violence from within than ever have had to come up with their own peace-making solutions. The Interrupters, the latest documentary by Steve James (1994’s Hoop Dreams), shows dedicated efforts to help one of the nation’s worst centers of such bloodshed: Chicago. “Violence is like the great infectious diseases of all history,” says epidemiologist Gary Slutkin, in that it can be stopped from spreading to epidemic proportions by numerous “initial interruption(s) of transmission” at its source. He translated that perspective into the founding of CeaseFire, an organization that doesn’t aim to summarily end the existence of gangs and drug trade. Instead, its plain but hardly simple mission is to stop the shootings, stabbings, etc. which are exacerbated by unemployment, broken families, and other sources of stress whose cumulative effect can rapidly escalate a casual dis to a mortal confrontation. Under CeaseFire’s auspices, Tio Hardiman created the Violence Interrupters program, which drafts people from the community — many former gangbangers themselves — as mediators wading into conflicts to defuse them before things get out of hand. It takes considerable will and nerves of steel; “interrupters” have been shot at, and during the course of this documentary’s year-long span one volunteer lands in the hospital for his trouble. But The Interrupters makes a powerful case against the inevitability of hopelessness turning into violence. (2:05) Shattuck. (Harvey)

Little Rock When the rental car driven by Atsuko (Atsuko Okatsuka) and Rintaro Sakamato (Rintaro Sawamoto) breaks down in nowheresville, California (actually, a small town called Little Rock), an air of disillusion hangs between the siblings, on vacation to “see America.” Holed up in a motel room, their disappointment is palpable, until a chance encounter with some locals sucks the pair into exurban American life. By the time their car is again roadworthy, Atsuko can’t bear to leave and decides to stay behind as her brother, the only one of the two who speaks a word of English, continues ahead without her. Communication is the driving force behind Little Rock and the language barrier somehow never gets stale; it certainly allows Okatsuka the opportunity for some superb acting. Despite some directorial flourishes (by Mike Ott), however, the story doesn’t really hold many surprises, and its inevitable conclusion is glimpsed long before it’s reached. (1:25) Roxie. (Berkmoyer)

*Love Crime Early this year came the announcement that Brian De Palma was hot to do an English remake of Alain Corneau’s Love Crime. The results, should they come to fruition, may well prove a landmark in the annals of lurid guilty-pleasure trash. But with the original Love Crime finally making it to local theaters, it’s an opportune moment to be appalled in advance about what sleazy things could potentially be done to this neat, dry, fully clothed model of a modern Hitchcockian thriller. No doubt in France Love Crime looks pretty mainstream. But here its soon-to be-despoiled virtues of narrative intricacy and restraint are upscale pleasures. Ludivine Sagnier plays assistant to high-powered corporate executive Christine (Kristin Scott Thomas). The boss enjoys molding protégée Isabelle to her own image, making them a double team of carefully planned guile unafraid to use sex appeal as a business strategy. But Isabelle is expected to know her place — even when that place robs her of credit for her own ideas — and when she stages a small rebellion, Christine’s revenge is cruelly out of scale, a high-heeled boot brought down to squash an ant. Halfway through an act of vengeance occurs that is shocking and satisfying, even if it leaves the remainder of Corneau and Nathalie Carter’s clever screenplay deprived of the very thing that had made it such a sardonic delight so far. Though it’s no masterpiece, Love Crime closes the book on his Corneau’s career Corneau (he died at age 67 last August) not with a bang but with a crisp, satisfying snap. (1:46) Albany, Clay, Piedmont, Smith Rafael. (Harvey)

Midnight in Paris Owen Wilson plays Gil, a self-confessed “Hollywood hack” visiting the City of Light with his conservative future in-laws and crassly materialistic fiancée Inez (Rachel McAdams). A romantic obviously at odds with their selfish pragmatism (somehow he hasn’t realized that yet), he’s in love with Paris and particularly its fabled artistic past. Walking back to his hotel alone one night, he’s beckoned into an antique vehicle and finds himself transported to the 1920s, at every turn meeting the Fitzgeralds, Gertrude Stein (Kathy Bates), Dali (Adrien Brody), etc. He also meets Adriana (Marion Cotillard), a woman alluring enough to be fought over by Hemingway (Corey Stoll) and Picasso (Marcial di Fonzo Bo) — though she fancies aspiring literary novelist Gil. Woody Allen’s latest is a pleasant trifle, no more, no less. Its toying with a form of magical escapism from the dreary present recalls The Purple Rose of Cairo (1985), albeit without that film’s greater structural ingeniousness and considerable heart. None of the actors are at their best, though Cotillard is indeed beguiling and Wilson dithers charmingly as usual. Still — it’s pleasant. (1:34) Albany, Embarcadero, Piedmont, Presidio. (Harvey)

*The Names of Love Arthur (Jacques Gamblin) is a 40-ish scientist being interviewed about the threat of a bird flu epidemic when his radio broadcast is interrupted by 20-something Baya (Sara Forestier), who denounces him on-air as a “fascist” for frightening the public. But then, Baya tends to use that label rather indiscriminately, applying it to anyone who might conceivably have views to the right of the dial — and Arthur is in fact a solid liberal, which means she can bed him for love. As opposed to the many, many other men she beds as a self-described “political whore,” seeking out conservative types in order to seduce them and hopefully induce an idealogical shift by whispering sweet nothings (“Not all Arabs are thieves,” etc.) as they orgasm. Raised by parents whose emotions are so tightly wound his mother won’t acknowledge her parents were Jews killed at Auschwitz, Arthur has a hard time adjusting to a relationship with a lover who is faithful emotionally but sees promiscuity as her propagandic gift to the world. Meanwhile Baya’s largely Algerian family treats garrulous political argument as the very air they breathe. This odd-couple story written by Baya Kasmi and director Michel Leclerc deals with serious issues in both humorous and respectful fashion, making for one of the more novel, delightful and depthed French romantic comedies in a long time. Added plus: lots of antic gratuitous nudity. (1:42) Opera Plaza. (Harvey)

*One Day Why do romantic comedies get such a bad rap? Blame it on the lame set-up, the contrived hurdles artificially buttressed by the obligatory chorus of BFFs, the superficial something-for-every-demographic-with-ADD multinarrative, and the implausible resolutions topped by something as simple as a kiss or as conventional as marriage, but often no deeper, more crafted, or heartfelt than an application of lip gloss. Yet the lite-as-froyo pleasures of the genre don’t daunt Danish director Lone Scherfig, best known for her deft touch with a woman’s story that cuts closer to the bone, with 2009’s An Education. Her new film, One Day, based on the best-selling novel by David Nicholls, flirts with the rom-com form — from the kitsch associations with Same Time, Next Year (1978) to the trailer that hangs its love story on a crush — but musters emotional heft through its accumulation of period details, a latticework of flashbacks, and collection of encounters between its charming protagonists: upper-crusty TV presenter Dexter (Jim Sturgess) and working-class aspiring writer Emma (Anne Hathaway). Their quickie university friendship slowly unfolds, as they meet every St. Swithin’s Day, July 15, over a span of years, into the most important relationship of their lives. Despite the blue-collar female lead and UK backdrop that it shares with An Education, One Day feels like a departure for Scherfig, who first found international attention for her award-winning Dogme 95-affiliated Italian for Beginners (2000). (1:48) 1000 Van Ness, Piedmont. (Chun)

*Our Idiot Brother If you thought 1998’s The Big Lebowski had eked all the humor that it could from the Dude, well, screenwriter (and Vanity Fair contributor) Evgenia Peretz, her not-so-idiotic brother (director Jesse Peretz), and star Paul Rudd would differ. They correctly guessed that there are still laughs to be wrung from a shaggy stoner in floral jams, only this time with less fuuuck-s and more benevolent, idiot-savant good vibrations. Dazed and confused broheim 2.0 (Rudd) is glimpsed through the jaded, harried prism of his three dysfunctional, supposedly normal sisters: frumpadelic mom Liz (Emily Mortimer), queen-bitch Vanity Fair writer Miranda (Elizabeth Banks), and slatternly would-be comedian Natalie (Zooey Deschanel). A good-hearted naïf who’s easily entrapped by a uniformed police officer claiming to need some pity doobage, Ned has just emerged from the joint and is now couch-surfing among his sibs, exposing the hypocrisies of bourgie-hipster Brooklyn, as well as the infidelities and vanities of family, friends, and partners (Steve Coogan, Rashida Jones, Adam Scott, and Hugh Dancy) as he goes, in his own good-natured, aw-shucks way. As innocuous (and desexualized) as Andy Griffith beneath the hippie trappings, this dude-with-a-little-d knows where his real family is — with his dog, Willie Nelson, who loves him just as unconditionally. Beastie besties have never seemed so innocent as they are in this proudly feel-good comedy, and despite a cringe-y, saccharine soundtrack and lackadaisical pacing, Rudd’s charismatic sunny slacker and some pointed jabs at the follies of the cooler-than-thou save this indie-that-could. (1:36) Four Star, 1000 Van Ness, SF Center, Sundance Kabuki. (Chun)

*Point Blank Not for nothing did Hollywood remake French filmmaker Fred Cavaye’s last film, Anything for Her (2008) as The Next Three Days (2010) — Cavaye’s latest, tauter-than-taut thriller almost screams out for a similar rework, with its Bourne-like handheld camera work, high-impact immediacy, and noirish narrative economy. Point Blank — not to be confused with the 1967 Lee Marvin vehicle —kicks off with a literal slam: a mystery man (Roschdy Zem) crashing into a metal barrier, on the run from two menacing figures until he is cornered and then taken out of the action by fate. His mind mainly on the welfare of his very pregnant wife Nadia (Elena Anaya), nursing assistant Samuel (Gilles Lellouche) has the bad luck to stumble on a faux doctor attempting to make sure that the injured man never rises from his hospital bed. As police wrangle over whose case this exactly is — the murder of an industrialist seems to have expanded the powers of the stony-faced, monolithic Commandant Werner (Gerard Lanvin) — Samuel gets sucked into the mystery man’s lot, a conspiracy that allows them to trust no one, and seemingly impossibly odds against getting out of the mess alive. Cavaye never quite stops applying the pressure in this clever, unrelenting cat-and-mouse and mouse-and-his-spouse game, topping it with a nerve-jangling search through a messily chaotic police station. (1:24) Lumiere. (Chun)

*Puzzle Careful as she does it: director Natalia Smirnoff displays a deft hand with a woman’s portrait in her debut feature, Puzzle. Argentinian middle-aged housewife and mother Maria (Maria Onetto) is so busy taking care of others and running her household, down to baking her own 50th birthday cake, that she’s lost touch with herself, her own pleasures, and her own sense of accomplishment. After reassembling a shattered plate, she discovers an aptitude for puzzle solving, leading her to sign up for a competition. Her partner is a wealthy, worldly man (Arturo Goetz) she meets after answering an ad at a puzzle store. It’s the minutiae, the little things, that matter in Puzzle — namely watching Maria pierce together her identity, along with her puzzles, via handheld shots bathed in a gentle golden light — adding up to pure satisfaction. (1:29) SFFS New People Cinema. (Chun)

*Rise of the Planet of the Apes “You gotta love a movie where the animals beat up on the humans,” declared my Rise of the Planet of the Apes companion. Indeed, ape must not kill ape, and this Planet of the Apes prequel-cum-remake of Conquest of the Planet of the Apes (1972) takes the long view, back to the days when ape-human relations were still high-minded enough to forbid smart apes from killing those well-armed, not-so-bright humanoids. I was a fan of the original series, but honestly, I approached Rise with trepidation: I dreaded the inevitable scenes of human cruelty meted out to exploited primates — the current wave of chimp-driven films seems focused on holding a scary, shaming mirror up to the two-legged mammalian violence toward their closest living genetic relatives. It’s a contrast to the original series, which provided prisms with which to peer at race relations and generational conflict. But I needn’t have feared this PG-13 “reboot.” There’s little CGI-driven gore, apart from the visceral opening and the showdown, though the heartbreak remains. Scientist Will (James Franco, brow perpetually furrowed with worry) is working to find a medicine designed to supercharge the brain in the wake of Alzheimer’s — a disease that has struck down his father (John Lithgow). When the experimental chimp that responds to his serum becomes violently aggressive, the project is shut down, although the primate leaves behind a surprise: a baby chimp that Will and his father name Caesar and raise like a beloved child in their idyllic Bay Area Victorian. Growing in intelligence as he matures, Caesar finds himself torn by an existential dilemma: is he a pet or a mammal with rights that must be respected? Rise becomes Caesar’s story, rendered in heart-wrenching, exhilarating ways — to director Rupert Wyatt and his team’s credit you don’t miss the performance finesse of Roddy McDowell and Kim Hunter in groundbreaking prosthetic ape face in the original movies — while resolving at least one question about why humans gave up the globe to the primates. One can only imagine the next edition will take care of the lingering question about how even the cleverest of apes will feed themselves in Muir Woods. (1:50) 1000 Van Ness, SF Center, Sundance Kabuki. (Chun)

Sarah’s Key (1:42) Four Star, Opera Plaza.

*Senna When Ayrton Senna died in 1994 at the age of 34, he had already secured his legacy as one of the greatest and most beloved Formula One racers of all time. The three-time world champion was a hero in his native Brazil and a respected and feared opponent on the track. This eponymous documentary by director Asif Kapadia is nearly as dynamic as the man himself, with more than enough revving engines and last minute passes to satisfy your lust for speed and a decent helping Ayrton’s famous personality as well. Senna was a champion, driven to win even as the sometimes-backhanded politics of the racing world stood in his way. A tragic figure, maybe, but a legend nonetheless. You don’t have to be an F1 fan to appreciate this film, but you may wind up one by the time the credits roll. (1:44) Balboa, Lumiere, Smith Rafael, Sundance Kabuki. (Berkmoyer)

*Shaolin There’s a lot to like about Shaolin, from Andy Lau, as a warlord turned passionate monk, to the return of Jackie Chan, as a stir-frying Shaolin, to its overall Buddhistic message (by way of heaps of chopsocky, blood-spitting violence), to its many action scenes, complete with mucho ax-throwing and horsing around with out-of-control carriages. We’re at the dawn of China’s republic, and the warlords are squabbling over the country’s spoils. General Hou Jie (Lau) appears to be the most ruthless of them all, following his second in command Cao Man (Nicholas Tse) into the Shaolin Temple to pursue an enemy with a golden secret and arrogantly leaving his mark on the sanctuary signage. But tragedy turns Hou around and sends him in the temple once more, where he finds real brotherhood with the good-hearted monks. Lau has reteamed here with director Benny Chan, and the results effectively recast the star, sometimes too easily pictured as a villain with his hawkish looks, as a hero once again, all while foregrounding Buddhism and giving it to the white devils at the end — an anti-imperialism message that has become rote in recent years, little wonder considering China’s growing might and the hardening of positions on the front lines of the global economy. (2:11) Four Star. (Chun)

Shark Night 3D (1:31) 1000 Van Ness.

Sholem Aleichem: Laughing in the Darkness This documentary cuts to the chase right at the beginning: yeah, Sholem Aleichem was the guy who wrote the Tevye stories that inspired Fiddler on the Roof. But filmmaker Joseph Dorman isn’t trying to make Fiddler: Behind the Musical. Instead, he takes an in-depth look at the life, writing career, and cultural significance of “one of the great modern Jewish writers — and our greatest Yiddish writer,” per the film’s press notes. Fans of Jewish lit will be particularly engaged by Sholem Aleichem’s tale; raised in a shtetl in what’s now the Ukraine, he moved around Europe and to the United States pursuing various careers, but always writing the popular stories that addressed not just Jewish life, but broader issues facing turn-of-the-last-century Jews, including the cross-generational conflicts that make up much of Fiddler‘s plot and humor. That said, this film does rely an awful lot on PBS-style slow pans over black-and-white photos and intellectual talking heads; one suspects the subject himself (so devoted was he to entertaining the regular folk who gobbled up his tales) would’ve preferred his life story to unfold in a livelier fashion. (1:33) Balboa. (Eddy)

*Shut Up Little Man! An Audio Misadventure Once upon a time (1987 to be exact), two young men moved to San Francisco from the Midwest. Eddie Lee “Sausage” and Mitchell “Mitch D” Deprey wound up living in a somewhat derelict apartment in the Lower Haight. The paint was peeling and the walls were thin, but the rent was cheap. What Eddie and Mitch didn’t count on was having Peter J. Haskett and Raymond Huffman as their neighbors. “You blind cocksucker. You wanna fuck with me? You try to touch me and I will kill you in a fucking minute.” “Shut up! Shut up! Shut up! Shut up little man!” The insults, tantrum throwing, and threats of violence coming from next door were constant. Eddie and Mitch started to lose sleep; after one failed attempt at complaining to Raymond’s face (he threatened death), they started tape-recording the endless geyser of vitriol — first, as possible future evidence, but also out of a growing voyeuristic fascination with these two seniors who had to be the world’s oddest and angriest odd couple. The rest is history. Mitch and Eddie started including snippets of Peter and Ray’s bickering on mix tapes for friends. Somehow, the editor of the now-defunct SF noise music zine Bananafish heard a snippet and approached Mitch and Eddie about distributing compilations of the recordings to a large network of found sound fans. Gradually “Peter and Raymond” became known and much-beloved characters. Their warped repartee inspired several theatrical adaptations, short animated films, pages of comic book panels by artists such as Dan Clowes, and even a one-off single from Devo side project the Wipeouters. Matthew Bate’s documentary Shut Up Little Man! An Audio Misadventure is much an attempt to comprehensively recount the above long, strange trip from start to finish; it is also the newest chapter in the now 20-year saga of Peter, Raymond, Mitch, and Eddie. (1:30) Roxie. (Sussman)

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) Lumiere, Shattuck. (Harvey)

*Warrior Those wondering why the mixed martial arts scene has captured the imagination of so many can finally understand what the fuss is all about, now that it comes filtered through a melodramatic narrative akin to The Fighter (2010). Warrior‘s mis-en-scene is immediately recognizable: a prodigal returns, in the form of Tom Conlon (Tom Hardy). Once a talented teenage wrestler, the now-battered man is the damaged youngest son of alcoholic ex-boxer Paddy Conlon (Nick Nolte). Tom wants his father to train him for a major mixed martial arts tournament with a multimillion-dollar purse, though the two obviously still have a deadly hold on each other — the repentant Paddy is on the wagon and the emotionally bruised Tom harbors secrets he won’t reveal — and battle with cutting comments rather than fists. Tom isn’t the only prodigal in the house: Paddy has lost the trust of Tom’s bro, Brendan (Joel Edgerton), a former fighter and present-day physics high school teacher who’s struggling to make ends meet with an underwater mortgage. Though Warrior is no Raging Bull (1980), it almost outdukes The Fighter in terms of its brutal bouts, conveying the swift, no-holds-barred action of MMA in the ring, while giving actors plenty of drama to wrap their jowls ’round — particularly in Nolte’s case. His tore-up turn as an all-excuses patriarch is as heartbreaking as a solid kick to the jaw. (2:19) California, 1000 Van Ness, SF Center. (Chun)

The Whistleblower (1:58) Smith Rafael.

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

YBCA PRESENTS BIG ART GROUP

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On Sept. 16 and 17, YBCA and Z Space present New York experimental ensemble Big Art Group, transforming Florida Street into a film set of sorts for The People: San Francisco. The site-specific performance combines live theater with large-scale, real-time video projections on Z Space’s exterior. Juxtaposing live reenactments with clips of taped conversations, The People: San Francisco brings the concept of reality TV to a new level. The People, which first premiered in Italy in 2007, is part of a larger cross-cultural work that will eventually combine dialogues from all its global exhibitions. Starting at 6:30pm, prior to each evening’s performance, the block will be closed off for food and drink vendors, including something called “The Taco Throwdown.” Performances start at 8; $10 in advance at ybca.org or cash only at the door. More info here.
September 16-17 at 8PM @ Outside Z Space, 450 Florida St, San Francisco

Transportive

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MUSIC One way in which to think about the development of what could now be called “ambient electronic music” is to trace the attempts by musicians who fall under that banner to work against and around time.

Terry Riley’s legendary all night concerts of the late ’60s and early ’70s were enabled by a simple tape delay mechanism he dubbed the “time lag generator,” which repeated and echoed the notes Riley repeatedly sounded whether on organ or saxophone. Brian Eno devised Ambient music as a way to make the passing of “free” time — whether spent (as in Eno’s case) bed-ridden recovering from an injury, or, as with his breakthrough 1978 album Music for Airports (EG), waiting for a departing flight — less noticeable. And experimental duo Coil took things to new extremes when they claimed that the slowly evolving synthesizer drones on their composed-under-the-influence-of-psychedelics 1998 release Time Machines were meant to “dissolve time.”

It is fitting then, that J.D. Emmanuel prefers to be thought of as a time traveler rather than as a musician (the self-designation is practically everywhere you look on his website). There is something undeniably transportive about listening to Emmanuel’s expansive meditations for synthesizer and electronic keyboard. Clusters of notes gradually coalesce and dissolve around a dominant drone. Occasionally, he’ll introduce field recordings of environmental sounds — birds, lapping waves, wind — into the mix, but these serve as compliments to the synthesized elements rather than as sonic footholds of the outside world (the point of Emmanuel’s music isn’t to hold on to anything, but to drift).

But, as is now so often the case, were it not for the Internet (another sort of time machine) far fewer listeners would be drifting along. The three LPs of ambient music that Emmanuel self-released in the early to mid ’80s were long considered grails for private press collectors until a Belgian label did a limited re-release of Wizards, Emmanuel’s second album from 1982, in 2007 (followed by its inevitable distribution on file-sharing networks). A compilation of electronic works from 1979-82 followed in 2009, and last year Important Records re-issued Wizards to a wider audience and much critical acclaim which lead Emmanuel to start playing concerts after a near three-decade hiatus.

His closing night set is undoubtedly one of the anticipated highlights of the 12th annual San Francisco Electronic Music Festival, whose location at the Brava Theater should provide a comfortable venue for time traveling without moving.

Emmanuel expressly admits that his own musical approach was greatly shaped by listening to Riley and Steve Reich in 1970. Riley, is in many ways, the Kevin Bacon of electronic music, and his name — along with Reich’s and that of their New York minimalist associate LaMonte Young — make up a cannon unto themselves, leading to inevitable comparisons when discussing younger artists working in a similar vein. The appearance at SFEMF by another elder statesman of drone, Bay Area composer Yoshi Wada, who will be performing with his son Tashi Wada (a composer in his own right) actually brings things full circle.

The elder Wada moved to New York in 1967 and got introduced to drone music via Young and later studied with Pandit Pran Nath, the great North Indian singer who was also Young’s teacher at the time. Their influence is audible in the sonorous, shimmering drones heard on EM Records’ steady output of re-issues of Wada’s two official albums and various concert recordings from the ’70s and ’80s. The younger Wada has very much continued to in his father’s footsteps, exploring harmonic overtones and dissonance in his own practice, and their joint headlining performance on Saturday night is bound to be resonant in more ways than one.

 

12TH ANNUAL SAN FRANCISCO ELECTRONIC MUSIC FESTIVAL

Sept. 8-11

Brava Theater

2789 24th St., SF

San Francisco Museum of Modern Art

151 3rd St., SF.

(415) 641-7651

www.sfemf.org

Spontaneous Victorian combustion: “Jane Austen Unscripted” returns to the Bay Area

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More signs of gentrification in the Bay Area, this time sanguine, as Los Angeles-based Impro Theatre’s acclaimed show, Jane Austen Unscripted, returns starting tonight (Wed/7) for gigs at 142 Throckmorton Theatre (Mill Valley) and BATS’ Bayfront Theater (SF). If you saw Jane Austen Unscripted in one of its two previous local engagements over the last few years, you already know the group sports some of the quickest wits in the Western canon. Jane Austen Unscripted is directed by BATS cofounder Dan O’Connor and comedian-writer Paul Rogan and features an amazing cast of improvisers, fully capable of creating a full-length play in the style of Jane Austen spontaneously each night, with a theme suggested by the audience. Improv fans, Austen fans, ceiling fans: this stuff is hot. A funnier, sharper assemblage of off-the-cuff maestros is hard to come by, especially in cuffs like these.

For those left hankering for more by Jane Austen Unscripted, know that one of its cast members, Stephen Kearin, returns to the Bayfront stage the following week as one-third of 3 For All, in its final two shows of the year. 3 For All is comprised of Kearin, Rafe Chase, and Tim Orr, but this trio contains multitudes. Pick your genre, call out a topic; these improv comedy veterans are always worth seeing: utterly distinctive and never the same. You can check out some recent insta-masterpieces here.
 
Jane Austen Unscripted

Wed/7-Thurs/8, 8 p.m., $25-30

142 Throckmorton Theatre

142 Throckmorton, Mill Valley

(415) 383-9600

www.142throckmortontheatre.org

Fri/8-Sat/10, 8 p.m.; Sun/11, 2 p.m., $20-30

Bayfront Theater

Fort Mason Center

Building B, Third Floor, SF

www.improv.org 

 

3 For All

Sept.16-17, 8 p.m., $25-28

Bayfront Theater

www.improv.org

Earth mover

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arts@sfbg.com

MUSIC I didn’t mean to bring the earthquake to Eleanor Friedberger’s Brooklyn — it just felt that way when I rang a few weeks ago, minutes after her ‘hood shivered and shook like it was attempting a weak imitation of, well, San Francisco. “Actually it sounded like someone was stomping on my roof,” she says wryly, phasing in and out over the line as if spirited away by unexplained forces.

A coincidence, too, that she closes her first, wonderful solo long-player, Last Summer (Merge), with a number titled “Early Earthquake,” a minimalist love song that evokes early solo Lou Reed and spins from those ground-bending emotions that hit far too soon, far too hard. “It was an early earthquake and my heart’s trembling just for you / And when the walls came crumbling down / You know I was waiting right here for you,” she sings with her charmingly verbose hipster-priest phrasing, in a feather-light voice.

“Early Earthquake” ends with a sliver of exotica culled from an optigan. “It’s almost like a toy for adults,” Friedberger says of the ’70s-era instrument. Her brother, Matthew, used one on a song for their band, the Fiery Furnaces, and, she adds, “I said if I ever found one I’d buy it.” That she did, from “an expensive music store in Brooklyn — not very cool,” she murmurs.

That brand of disarming, hyper-self-aware honesty — dotted with a dry, playful sense of irony — runs like a startling thread throughout Friedberger’s conversation, making me wanna be instant BFFs. I can see us now: telling the truth about birthdays (“Always bleak,” Friedberger declares of her Sept. 2 birthday, though she’ll be in the Bay Area that week, so bring her a gift), laughing that she’d make the perfect Patti Smith in the film version of Just Kids, scaring ourselves with the spooky effects in “Inn of the Seventh Ray,” pondering the puzzle of Google-ing dates in “Scenes from Bensonhurst,” and cruising through the borough with the rubbery-bass-bumping “Roosevelt Island” blaring. The latter is the closest thing to a genuine summer song on Last Summer; Friedberger agrees — it’s built to be pouring out of “a Buick, definitely an American car, if there are any of those left,” she says.

Last Summer is the solo record she’s always wanted to make — and when she had the time and summoned the confidence that comes with age and experience, she did, writing the songs last summer and recording them that fall, in Brooklyn. “I felt it was now or never. I always thought I’d regret if I didn’t do something myself,” Friedberger says. “There was no lightning bolt of inspiration—I don’t believe in that.

And in contrast to all those who refuse to ‘fess up to the autobiographical nature of their work, Friedberger offers, “All of it is drawn from my personal life — no imagination used. I’m trying to decide if it’s lazy or brave, I don’t know.”

In the same spirit of full disclosure, she opens the album with an infectious ditty called “My Mistakes,” climaxing with a gloriously cheesy tenor sax solo. “I was trying to copy a Van Morrison-sounding saxophone solo,” she freely admits, though it was a fight trying to get sax player Dylan Heaney to agree. “He has a jazz school background and wanted to do something new or original. I don’t believe in that, though — I’m all for copying.”

Yet Friedberger, whether solo or with the Fiery Furnaces, still manages to have one of the most original voices of her generation. Perhaps it stems from the creative support of a sib. “We have this musical language that I just don’t have with anybody else,” she says of Matthew. “But at the same time, we constantly feel like we need an excuse to do something together — because we’re not a normal band. There has to be an elaborate thought process that justifies it.”

“That’s getting tiring. So it’s liberating to make something that’s small and personal. For me, it’s more about expressing my tiny pathetic feelings.” Slight pause. “I’m kidding.”

ELEANOR FRIEDBERGER

With the Kills and Mini Mansions

Fri/9, 8:30 p.m., $29.50

Fox Theater

1807 Telegraph, Oakl.

(510) 302-2277

www.apeconcerts.com

 

Roeg, warrior

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arts@sfbg.com

FILM It’s grown obvious in ways it couldn’t have been originally that from 1970 to 1980 Nicolas Roeg was the most adventuresome English director, even if then as now his work seems less “British” than just about any colleague you could name. Perhaps not quite knowing where he was coming from — in any sense — made Performance (1970), Walkabout (1971), Don’t Look Now (1973), The Man Who Fell to Earth (1976), and Bad Timing (1980) messy, strange, and interesting in ways that then felt borderline gimmicky, as disjointed as they were deliberately dislocative. Yet all those qualities have helped the films age beautifully. In fact they’ve scarcely dated at all, perhaps because their lateral rather than linear storytelling, seemingly contrary audio and visual cues, and pervasive cultural unease reflect a mindset familiar enough now but very strange those decades ago.

That remarkable run comes to mind because of Earth‘s return in a newly struck 35th anniversary print that offers the complete 139-minute “director’s cut.” That version has in fact been available for years — the heavily-cut original U.S. theatrical release is doubtless harder to find now — but remains full of surprises. Even after so long a span, it’s a science fiction movie unconventional enough to annoy the hell out of many professed sci-fi film fans. But then their template was formed the next year by Star Wars (1977), then shortly thereafter by Alien (1979) — two expressions of sci-fi rooted in comic books and ’50s monster movies respectively, spawning innumerable imitations since equally focused on action over ideas.

The Man Who Fell to Earth, stubbornly, has no interest in spaceships, let alone battles or creatures. Instead, its subject is human society, which from the title character’s viewpoint really is nothing for our planet to brag about. It’s still an alien piece of filmmaking because Roeg wants us to view earthly life with fresh eyes that gradually dim from amused curiosity to the cynicism of a reluctant émigré forced into permanent residency in a land he despises.

In his first major film role, David Bowie plays Thomas Newton, who turns up in the American Southwest out of the blue — no one realizes at first quite how literally — with ideas for “toys” of extraordinary technological advancement that quickly make him a very, very wealthy man. Amassing money seems to be his only real interest, toward a goal he eventually reveals to hand-picked confederates including patent attorney Buck Henry and technician Rip Torn, plus singularly dim companion Mary-Lou (Candy Clark). That goal is constructing a space vehicle capable of returning Newton to his planet, which is dying from drought. (Our protagonist’s decline is charted in his changing beverage choices, from precious water to the cheap consolation of alcohol.) He intends no harm. But despite all efforts at evading notice, he inevitably attracts invasive government attention as a freak of potential scientific, capitalist, or militaristic use.

Taking considerable liberties with Walter Tevis’ novel, Paul Mayerberg’s screenplay and Roeg’s direction enlarge several subsidiary characters, add a number of new incidents, and minimize Newton’s backstory. Yet when Earth was first released in the U.S., its 20-minutes-shorter edit removed much of the more outré inventions — including a whole lotta sex scenes, mostly between college prof Torn and myriad female students — oddly re-asserting the story’s science-fiction emphasis. Yet what remains fascinating about the film, beyond Bowie’s silvery performance and Roeg’s arresting stylistic strategies, is that it’s every bit as much a stunned observation of mid-decade middlebrow Americana as the same year’s Nashville. Like a Tibetan monk transplanted to a papier-mâché dinosaur theme park, Newton is agog at a vigorous garishness that’s as invasive as the probes eventually stuck into his body. Chocolate chip cookies, evangelical hysteria, Elvis musicals, and Mary-Lou’s ever-changing hairdos are all an equal amazement to him. The people around him age decades, but he never does, and strangely neither does the culture; when Clark and Torn visit a record store in their twilight years, it’s still selling Jim Croce records to Me Decade longhairs. Newton’s tragic fate is to be trapped in a space-time warp of alien triviality.

Famously crossing over to direction from cinematography (on movies like 1967’s Far From the Madding Crowd and 1968’s Petulia), Roeg brought a sensibility to his own projects that owed less to film and theater than to modern still photography, experimental cinema, and the literary avant-garde. Before anyone else thought likewise, his soundtracks felt like wildly unpredictable (but apt) mix tapes.

None of his features strictly fit any genre they’re aligned to, when there is one. Don’t Look Now is less interested in the supernatural than the psychological deterioration of a marriage. Bad Timing is still under appreciated as the decade’s more disturbing follow-up to Last Tango in Paris (1972), wherein male control of the female sex object grows increasingly desperate and destructive. Performance, co-directed with the late Donald Cammell, was supposed to be a Swinging London snapshot a la Blow-Up (1966) — fashionable, arty, a little kinky, with Mick Jagger acting as lure. It turned out such a druggy, gender-bending mindfuck that Warner Bros. initially refused to release it. A processing lab destroyed some “obscene” footage without permission; even without that, audiences walked out, demanded refunds, even vomited. Performance no longer shocks, but it’s still subversive.

After 1980, Roeg’s output grew steadily less compelling. After years of silence suddenly there was 2007’s Puffball: The Devil’s Eyeball, a seriocomic semi-fantasy curio based on a Fay Weldon novel. No one saw it; they didn’t miss much. At 82, it’s quite possible Roeg won’t make another feature. Yet that single decade of remarkable work still points forward, and has influenced many of the more interesting younger directors’ approaches to style and storytelling since.

 

THE MAN WHO FELL TO EARTH opens Fri/9 in Bay Area theaters.

Film Listings

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OPENING

The Apparition Genre-movie vets Ashley Greene and Tom Felton star in this supernatural thriller set on a college campus. (runtime not available)

Bucky Larson: Born to Be a Star Comedian Nick Swardson stars as a wannabe porn star in this comedy from the director of The Hot Chick (2002). (runtime not available)

Chasing Madoff Doc about the investigators who brought down the notorious Ponzi scammer. (1:31)

Circumstance Thirteen (2003) goes to Tehran? The world of sex, drugs, and underground nightclubs in Iran provides the backdrop for writer-director Maryam Keshavarz’s lusty, dreamy take on the passionate teenagers behind the hijabs. Risking jail and worse are the sassy, privileged Atafeh (Nikohl Boosheri) and the beautiful, orphaned Shireen (Sarah Kazemy), who, much like young women anywhere, just want to be free — to swim, sing, dance, test boundaries, lose, and then find themselves. The difference here is that they’re under constant, unnerving surveillance, in a country where more than 70 percent of the population is less than 30 years old. Nevertheless, within their mansion walls and without, beneath graffitied walls and undulating at intoxicating house parties, the two girls begin to fall in love with each other, as Atafeh’s handsome, albeit creepy older brother Mehran (Palo Alto-bred Reza Sixo Safai) gazes on. The onetime musical talent’s back from rehab, has returned to the mosque with all the zeal of the prodigal, and has hooked up with the Morality Police that enforces the nation’s cultural laws. Filmed underground in Beirut, with layers that permit both pleasure and protest (wait for the hilarious moment when 2008’s Milk is dubbed in Farsi), Circumstance viscerally transmits the realities and fantasies of Iranian young women on the verge. (1:45) (Chun)

Contagion Steven Soderbergh directs every movie star on the planet (Matt Damon, Marion Cotillard, Gwyneth Paltrow, Kate Winslet, Jude Law, Laurence Fishburne, and about 67 others) in this thriller about a worldwide disease epidemic. (1:42)

Creature From Wikipedia: “The group decides to stop at a roadside convenience store owned by Chopper (Sid Haig), who tells them the tale of Lockjaw, a fabled god-like creature who is half-man, half-alligator.” Ergo, this is either gonna be terrible or the greatest movie ever made. (1:33)

Little Rock When the rental car driven by Atsuko (Atsuko Okatsuka) and Rintaro Sakamato (Rintaro Sawamoto) breaks down in nowheresville, California (actually, a small town called Little Rock), an air of disillusion hangs between the siblings, on vacation to “see America.” Holed up in a motel room, their disappointment is palpable, until a chance encounter with some locals sucks the pair into exurban American life. By the time their car is again roadworthy, Atsuko can’t bear to leave and decides to stay behind as her brother, the only one of the two who speaks a word of English, continues ahead without her. Communication is the driving force behind Little Rock and the language barrier somehow never gets stale; it certainly allows Okatsuka the opportunity for some superb acting. Despite some directorial flourishes (by Mike Ott), however, the story doesn’t really hold many surprises, and its inevitable conclusion is glimpsed long before it’s reached. (1:25) Roxie. (Cooper Berkmoyer)

*Love Crime See “Original Sin.” (1:46)

*The Man Who Fell To Earth See “Roeg, Warrior.” (2:19)

Puzzle A middle-aged housewife finds herself through jigsaw competitions in this Argentina-France co-production. (1:29) SFFS New People Cinema.

Shaolin Jackie Chan and Andy Lau star in Benny Chan’s historical kung fu extravaganza. (2:11) Four Star.

*Warrior Those wondering why the mixed martial arts scene has captured the imagination of so many can finally understand what the fuss is all about, now that it comes filtered through a melodramatic narrative akin to The Fighter (2010). Warrior‘s mis-en-scene is immediately recognizable: a prodigal returns, in the form of Tom Conlon (Tom Hardy). Once a talented teenage wrestler, the now-battered man is the damaged youngest son of alcoholic ex-boxer Paddy Conlon (Nick Nolte). Tom wants his father to train him for a major mixed martial arts tournament with a multimillion-dollar purse, though the two obviously still have a deadly hold on each other — the repentant Paddy is on the wagon and the emotionally bruised Tom harbors secrets he won’t reveal — and battle with cutting comments rather than fists. Tom isn’t the only prodigal in the house: Paddy has lost the trust of Tom’s bro, Brendan (Joel Edgerton), a former fighter and present-day physics high school teacher who’s struggling to make ends meet with an underwater mortgage. Though Warrior is no Raging Bull (1980), it almost outdukes The Fighter in terms of its brutal bouts, conveying the swift, no-holds-barred action of MMA in the ring, while giving actors plenty of drama to wrap their jowls ’round — particularly in Nolte’s case. His tore-up turn as an all-excuses patriarch is as heartbreaking as a solid kick to the jaw. (2:19) (Chun)

ONGOING

Apollo 18 (1:26)

*Beginners There is nothing conventional about Beginners, a film that starts off with the funeral arrangements for one of its central characters. That man is Hal (Christopher Plummer), who came out to his son Oliver (Ewan McGregor) at the ripe age of 75. Through flashbacks, we see the relationship play out — Oliver’s inability to commit tempered by his father’s tremendous late-stage passion for life. Hal himself is a rare character: an elderly gay man, secure in his sexuality and, by his own admission, horny. He even has a much younger boyfriend, played by the handsome Goran Visnjic. While the father-son bond is the heart of Beginners, we also see the charming development of a relationship between Oliver and French actor Anna (Mélanie Laurent). It all comes together beautifully in a film that is bittersweet but ultimately satisfying. Beginners deserves praise not only for telling a story too often left untold, but for doing so with grace and a refreshing sense of whimsy. (1:44) (Peitzman)

*Bellflower Picture Two Lane Blacktop (1971) drifters armed with “dude”-centric vocabulary and an obsession with The Road Warrior (1981) and its apocalypse-wow survivalist chic. There are so many pleasures in this janky, so-very-DIY, heavy-on-the-sunblasted-atmosphere indie that you’re almost willing to overlook the clichés, the dead zones, and the annoying characters. Seeming every-dudes Woodrow (director-writer-producer Evan Glodell) and Aiden (Tyler Dawson) are far too obsessed with tricking out their cars and building a flamethrower for their own good — the misfits must force themselves out of the metal shop of the mind to meet women. So when Woodrow goes up against Milly (Jessie Wiseman) in a cricket-eating contest at a bar, it’s love at first bite. Their meet-gross morphs into a road trip and eventually a relationship, while the flamethrower nags, unexplained, in the background, like an unfired gun — or an unconsummated, not-funny bromance. These manifestations of male fantasy — muscle cars, weapons, and tough chicks — are cast in a dreamy, saturated, and burnt-at-the-edges light, as Glodell and company weave together barely articulated reveries and bad-new-west imagery with a kind of fuck-all intelligence, culminating in a finale that will either haunt you with its scattershot machismo-romanticism or leave you scratching your noggin wondering what just happened. (1:46) (Chun)

Brighton Rock Writer Rowan Joffe (2010’s The American) moves into the director’s chair for this Graham Greene adaptation, previously filmed in 1947 with an early-career star turn by Richard Attenborough. Joffe’s version updates Greene’s 1938 story to 1964, allowing the brutal actions of small-time hood Pinkie Brown to unfold as Britain’s mods vs. rockers youth riots boil in the background. Don’t get too excited, though — despite a cool premise and even cooler setting, and the presence of veterans Helen Mirren and John Hurt in supporting roles, Brighton Rock rages without a rudder. Pinkie is played by Sam Riley (so good as Ian Curtis in 2007’s Control), who snarls like a sociopathic James Dean and is so transparently hateful it’s hard to root for anything other than his hastened demise. Brighton Rock‘s most memorable element is probably Andrea Riseborough, an on-the-verge young Brit who’s being touted as the next Carey Mulligan. She has the thankless (yet showy) role of Rose, a naïve waitress who becomes entangled in Pinkie’s web after being in the wrong place at the wrong time. A far-from-storybook ending awaits, and you’ll experience little enjoyment watching the characters claw their way there. (1:51) (Eddy)

Buck This documentary paints a portrait of horse trainer Buck Brannaman as a sort of modern-day sage, a sentimental cowboy who helps “horses with people problems.” Brannaman has transcended a background of hardship and abuse to become a happy family man who makes a difference for horses and their owners all over the country with his unconventional, humane colt-starting clinics. Though he doesn’t actually whisper to horses, he served as an advisor and inspiration for Robert Redford’s The Horse Whisperer (1998). Director Cindy Meehl focuses generously on her saintly subject’s bits of wisdom in and out of a horse-training setting — e.g. “Everything you do with a horse is a dance” — as well as heartfelt commentary from friends and colleagues. In the harrowing final act of the film, Brannaman deals with a particularly unruly horse and his troubled owner, highlighting the dire and disturbing consequences of improper horse rearing. (1:28) (Sam Stander)

Captain America: The First Avenger OK, Marvel. I could get behind 2008’s Iron Man (last year’s Iron Man 2, not so much), but after Thor and now Captain America, I’m starting to get cynical about this multi-year build-up to the full-on Avengers movie, due in May 2012. Can even a superhero-stuffed movie directed by Joss Whedon live up to all this hype? There’s plenty of time to ponder, and maybe worry a little, with Captain America’s backstory-explaining picture now in theaters. Chris Evans stars as the 90-pound weakling who morphs into a supersoldier, thanks to the World War II-era tinkerings of a scientist (Stanley Tucci) and an inventor (Dominic Cooper as Howard Stark, a.k.a. Iron Man’s dad). The original plan for the musclebound shield-bearer (fighting Nazis, natch) gets waylaid a bit when the newly famous Captain America becomes a PR prop for the U.S. government; it’s abandoned entirely when a worse-than-Hitler foe, in the guise of power-obsessed Red Skull (Hugo Weaving), threatens the world. Directed by Spielberg cohort Joe Johnston, Captain America is gee-whiz enjoyable enough, but it’s very nearly the same movie as Thor, which no amount of Tommy Lee Jones (as a sarcastic army colonel) wisecracks can conceal. And here’s an anti-spoiler: there’s no post-credits surprise in this one, so you can bolt as soon as they start to roll. (2:09) (Eddy)

Colombiana (1:47)

Conan the Barbarian Neither 3D (unnecessary) nor Game of Thrones‘ Jason Momoa (beefcake-y) are enough to make this Conan the Barbarian competition for the 1982 Schwarzenegger classic. This new take is a barely adequate adventure movie helped along by Rose McGowan’s leering turn as an evil witch with Freddy Krueger claws. Would that everyone involved (including frequent remake director Marcus Nispel) had McGowan’s razor-sharp grasp of tone; as a whole, the film is never quite sure if it’s a camp-tastic voyage (the prologue, containing Conan’s birth and much Ron Perlman nostril-flaring, suggests what might have been) or a semi-straightforward fantasy actioner. A totally forgettable female lead (Rachel Nichols), a he-was-scarier-in-Avatar villain (Stephen Lang), a blah mixture of two tired plots (revenge + “chosen one”) — there’s just not a lot here, aside from a few hilarious lines of dialogue and Momoa’s muscles. He was so great in Game of Thrones, though, I suspect this dud won’t keep his career from skyrocketing. (1:42) (Eddy)

Cowboys and Aliens Here ’tis in a nutshell: the movie’s called Cowboys and Aliens — and that’s exactly, entirely what you’ll get. Director Jon Favreau may never best 2008’s Iron Man (actor Jon Favreau will prob never top 1996’s Swingers, but that’s a debate for another time), but that doesn’t mean he won’t have a good time trying. Cowboys is a genre mash-up in the most literal sense; as the title suggests, it pits Wild West gunslingers (Harrison Ford as a crabby cattleman, Daniel Craig as an amnesiac outlaw) against gold-seeking space invaders who also delight in kidnapping and torturing humans. As stupidly entertaining as it is, this is a textbook example of a pretty OK movie that could have been so much better … if only. If only the alien characters had a little bit more District 9-style personality. If only the story had a shred of suspense — look ye not here for “spooky” and “mysterious;” this shit is 100 percent full-on explosions. If only Craig’s comically fine-tooled physique didn’t outshine his wooden acting. And so forth. (1:58) (Eddy)

Crazy, Stupid, Love Keep the poster’s allusion to 1967’s The Graduate to one side: there aren’t many revelations about midlife crises in this cleverly penned yet strangely flat ensemble rom-com, awkwardly pitched at almost every demographic at the cineplex. There’s the middle-aged romance that’s withered at the vine: nice but boring family man Cal (Steve Carell) finds himself at a hopeless loss when wife and onetime teenage sweetheart Emily (Julianne Moore) tells him she wants a divorce and she’s slept with a coworker (Kevin Bacon). He ends up waxing pathetic at a slick nightclub where he catches the eye of the well-dressed, spray-tanned smoothie Jacob (Ryan Gosling), who appears to have taken his ladies man stance from the Clooney playbook. It’s manly makeover time: GQ meets Pretty Woman (1990)! Cut to Cal and Emily’s babysitter Jessica (Analeigh Tipton), who is crushing out on Cal, while the separated couple’s tween Robbie (Jonah Bobo) hankers for Jessica. Somehow Josh Groban worms his way into the mix as the dullard suitor of Hannah (Emma Stone) in a hanging chad of a storyline that must somehow be resolved in this mad, mad, mad, mad — actually, the problem with Crazy, Stupid, Love is that it isn’t really that crazy. It tries far too hard to please everybody in the theater to its detriment, reminding the viewer of a tidy, episodic TV series (albeit a quality effort) like Modern Family more than an actual film. Likewise I yearned for a way to fast-forward through the too-cute Jessica-Robbie scenes in order to get back to the sleazy-smart, punchy complexity of Gosling, playing adeptly off both Carrell and Stone. (1:58) (Chun)

The Debt On paper, The Debt has a lot going for it: captivating history-based plot, “it” actor Jessica Chastain, Helen Mirren vs. Nazis. And while the latest from John Madden (1998’s Shakespeare in Love) is fairly entertaining, the film is ultimately forgettable. Chastain plays Rachel, a member of an Israeli team tasked with capturing a Nazi war criminal and bringing him to justice. Mirren is the older Rachel, who is haunted by the long-withheld true story of the mission. Although The Debt traffics in spy secrets, it’s actually rather predictable: the big reveal is shrug-worthy, and the shocking conclusion is expected. So while the entire cast — which also includes Tom Wilkinson, Sam Worthington, and Ciaran Hinds — turn in admirable performances, the script is lacking what it needs to make The Debt an effective drama or thriller. Like 2008’s overrated The Reader, the film tries to hide its inadequacies under heavy themes and the dread with which we remember the Holocaust. (1:54) (Peitzman)

The Devil’s Double Say hello to my little friend, again— and rest assured, it’s not a dream and you’re seeing double. New Zealand filmmaker Lee Tamahori gets back to his potboiler roots with this campy, claustrophobic look back at the House of Saddam Hussein, based on a true story and designed to win over fans of Scarface (1983) with its portrait of mad excess and deca-dancey ’80s-ish soundtrack. The craziest poseur of all is Hussein’s son Uday (Dominic Cooper), a petty dictator-in-the-making — and, according to this film, a full-fledged murderous pedophile — who chomps cigars and wraps his jaws around schoolgirls while Cooper happily chews scenery. Uday needs a double to sidestep all those troublesome assassination attempts, so he enlists look-alike childhood friend Latif (also Cooper) to get the surgery, pop in the overbite, bray like a madman, make appearances in his stead, and function as a kind of pet human. Never mind Ludivine Sagnier, glassy-eyed and absurd in the role of Uday’s favorite sex kitten Sarrab — Double is completely Cooper’s, who seizes the moment, investing the morally upstanding Latif with a serious sincerity with just his eyes and body language and infusing evil odd job Uday with a dangerous, comic-book unpredictability. To his credit, Cooper imbues such cult-ready, blow-the-doors-off lines as “I love cunt! I love cunt more than god!” with, erm, believability, even as the denouement rings somewhat false. (1:48) (Chun)

Don’t Be Afraid of the Dark If you’re expecting a traditional haunted house story, Don’t Be Afraid of the Dark might be a disappointment. The film, which was co-written by Guillermo del Toro, has a lot in common with his Pan’s Labyrinth (2006) — both movies are more dark fairy tale than horror. They follow a young girl who discovers a mystical world around her, much to the disbelief of the adults around her. It’s worth noting that Don’t Be Afraid of the Dark is lighter fare: despite all the peril involved, it’s actually pretty fun. Young Bailee Madison, who made such an impression in 2009’s Brothers, is a charming lead, precocious but believable. And Katie Holmes is surprisingly sympathetic in her role as the caring stepmother, a nice switch from the standard fairy tale trope. As with Fright Night, the ad campaign for Don’t Be Afraid of the Dark is misleading, so here’s hoping audience members looking for a gory slasher will appreciate a whimsical fable instead. (1:40) (Peitzman)

Fright Night Don’t let the spooky trailer fool you: the Fright Night remake is almost as silly as the original. In fact, it follows the 1985 film closely, as young Charley Brewster (Anton Yelchin) comes to realize that his neighbor Jerry (Colin Farrell) is a vampire. The biggest change is a smart one — this Fright Night transforms late-night TV host Peter Vincent into Criss Angel-type illusionist Peter Vincent (David Tennant). The casting is spot on all-around, and frankly, Farrell is a lot more believable than Chris Sarandon as the seductive bad boy. The only real problem with the new Fright Night — other than the unnecessary 3D — is that it never fully commits to camp the way the original did. There’s a bit too much back-and-forth between serious scares and goofy blood splatters. Luckily, it’s still an entertaining remake that doesn’t crap all over a classic. It’s also a great reminder that vampires don’t have to be moody — remember, they used to be fun. (2:00) (Peitzman)

*The Future Dreams and drawings, cats and fantasies, ambition and aimlessness, and the mild-mannered yet mortifying games people play, all wind their way into Miranda July’s The Future. The future’s a scary place, as many of us fully realize, even if you hide from it well into your 30s, losing yourself in the everyday. But you can’t duck July’s collection of moments, objects, and small gestures transformed into something strangely slanted and enchanted, both weird and terrifying, when viewed through July’s looking glass. Care and commitment — to oneself and others — are two vivid threads running through The Future. Cute couple Sophie (July) and Jason (Hamish Linklater) — unsettling look-alikes with their curly crops — appear at first to be sailing contently, aimlessly toward an undemanding unknown: Jason works from home as a customer-service operator, and Sophie attempts to herd kiddies as a children’s dance instructor. But enormous, frightening demands beckon — namely the oncoming adoption of a special-needs feline named Paw-Paw (voiced by July as if it’s a traumatized, innocent child). Lickety-splitsville, they must be all they can be before Paw-Paw’s arrival. The weirdness of the familiar, and the kindness of strangers, become ways into fantasy and escape when the couple bumps up against the limits of their imagination. This ultra-low-key horror movie of the banal is obviously remote territory for July (2005’s Me and You and Everyone We Know). The Future is her best film to date and finds her tumbling into a kind of magical realism or plastic fantastic, embodied by a talking cat that becomes the conscience of the movie. (1:31) (Chun)

A Good Old Fashioned Orgy (1:35)

The Guard Irish police sergeant Gerry Boyle (Brendan Gleeson) is used to running his small town on his own terms — not in a completely Bad Lieutenant (1992) kind of way, though he’s not afraid to sample drugs and hang with hookers. More like, he’s been running the show for years, and would prefer that big-city cops stay the hell out of his village. Alas, a gang of drug smugglers is doing business in the area, so an officious group of investigators from Dublin (horrors!) and America (in the form of an FBI agent played by Don Cheadle) soon descend. His mother’s dying, his brand-new partner’s missing, and between all the interlopers on both sides of the law, Boyle’s having a hard time having a pint in peace. Good thing he’s not as simple-minded as all who surround him think he is. Writer-director John Michael McDonagh (brother of playwright Martin, who directed 2008’s In Bruges — also starring Gleeson) puts an affable Irish spin on what’s essentially a pretty typical indie comedy, with some pretty typical crime-drama elements layered atop. Boyle’s character is memorably clever, but the film that contains him never quite elevates to his level. (1:36) (Eddy)

Gun Hill Road Though the visibility of gays and lesbians in cinema remains (largely) confined to independent film, Rashaad Ernesto Green, in his debut feature Gun Hill Road, uses the creative freedom afforded by that closeting to explore issues of race and confused sexuality amid the Latino population of the Bronx. Esai Morales is Enrique, a former drug dealer returning from prison to his wife Angela (Judy Reyes) and teenage son Michael (Harmony Santana). But everyone seems to have moved on with their lives. Angela is having an affair, and Michael has created a new persona, Vanessa. Green’s film focuses on the relationship between the damaged Enrique and Michael, whose cross-dressing and budding transsexuality puts the family members at odds. Nominated for the Grand Jury Prize at Sundance and an entry in this year’s Frameline Film Festival, Gun Hill Road is one in a recent spate of films that deals with coming out in an urban setting. Like Green’s film, Peter Bratt’s La Mission (2009) offered a picture of homophobia in the Latino community. But Gun Hill Road, despite its bulging dramatic heft, shirks the after-school-special formula of La Mission by imagining complex characters rather than hewing them from instantly recognizable, sympathetic archetypes. (1:28) (Ryan Lattanzio)

*Harry Potter and the Deathly Hallows Part 2 Chances are you aren’t going to jump into the Harry Potter series with Harry Potter and the Deathly Hallows Part 2. So while the movie is probably the best Harry Potter film yet, it’s more a fitting conclusion than a standalone film. For fans of the books, there are no real surprises — this is a close adaptation. And for those Harry Potter movie fans who haven’t read the books, shame on you, and kudos if you managed to not get spoiled. It’s hard for me to offer a serious critical analysis of Part 2, because it represents the end of a long and very emotional journey. (Everyone in that audience was crying. Everyone.) I will say that, as was the case in the book, there are a few overdone, schmaltzy moments that aren’t really necessary. But in the context of the series, they’re forgivable — this may not be the great cinematic event of our generation, but Harry Potter as a whole is sure to be one of our most enduring cultural icons. (2:10) (Peitzman)

*The Hedgehog You needn’t possess the rough, everyday refinement of the characters of The Hedgehog to appreciate this debut feature by director-screenwriter Mona Achache — just an appreciation for a delicate touch and a tender heart. Eleven-year-old Paloma (the wonderful Garance Le Guillermic) is too smart for her own good, bored, neglected by her parents, and left to fend for herself with only her considerable imagination and a camcorder. She drifts around her fishbowl of privilege, a deluxe art nouveau-style apartment building in Paris, leveling her all-too-wise gaze on its denizens and plotting certain suicide on her 12th birthday — that is until a new resident appears in her viewfinder: a kindly Japanese gentleman Kakuro Ozu (Togo Igawa). He has as much of a connoisseur’s eye as Paloma — the proof is in his unlikely focus of attention, the building’s concierge Renée Michel (Josiane Balasko, resembling a burly Gertrude Stein), who hides her cultured and bookish inclinations behind a gruff, drab exterior. They recognize in each other a reverence for an almost monkish life of the mind, the austere elegance of wabi-sabi, and the transient beauty of rough-hewn imperfection, even in the sleek, well-heeled heart of the City of Light. To the credit of Achache, working with Muriel Barbery’s novel, these unlikely fragile friendships between outsiders take hold in a way that sidesteps preciousness and stays with you long after its pages have turned. (1:40) Smith Rafael. (Chun)

The Help It’s tough to stitch ‘n’ bitch ‘n’ moan in the face of such heart-felt female bonding, even after you brush away the tears away and wonder why the so-called help’s stories needed to be cobbled with those of the creamy-skinned daughters of privilege that employed them. The Help purports to be the tale of the 1960s African American maids hired by a bourgie segment of Southern womanhood — resourceful hard-workers like Aibileen (Viola Davis) and Minny (Octavia Spencer) raise their employers’ daughters, filling them with pride and strength if they do their job well, while missing out on their own kids’ childhood. Then those daughters turn around and hurt their caretakers, often treating them little better than the slaves their families once owned. Hinging on a self-hatred that devalues the nurturing, housekeeping skills that were considered women’s birthright, this unending ugly, heartbreaking story of the everyday injustices spells separate-and-unequal bathrooms for the family and their help when it comes to certain sniping queen bees like Hilly (Bryce Dallas Howard). But the times they are a-changing, and the help get an assist from ugly duckling of a writer Skeeter (Emma Stone, playing against type, sort of, with fizzy hair), who risks social ostracism to get the housekeepers’ experiences down on paper, amid the Junior League gossip girls and the seismic shifts coming in the civil rights-era South. Based on the best-seller by Kathryn Stockett, The Help hitches the fortunes of two forces together — the African American women who are trying to survive and find respect, and the white women who have to define themselves as more than dependent breeders — under the banner of a feel-good weepie, though not without its guilty shadings, from the way the pale-faced ladies already have a jump, in so many ways, on their African American sisters to the Keane-eyed meekness of Davis’ Aibileen to The Help‘s most memorable performances, which are also tellingly throwback (Howard’s stinging hornet of a Southern belle and Jessica Chastain’s white-trash bimbo-with-a-heart-of-gold). (2:17) (Chun)

*Higher Ground Higher Ground does not bite off more than it can chew. I guess that should go without saying, but it’s striking how comfortably Vera Farmiga (in her directorial debut) tackles this story of devotion and doubt. Based on the memoirs of Carolyn S. Briggs, who co-wrote the screenplay, this deeply personal film follows Corrine Walker (Vera Farmiga) from her adolescence through the trials of youth and middle age, her marriage to high school sweetheart Ethan (Joshua Leonard), and their lives as members of a small hippie Christian community. Although religion serves as a backdrop for Higher Ground, it doesn’t suffocate the human element of the story; it’s less a film about Christianity than it is about the challenges one woman faces as she tries to find room for herself amidst faith. Farmiga treats her subjects with empathy and humor and crafts a thoughtful, tender slice of sixties Midwest Americana. (1:49) (Cooper Berkmoyer)

*The Interrupters With concern from society and government as a whole at low ebb, communities at greater risk of violence from within than ever have had to come up with their own peace-making solutions. The Interrupters, the latest documentary by Steve James (1994’s Hoop Dreams), shows dedicated efforts to help one of the nation’s worst centers of such bloodshed: Chicago. “Violence is like the great infectious diseases of all history,” says epidemiologist Gary Slutkin, in that it can be stopped from spreading to epidemic proportions by numerous “initial interruption(s) of transmission” at its source. He translated that perspective into the founding of CeaseFire, an organization that doesn’t aim to summarily end the existence of gangs and drug trade. Instead, its plain but hardly simple mission is to stop the shootings, stabbings, etc. which are exacerbated by unemployment, broken families, and other sources of stress whose cumulative effect can rapidly escalate a casual dis to a mortal confrontation. Under CeaseFire’s auspices, Tio Hardiman created the Violence Interrupters program, which drafts people from the community — many former gangbangers themselves — as mediators wading into conflicts to defuse them before things get out of hand. It takes considerable will and nerves of steel; “interrupters” have been shot at, and during the course of this documentary’s year-long span one volunteer lands in the hospital for his trouble. But The Interrupters makes a powerful case against the inevitability of hopelessness turning into violence. (2:05) (Harvey)

*Love Exposure Sion Sono’s Love Exposure opens with the claim that it’s “based on a true event,” which is no doubt its first joke. After the death of his saintly mother, youthful protagonist Yu (Takahiro Nishijima) adapts to the adoption of the priesthood by his father (Atsuro Watabe), though it’s harder to accept the eventual intrusion of an insanely needy new parishioner (a memorable Makiko Watanabe), a crackhead-acting real-life succubus who swiftly destroys dad’s faith and vocation. As a result Yu falls in with a bad crowd, becoming its Jesus in a weird pseudo spiritual observance of taking “peek-a-boo panty photos” while remaining otherwise chaste in anticipation of meeting his own personal Madonna — Holy Virgin and Ciccone personae inclusive. High school heartache, martial arts, Ravel’s Boléro, female impersonation, and the insidious manipulations of an agent (Sakura Ando) from the mysterious, Scientology-like Zero Church all factor prominently in a careening story whose takes on religion, sin, and redemption are nothing if not antic. Just what Sono is saying, however, tends to get lost in the blur. Exposure‘s sheer onslaught, not to mention its scale, have made bowled-over converts out of many viewers. Whether its crazy quilt requires 237 minutes, or 90, or 900 for that matter, is an open question — is the writer-director really going somewhere here, or just going and going and going? (3:57) Roxie. (Harvey)

Midnight in Paris Owen Wilson plays Gil, a self-confessed “Hollywood hack” visiting the City of Light with his conservative future in-laws and crassly materialistic fiancée Inez (Rachel McAdams). A romantic obviously at odds with their selfish pragmatism (somehow he hasn’t realized that yet), he’s in love with Paris and particularly its fabled artistic past. Walking back to his hotel alone one night, he’s beckoned into an antique vehicle and finds himself transported to the 1920s, at every turn meeting the Fitzgeralds, Gertrude Stein (Kathy Bates), Dali (Adrien Brody), etc. He also meets Adriana (Marion Cotillard), a woman alluring enough to be fought over by Hemingway (Corey Stoll) and Picasso (Marcial di Fonzo Bo) — though she fancies aspiring literary novelist Gil. Woody Allen’s latest is a pleasant trifle, no more, no less. Its toying with a form of magical escapism from the dreary present recalls The Purple Rose of Cairo (1985), albeit without that film’s greater structural ingeniousness and considerable heart. None of the actors are at their best, though Cotillard is indeed beguiling and Wilson dithers charmingly as usual. Still — it’s pleasant. (1:34) (Harvey)

Motherland When Raffi Tang (Francoise Yip) learns of her estranged mother’s death, the prodigal-daughter returns to her hometown, San Francisco, only to discover that nothing is as first supposed. Forced to contend with the protracted legal battle between her late mother and re-married father (Kenneth Tsang) as well as an incompetent (and poorly acted) police detective (Jason Payne), Tang drifts, looking distracted, lost, and maybe vaguely concerned throughout the first two thirds of the film. Yip does little to enliven a flat script rife with stock phrases and worn cinematic conventions, and while her emotional distance seems genuine, it’s boring nonetheless. Motherland is, to its credit, an angry movie — director Doris Yeung drew on her own experience with the murder of her mother — but the rage fizzles when it finally does erupt, smothered by uninspired acting and a directionless screenplay. (1:33) (Berkmoyer)

*My Perestroika Robin Hessman’s very engaging documentary takes one very relatable look at how changes since glasnost have affected some average Russians. The subjects here are five thirtysomethings who, growing up in Moscow in the 70s and 80s, were the last generation to experience full-on Communist Party indoctrination. But just as they reached adulthood, the whole system dissolved, confusing long-held beliefs and variably impacting their futures. Andrei has ridden the capitalist choo-choo to considerable enrichment as the proprietor of luxury Western menswear shops. But single mother Olga, unlucky in love, just scrapes by, while married schoolteachers Lyuba and Boris are lucky to have inherited an apartment (cramped as it is) they could otherwise ill afford. Meanwhile Ruslan, once member of a famous punk band (which he abandoned on principal because it was getting “too commercial”), both disdains and resents the new order just as he did the old one. Home movies and old footage of pageantry celebrating Soviet socialist glory make a whole ‘nother era come to life in this intimate, unexpectedly charming portrait of its long-term aftermath. (1:27) Balboa. (Harvey)

*The Names of Love Arthur (Jacques Gamblin) is a 40-ish scientist being interviewed about the threat of a bird flu epidemic when his radio broadcast is interrupted by 20-something Baya (Sara Forestier), who denounces him on-air as a “fascist” for frightening the public. But then, Baya tends to use that label rather indiscriminately, applying it to anyone who might conceivably have views to the right of the dial — and Arthur is in fact a solid liberal, which means she can bed him for love. As opposed to the many, many other men she beds as a self-described “political whore,” seeking out conservative types in order to seduce them and hopefully induce an idealogical shift by whispering sweet nothings (“Not all Arabs are thieves,” etc.) as they orgasm. Raised by parents whose emotions are so tightly wound his mother won’t acknowledge her parents were Jews killed at Auschwitz, Arthur has a hard time adjusting to a relationship with a lover who is faithful emotionally but sees promiscuity as her propagandic gift to the world. Meanwhile Baya’s largely Algerian family treats garrulous political argument as the very air they breathe. This odd-couple story written by Baya Kasmi and director Michel Leclerc deals with serious issues in both humorous and respectful fashion, making for one of the more novel, delightful and depthed French romantic comedies in a long time. Added plus: lots of antic gratuitous nudity. (1:42) Smith Rafael. (Harvey)

*One Day Why do romantic comedies get such a bad rap? Blame it on the lame set-up, the contrived hurdles artificially buttressed by the obligatory chorus of BFFs, the superficial something-for-every-demographic-with-ADD multinarrative, and the implausible resolutions topped by something as simple as a kiss or as conventional as marriage, but often no deeper, more crafted, or heartfelt than an application of lip gloss. Yet the lite-as-froyo pleasures of the genre don’t daunt Danish director Lone Scherfig, best known for her deft touch with a woman’s story that cuts closer to the bone, with 2009’s An Education. Her new film, One Day, based on the best-selling novel by David Nicholls, flirts with the rom-com form — from the kitsch associations with Same Time, Next Year (1978) to the trailer that hangs its love story on a crush — but musters emotional heft through its accumulation of period details, a latticework of flashbacks, and collection of encounters between its charming protagonists: upper-crusty TV presenter Dexter (Jim Sturgess) and working-class aspiring writer Emma (Anne Hathaway). Their quickie university friendship slowly unfolds, as they meet every St. Swithin’s Day, July 15, over a span of years, into the most important relationship of their lives. Despite the blue-collar female lead and UK backdrop that it shares with An Education, One Day feels like a departure for Scherfig, who first found international attention for her award-winning Dogme 95-affiliated Italian for Beginners (2000). (1:48) (Chun)

*Our Idiot Brother If you thought 1998’s The Big Lebowski had eked all the humor that it could from the Dude, well, screenwriter (and Vanity Fair contributor) Evgenia Peretz, her not-so-idiotic brother (director Jesse Peretz), and star Paul Rudd would differ. They correctly guessed that there are still laughs to be wrung from a shaggy stoner in floral jams, only this time with less fuuuck-s and more benevolent, idiot-savant good vibrations. Dazed and confused broheim 2.0 (Rudd) is glimpsed through the jaded, harried prism of his three dysfunctional, supposedly normal sisters: frumpadelic mom Liz (Emily Mortimer), queen-bitch Vanity Fair writer Miranda (Elizabeth Banks), and slatternly would-be comedian Natalie (Zooey Deschanel). A good-hearted naïf who’s easily entrapped by a uniformed police officer claiming to need some pity doobage, Ned has just emerged from the joint and is now couch-surfing among his sibs, exposing the hypocrisies of bourgie-hipster Brooklyn, as well as the infidelities and vanities of family, friends, and partners (Steve Coogan, Rashida Jones, Adam Scott, and Hugh Dancy) as he goes, in his own good-natured, aw-shucks way. As innocuous (and desexualized) as Andy Griffith beneath the hippie trappings, this dude-with-a-little-d knows where his real family is — with his dog, Willie Nelson, who loves him just as unconditionally. Beastie besties have never seemed so innocent as they are in this proudly feel-good comedy, and despite a cringe-y, saccharine soundtrack and lackadaisical pacing, Rudd’s charismatic sunny slacker and some pointed jabs at the follies of the cooler-than-thou save this indie-that-could. (1:36) (Chun)

*Point Blank Not for nothing did Hollywood remake French filmmaker Fred Cavaye’s last film, Anything for Her (2008) as The Next Three Days (2010) — Cavaye’s latest, tauter-than-taut thriller almost screams out for a similar rework, with its Bourne-like handheld camera work, high-impact immediacy, and noirish narrative economy. Point Blank — not to be confused with the 1967 Lee Marvin vehicle —kicks off with a literal slam: a mystery man (Roschdy Zem) crashing into a metal barrier, on the run from two menacing figures until he is cornered and then taken out of the action by fate. His mind mainly on the welfare of his very pregnant wife Nadia (Elena Anaya), nursing assistant Samuel (Gilles Lellouche) has the bad luck to stumble on a faux doctor attempting to make sure that the injured man never rises from his hospital bed. As police wrangle over whose case this exactly is — the murder of an industrialist seems to have expanded the powers of the stony-faced, monolithic Commandant Werner (Gerard Lanvin) — Samuel gets sucked into the mystery man’s lot, a conspiracy that allows them to trust no one, and seemingly impossibly odds against getting out of the mess alive. Cavaye never quite stops applying the pressure in this clever, unrelenting cat-and-mouse and mouse-and-his-spouse game, topping it with a nerve-jangling search through a messily chaotic police station. (1:24) (Chun)

*Rise of the Planet of the Apes “You gotta love a movie where the animals beat up on the humans,” declared my Rise of the Planet of the Apes companion. Indeed, ape must not kill ape, and this Planet of the Apes prequel-cum-remake of Conquest of the Planet of the Apes (1972) takes the long view, back to the days when ape-human relations were still high-minded enough to forbid smart apes from killing those well-armed, not-so-bright humanoids. I was a fan of the original series, but honestly, I approached Rise with trepidation: I dreaded the inevitable scenes of human cruelty meted out to exploited primates — the current wave of chimp-driven films seems focused on holding a scary, shaming mirror up to the two-legged mammalian violence toward their closest living genetic relatives. It’s a contrast to the original series, which provided prisms with which to peer at race relations and generational conflict. But I needn’t have feared this PG-13 “reboot.” There’s little CGI-driven gore, apart from the visceral opening and the showdown, though the heartbreak remains. Scientist Will (James Franco, brow perpetually furrowed with worry) is working to find a medicine designed to supercharge the brain in the wake of Alzheimer’s — a disease that has struck down his father (John Lithgow). When the experimental chimp that responds to his serum becomes violently aggressive, the project is shut down, although the primate leaves behind a surprise: a baby chimp that Will and his father name Caesar and raise like a beloved child in their idyllic Bay Area Victorian. Growing in intelligence as he matures, Caesar finds himself torn by an existential dilemma: is he a pet or a mammal with rights that must be respected? Rise becomes Caesar’s story, rendered in heart-wrenching, exhilarating ways — to director Rupert Wyatt and his team’s credit you don’t miss the performance finesse of Roddy McDowell and Kim Hunter in groundbreaking prosthetic ape face in the original movies — while resolving at least one question about why humans gave up the globe to the primates. One can only imagine the next edition will take care of the lingering question about how even the cleverest of apes will feed themselves in Muir Woods. (1:50) (Chun)

Sarah’s Key (1:42)

*Senna When Ayrton Senna died in 1994 at the age of 34, he had already secured his legacy as one of the greatest and most beloved Formula One racers of all time. The three-time world champion was a hero in his native Brazil and a respected and feared opponent on the track. This eponymous documentary by director Asif Kapadia is nearly as dynamic as the man himself, with more than enough revving engines and last minute passes to satisfy your lust for speed and a decent helping Ayrton’s famous personality as well. Senna was a champion, driven to win even as the sometimes-backhanded politics of the racing world stood in his way. A tragic figure, maybe, but a legend nonetheless. You don’t have to be an F1 fan to appreciate this film, but you may wind up one by the time the credits roll. (1:44) Smith Rafael. (Berkmoyer)

Seven Days in Utopia (1:38)

Shark Night 3D (1:31)

Sholem Aleichem: Laughing in the Darkness This documentary cuts to the chase right at the beginning: yeah, Sholem Aleichem was the guy who wrote the Tevye stories that inspired Fiddler on the Roof. But filmmaker Joseph Dorman isn’t trying to make Fiddler: Behind the Musical. Instead, he takes an in-depth look at the life, writing career, and cultural significance of “one of the great modern Jewish writers — and our greatest Yiddish writer,” per the film’s press notes. Fans of Jewish lit will be particularly engaged by Sholem Aleichem’s tale; raised in a shtetl in what’s now the Ukraine, he moved around Europe and to the United States pursuing various careers, but always writing the popular stories that addressed not just Jewish life, but broader issues facing turn-of-the-last-century Jews, including the cross-generational conflicts that make up much of Fiddler‘s plot and humor. That said, this film does rely an awful lot on PBS-style slow pans over black-and-white photos and intellectual talking heads; one suspects the subject himself (so devoted was he to entertaining the regular folk who gobbled up his tales) would’ve preferred his life story to unfold in a livelier fashion. (1:33) (Eddy)

*Shut Up Little Man! An Audio Misadventure Once upon a time (1987 to be exact), two young men moved to San Francisco from the Midwest. Eddie Lee “Sausage” and Mitchell “Mitch D” Deprey wound up living in a somewhat derelict apartment in the Lower Haight. The paint was peeling and the walls were thin, but the rent was cheap. What Eddie and Mitch didn’t count on was having Peter J. Haskett and Raymond Huffman as their neighbors. “You blind cocksucker. You wanna fuck with me? You try to touch me and I will kill you in a fucking minute.” “Shut up! Shut up! Shut up! Shut up little man!” The insults, tantrum throwing, and threats of violence coming from next door were constant. Eddie and Mitch started to lose sleep; after one failed attempt at complaining to Raymond’s face (he threatened death), they started tape-recording the endless geyser of vitriol — first, as possible future evidence, but also out of a growing voyeuristic fascination with these two seniors who had to be the world’s oddest and angriest odd couple. The rest is history. Mitch and Eddie started including snippets of Peter and Ray’s bickering on mix tapes for friends. Somehow, the editor of the now-defunct SF noise music zine Bananafish heard a snippet and approached Mitch and Eddie about distributing compilations of the recordings to a large network of found sound fans. Gradually “Peter and Raymond” became known and much-beloved characters. Their warped repartee inspired several theatrical adaptations, short animated films, pages of comic book panels by artists such as Dan Clowes, and even a one-off single from Devo side project the Wipeouters. Matthew Bate’s documentary Shut Up Little Man! An Audio Misadventure is much an attempt to comprehensively recount the above long, strange trip from start to finish; it is also the newest chapter in the now 20-year saga of Peter, Raymond, Mitch, and Eddie. (1:30) Roxie. (Sussman)

30 Minutes or Less In some ways, 30 Minutes or Less is reminiscent of 2008’s Pineapple Express: both are stoner action comedies about normal people shoved into high-stakes criminal activity. But while Pineapple Express was an exciting addition to the genre, 30 Minutes or Less is a flimsy 80-minute diversion that still feels like a waste of time. Jesse Eisenberg plays Nick, a pizza delivery boy who is forced to rob a bank after two would-be criminals strap a bomb to his chest. Strangely, Eisenberg was more charming as Mark Zuckerberg in The Social Network (2010) — and his buddy Chet (Aziz Ansari) doesn’t exactly up the likability factor. There’s actually the potential for an interesting story here: something darker seems appropriate, given that 30 Minutes or Less was inspired by a true story with a very unhappy ending. But the film completely fumbles, delivering an action comedy that’s neither tense nor funny. That means the pizza’s free, right? (1:29) (Peitzman)

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) (Harvey)

*The Trip Eclectic British director Michael Winterbottom rebounds from sexually humiliating Jessica Alba in last year’s flop The Killer Inside Me to humiliating Steve Coogan in all number of ways (this time to positive effect) in this largely improvised comic romp through England’s Lake District. Well, romp might be the wrong descriptive — dubbed a “foodie Sideways” but more plaintive and less formulaic than that sun-dappled California affair, this TV-to-film adaptation displays a characteristic English glumness to surprisingly keen emotional effect. Playing himself, Coogan displays all the carefree joie de vivre of a colonoscopy patient with hemorrhoids as he sloshes through the gray northern landscape trying to get cell reception when not dining on haute cuisine or being wracked with self-doubt over his stalled movie career and love life. Throw in a happily married, happy-go-lucky frenemy (comic actor Rob Brydon) and Coogan (TV’s I’m Alan Partridge), can’t help but seem like a pathetic middle-aged prick in a puffy coat. Somehow, though, his confused narcissism is a perverse panacea. Come for the dueling Michael Caine impressions and snot martinis, stay for the scallops and Brydon’s “small man in a box” routine. (1:52) (Devereaux)

The Whistleblower (1:58) Smith Rafael.

*!Women Art Revolution Bay Area artist and filmmaker Lynn Hershman Leeson’s vibrant look back at the first waves of feminist art in the ’60s and ’70s is an extremely necessary and impassioned recounting of a history that perpetually seems to be on the edge of erasure. Mixing old and new interviews with artists, critics, and scholars — many of which are from Hershman Leeson’s own personal archive — !W.A.R. lets those who stood at the frontlines of one the most significant movements in contemporary art tell their own stories. Seeing and hearing the testimonies of the likes of Yoko Ono, Cindy Sherman, B. Ruby Rich, Judy Chicago, Carolee Scheeman, Rachel Rosenthal, and Ingrid Sischy, one after another, is dazzling — like being in the presence of an Olympian summit — even as their overlapping tales of pushback, casual misogyny and outright ridicule from critics, the art establishment, and in some cases, their colleagues, paint a damning picture of just how endemic sexism was, and as the need for a film such as !WAR attests to, in many ways still is. (1:23) (Sussman)

Film listings are edited by Cheryl Eddy. Reviewers are Kimberly Chun, Michelle Devereaux, Max Goldberg, Dennis Harvey, Louis Peitzman, Lynn Rapoport, Ben Richardson, and Matt Sussman. For rep house showtimes, see Rep Clock. Due to the Labor Day holiday, theater information was incomplete at presstime.

Stage Listings

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THEATER

OPENING

A Midsummer Night’s Dream Phoenix Theatere, 414 Mason, Sixth flr, SF; (415) 509-8656. $10-20. Previews Wed/7, 8pm. Opens Fri/8, 8pm. Runs Thurs-Sat, 8pm (also Sat/10, 2pm; Sept 17, 3pm). Through Sept 17. Ninjaz of Drama and Divinity Productions Presents Rey Carolino’s contemporary staging of the Bard’s classic.

Not Getting Any Younger Marsh San Francisco, Studio Theater, 1062 Valencia, SF; (415) 826-5750, www.themarsh.org. $15-50. Previews Thurs/8-Fri/9, 8pm; Sat/10, 8:30pm; Sun/11, 3pm. Opens Thurs/15, 8pm. Runs Thurs-Fri, 8pm; Sat, 8:30pm; Sun, 3pm. Through Oct 23. Marga Gomez performs her comedy about “lies, vanity, and the good old days.”

Patience Worth Thick House, 1695 18th St, SF; (415) 456-8892, www.symmetrytheatre.com. $20-30. Opens Sat/10, 8pm. Runs Thurs-Sat, 8pm; Sun, 2pm. Through Oct 2. Symmetry Theatre Company performs Michelle Carter’s world premiere about a spirit who appears via Ouija board in 1913. Erika Chong Shuch directs.

“San Francisco Fringe Festival” Exit Theatre, 156 Eddy, SF; (415) 673-3847, www.sffringe.org. $7-10 (passes, $40-75). Sept 7-18. The 20th annual fest contains over 40 shows highlighting unique indie theater.

Show Ho New Conservatory Theatre Center, 25 Van Ness, SF; (415) 861-8972, www.nctcsf.org. $20-32. Previews Thurs/8, 8pm. Opens Fri/9, 8pm. Runs Thurs-Sat, 8pm; Oct 9, 2pm. Through Oct 9. Sara Moore performs her multi-character story about a clown in a low-rent circus.

“3 Guys in Drag Selling Their Stuff” Garage, 975 Howard, SF; www.brownpapertickets.com. $20. Opens Fri/9, 8pm. Runs Fri-Sat, 8pm. Through Sept 17. Edward Crosby Wells’ bawdy comedy is about a trio of friends who host an unusual yard sale.

Turandot War Memorial Opera House, 201 Van Ness, SF; (415) 864-3330, www.sfopera.com. $21-389. Opens Fri/9, 8pm. Runs Sept 14, 22, and Oct 4, 7:30pm; Sept 17 and Oct 1, 8pm; Sept 25, 2pm. The San Francisco Opera performs Puccini’s classic in conjunction with the Lyric Opera of Chicago.

Unveiled Brava Theater, 2781 24th St, SF; (415) 647-2822, www.brava.org. $10-25. Previews Wed/7-Thurs/8, 7pm. Opens Fri/9, 7pm. Runs Sat/10, 3pm; Sun/11-Mon/12 and Sept 15-17, 3pm (also Sun/11, 3pm). Brava Theater presents Rohina Malik’s solo show about five Muslim women in the post-9/11 world.

ONGOING

“AfroSolo Arts Festival” Various venues, SF; www.afrosolo.org. Free-$100. Through Oct 20. The AfroSolo Theatre Company presents its 18th annual festival celebrating African American artists, musicians, and performers.

All Atheists Are Muslim Stage Werx Theatre, 533 Sutter, SF; (415) 517-3581, www.brownpapertickets.com. $20. Thurs-Sat, 8pm. Through Oct 1. Zahra Noorbakhsh performs her solo comedy.

American Buffalo Actors Theatre of San Francisco, 855 Bush, SF; (415) 345-1287, www.actorstheatresf.org. $26-38. Wed-Sat, 8pm. Extended through Sept 17. Actors Theatre of San Francisco performs the David Mamet crime classic.

Cymbeline Parade Ground Lawn, Main Post, Presidio (between Graham and Keyes), SF; www.sfshakes.org. Free. Sat, 7:30pm; Sun, 2:30pm. Through Sept 25. The San Francisco Shakespeare Festival presents its annual “Free Shakespeare in the Park” performance.

Exit, Pursued By a Bear Boxcar Playhouse, 505 Natoma, SF; www.crowdedfire.org. $10-35. Wed-Sat, 8pm. Through Sept 17. Crowded Fire performs Lauren Gunderson’s new play, a feminist revenge comedy.

Geezer Marsh, 1062 Valencia, SF; (415) 282-3055. $25-100. Thurs, 8pm; Sat-Sun, 5pm. Through Sept 18. Geoff Hoyle returns to the Marsh with his acclaimed solo show.

King Henry the Sixth Boxcar Studios, 125a Hyde, SF; www.brownpapertickets.com. $12-15. Thurs-Sat, 8pm. Through Sept 17. Do It Live Productions debuts with a contemporary Shakespeare adaptation.

Tigers Be Still SF Playhouse, 522 Sutter, SF; www.sfplayhouse.org. $30-50. Wed/7, 7pm; Thurs/8-Sat/10, 8pm (also Sat/10, 3pm). SF Playhouse performs Kim Rosenstock’s quirky comedy.

True West NOHspace, 2840 Mariposa, SF; 1-800-838-3006, www.truewestsf.com. $10-28. Wed-Sat, 8pm. Through Sept 17. Expression Productions presents Sam Shepard’s tale of two brothers.

Waiting for Giovanni Decker Theater, New Conservatory Theatre Center, 25 Van Ness, SF; www.nctcsf.org. $25-36. Wed-Sat, 8pm; Sun, 2pm. Through Sept 18. This world-premiere play by Jewelle Gomez in collaboration with Harry Waters Jr. imagines a split-second of indecision in the mind of author James Baldwin.

BAY AREA

The Complete History of America (abridged) Dominican University of California, Forest Meadows Amphitheater, 1475 Grand, San Rafael; (415) 499-4488, www.marinshakespeare.org. $20-35. Performance times vary; check website for schedule. Through Sept. 25. Marin Shakespeare Company performs Adam Lon, Reed Martin, and Austin Tichenor’s three-person romp through American history.

A Delicate Balance Aurora Theatre, 2081 Addison, Berk; (510) 843-4822, www.auroratheatre.org. $10-48. Previews Wed/7, 8pm. Opens Thurs/8, 8pm. Runs Tues, 7pm; Wed-Sat, 8pm; Sun, 2 and 7pm. Through Oct 9. Aurora Theatre performs Edward Albee’s comedy of manners.

The Merry Wives of Windsor Old Mill Park, 375 Throckmorton, Mill Valley; www.curtaintheatre.org. Free. Sat-Sun and Sept 5, 2pm. Through Sept 18. Curtain Theatre performs Shakespeare’s Falstaff-centric comedy.

Not a Genuine Black Man Marsh Berkeley, TheaterStage, 2120 Allston, Berk; 1-800-838-3006, www.themarsh.org. $20-50. Sat, 5pm (also Sept 8 and 22, 7:30pm). Through Sept 24. This is it: the final extension of Brian Copeland’s solo show about growing up in (nearly) all-white San Leandro.

Of Dice and Men La Val’s Subterranean, 1834 Euclid, Berk; www.impacttheatre.com. $10-20. Thurs-Sat, 8pm. Through Oct 1. Impact Theatre performs Cameron McNary’s comedy about a group of adult Dungeons and Dragons players.

Rita Moreno: Life Without Makeup Berkeley Repertory Theatre, Roda Theatre, 2015 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. $14.50-73. Opens Wed/7, 8pm. Runs Tues-Sun, showtimes vary. Through Oct 30. Rita Moreno stars in a show created specifically for her by Berkeley Rep’s Tony Taccone and David Galligan.

The Road to Hades John Hinkel Park, Southampton Ave, Berk; (510) 841-6500, www.shotgunplayers.org. $10 (suggested donation; no one turned away for lack of funds). Sat/10-Sun/11, 3pm. Shotgun Players presents a new comedy written by and starring veteran comedian and clown Jeff Raz.

Sense and Sensibility Mountain View Center for the Performing Arts, 500 Castro, Mtn View; (650) 463-1960, www.theatreworks.org. $19-69. Tues-Wed, 7:30pm; Thurs-Sat, 8pm (also Sat, 2pm); Sun, 2 and 7pm. Through Sept 18. TheatreWorks performs Roger Parsley and Andy Graham’s adaptation of the Jane Austen novel.

The Tempest Dominican University of California, Forest Meadows Amphitheater, 1475 Grand, San Rafael; (415) 499-4488, www.marinshakespeare.org. $20-35. Performance times vary; check website for schedule. Through Sept. 25. Marin Shakespeare Company presents Shakespeare’s romance with a steampunk twist.

Toke Ashby Stage, 1901 Ashby, Berk; www.brownpapertickets.com. $25. Thurs/8-Sat/10, 8pm; Sun/11, 5pm. Swirl Media presents Deedee Kirkwood’s pot-fueled comedy.

PERFORMANCE/DANCE

“Comedy Returns to El Rio” El Rio, 3158 Mission, SF; www.brownpapertickets.com. Mon, 8pm, $7-20. Stand-up performers include Dhaya Lakshminarayanan, Josh Healey, Nathan Habib, Conrad Roth, and Lisa Geduldig.

FACT/SF and Lenora Lee Dance CounterPULSE, 1310 Mission, SF; (415) 626-2060, www.counterpulse.org. Thurs-Sun, 8pm. $15-20. The companies present Pretonically Oriented v.3 and Reflections.

“Hand to Mouth Comedy” Dark Room, 2263 Mission, SF; handtomouthcomedy.tumblr.com. Thurs, 8pm. Pay what you can. This month, comedians Kurt Weitzmann, Cory Loykasek, and Bryan Yang take on conspiracy theories.

“Mortified SF” DNA Lounge, 375 11th St, SF; www.getmortified.com. Fri, 8pm, $17. The embarassing-tales smorgasbord rolls on in a back-to-school edition.

“Opera in the Park” Sharon Meadow, Golden Gate Park, SF; www.sfopera.com. Sun, 2pm. Free. SF Opera pays tribute to the victims of 9/11 with a free program of Mozart, Leonard Bernstein, and others.

“Porchlight Season 10 Kickoff: Shipwrecked! Stories from the Sea” Maritime Museum, foot of Polk (at Beach), SF; www.brownpapertickets.com. Thurs, 8pm, $15. The storytelling series beings its tenth year with a special seafaring edition.

“Process as Adventure” ODC Commons, 351 Shotwell, SF; www.odcdance.org. Thurs, 8pm. Free. Dance company Project Bandaloop presents this multi-media event and discussion.

“Second Sandwiches” Purple Onion, 140 Columbus, SF; www.willfranken.com. Sat, 8pm. $20. Comedian Will Franken performs his new solo show.

“True Stories Lounge” Make-Out Room, 3225 22nd St, SF; www.makeoutroom.com. 7:30pm, $10. Narrative journalism and other nonfiction readings from Joyce Maynard, the Guardian’s Steven T. Jones, and others.

“WestWave Dance: A Monday a Month” ODC Theater, 351 Shotwell, SF; www.westwavedancefestival.org. Mon, 8pm, $18-25. Thus month’s program, “Duets,” features Ethan and Nikki White, Pearl Marill Dance Theater, Dana Lawton, Jean Isaacs, and more.

 

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 further information on how to submit items for the listings, see Picks. For complete listings, see www.sfbg.com.

The Performant New York Edition: Too Much Rain Makes the Baby Go Soggy

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Neo-Futurists and “Ostalgia” weather the storm

No performance in New York was quite as impactful as the front row seats we had for Hurricane Irene, as subdued as she was in comparison to her North Carolina appearance, and with the MTA not running and theatres large and small shuttering their windows and barring their doors, mostly everyone just stayed home and watched the lightning instead. Good thing I’d gone to see New York’s “only open-run Off-Off-Broadway show”, the Neo-Futurists’ “Too Much Light Makes the Baby Go Blind,” and the “Ostalgia” exhibit the night before, or this week’s installment would be a total washout.


Since 1988 in Chicago and 2004 (plus three years in the ‘90’s) in New York City, “Too Much Light…” has been a weekly event featuring a high-energy ensemble attempting to perform 30 original plays in 60 minutes. Ranging in subject (last weekend) from drunken dancing jellyfish to repression of homosexuals on the African continent to a Shakespearean pie-fight, each play is performed in a random order according to numbers shouted out by the oddience. Though given a “menu” of titles at the door it’s impossible to know what to expect from a play called “portrait of a little town near the top of Maslow’s pyramid” (a brief description of the inhabitants represented by illuminated models of their houses), or “Life I Love You, all is Groovy” (three actors dunking themselves repeatedly to an iconic Simon and Garfunkel tune) until viewed, and to ensure non-repetition of experience, each week dice are rolled to determine how many plays will be dropped from the roster to be replaced with brand-new ones.
   
“Remember,” a smiling cast member reminded the applauding crowd, “if you’ve seen one Neo-Futurists’ show you’ve seen it once.”

Highlights of Friday’s show at Horse Trade’s Kraine Theatre included the snacks (sold-out shows include a free pizza ordered for the entire theatre), the gratuitous display of flesh (it was also the Half-Nekkid edition), the introduction of newest company member, Ricardo Gamboa, a brief shadow play deconstructing the phrase “a murder of crows,” the aforementioned monologue about the repression of African homosexuals (“The African Pig and Dog Report”) performed by company member Nicole Hill, a scripted pickle fight, and “(un)see,” a moody reflection on indelible images branded on the brain which branded itself on mine with bursts of incandescent light punctuated by abrupt blackouts, as a hooded figure (Jill Beckman) crawled across the stage recounting the memory of a tragedy.

Meanwhile, at the shiny, metallic behemoth of the New Museum down Bowery way, an intriguing exhibit of Eastern Bloc reminiscence entitled “Ostalgia,” is combining installation art, video, photography, sculpture, and paintings from a large cross-section of contemporary artists influenced by Soviet occupation.

Taken from the German term “ostalgie” or “nostalgia for aspects of life in East Germany,” “Ostalgia” broadens its borders to include artists from some 20 countries. Members of the “Moscow Conceptualist” movement such as Erik Bulatov, whose triptych of boldly-colored, abstracted landscapes dominate the gallery wall on which they hang, German sculptor Thomas Schütte, whose ominous metal and clay “3 Capacity Men” watch over a series of Michael Schmidt photographs of post-Cold War Germany, Lithuanian videographer Deimantas Narkevicius represented by his quirky video footage of a re-installation of a statue of Lenin, and Russian arts collective Chto Delat? (What is to be done?) with an impressively detailed, interactive timeline of the “Rise and Fall” of the Soviet Union interspersed with strange mythological creatures and wry commentary.

Much like an evening of Neo-Futurist playwriting, the bravery and breadth of subject is as varied as it is irrepressible, gazing forward into the future through the lens of a difficult past.

Grinning and bearing it

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THEATER A sweet, normally placid Southern working-class wifey named Nan Carter (Erin Gilley) — no relation to Jimmy, but oh how for some reason she wishes! — takes revenge on her abusive husband Kyle (Patrick Jones) with the help of two close friends, a roll of duct tape, a fresh deer carcass, and a working knowledge of the dramatic arts in Crowded Fire’s world premiere of playwright Lauren Gunderson’s light but witty comedy.

Taped to a ratty living room chair as the play opens, Kyle (a scruffy, gruff, gritty charmer in Jones’s skillful rendering) is getting his comeuppance in the form of a theatrical performance. Center stage is aggrieved wife Nan as herself, with admirable supporting work from new pal Sweetheart (Andrea Snow), a.k.a. Peaches, a stripper and amateur thesp who plays “Kyle” in a series of scenes meant to detail the real Kyle’s wicked ways, and make manifest Nan’s heretofore disregarded perspective. Out of the wings and through the front door also comes Simon Beaufort (Reggie D. White), Nan’s longtime best friend and champion as well as somewhat bitchy cheerleader (complete with pompoms).

Meanwhile, Kyle is prepped with hunks of venison and plastic bottles of honey for the bears that apparently still roam the mountains of North Georgia. His instinct, under the circumstances, is to pitch some overdue woo to his wavering wife, as fast as possible. Hence, more or less, the title of Gunderson’s play, which repeats a famously evocative stage direction in Shakespeare’s The Winter’s Tale. The play has less to do with Shakespeare per se, however, than the role of imagination and theater as a vehicle for personal and communal transcendence.

Not to put too fine a point on it. Exit is a spirited comedy, able and clever, with likeable performances under Desdemona Chiang’s sure direction. There’s a trickle of treacle running through it, but Gunderson has a fine way with comic dialogue and demonstrates restraint in the sentiment department, while pivoting respectfully around the subject of domestic violence. At the same time, the invention and exploration feel tame for all the wild life running around the text — which also includes more arbitrary flights, like Nan’s emphasis on the words and quote-unquote wisdom of former president Carter, which flavor her dialogue like a sweet but vague slathering of peanut sauce. Moreover, the plot never holds much in way of suspense, the moral coming way out front. In fact, this easy pleasures here bring to mind another new play running on a local stage just now (and not just for its animal-imagery magnetism), Kim Rosenstock’s adept but ultimately glancing dramedy Tigers Be Still at SF Playhouse.

 

EXIT, PURSUED BY A BEAR

Through Sept. 17

Wed.-Sat., 8 p.m., $10–$35

Boxcar Playhouse

505 Natoma, SF www.crowdedfire.org

Muslim and proud (and hilarious)

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THEATER Onstage, a woman and her father battle over modern sensibilities versus religious tradition. The father leads with a left jab and the mantra “in the Koran, in the Koran, in the Koran,” which the daughter counters with a roundhouse punch and “third-wave feminism.” Both characters are being played by Zahra Noorbakhsh, a feisty, spirited, thoroughly modern woman — and a Muslim, an important part of her identity she’s not about to let anyone forget. But believing in God doesn’t mean your interpretation of “God’s law” is going to be the same as your parents’, and her notion that her long-distance, white, atheist boyfriend Duncan ought to move in with her, purely for reasons of economy of course, is not a prospect her devout Iranian parents can whole-heartedly embrace.

“It’s against the Koran, man,” her father states definitively. “What you want me to do?”

What he will do is the greatest draw of the show, provocatively entitled All Atheists Are Muslim, which made its New York International Fringe Festival debut to a sold-out house on August 12, weeks away from the tenth anniversary of 9/11 — a date most New Yorkers are all too aware of. Not that Iran has anything to do with that particular date (even George W. wouldn’t go that far), but the intricacies of Islam are nonetheless of enduring topical interest.

“Growing up Muslim-Iranian, I had to constantly, vehemently defend my faith, my culture, and my family everyday,” Noorbakhsh reminisces. Even today, people she is close with freely equate “Muslim” with “terrorist” in polite conversation — even people who have seen her show and know her personally.

Deciding to apply to the New York International Fringe Festival seemed like a logical way to bring her comedic message of tolerance and inter-cultural exchange to New York, especially after having accompanied her director W. Kamau Bell to the 2009 Fringe to run tech for his show The W. Kamau Bell Curve: Ending Racism in about an Hour. After several months of meeting deadlines for program blurbs, participant fees, and tech specs, Noorbakhsh and her “Authorized Company Representative” (also her atheist boyfriend) have been tirelessly navigating the Fringe from the clusters of black-box theaters that dot the brownstone landscape of the East Village.

Working the post-show crowds of her own and others’ shows, Noorbakhsh exudes big sisterly camaraderie and casual confidence rather than rehearsed marketing speak, and a good percentage of her audiences has been made up of fellow performers — a true sign of Fringe success. Of course the run hasn’t been without its surprises. One front-row audience member abruptly refused to be “converted” (“It says right on the postcard that the first three rows will be converted to Islam,” Noorbakhsh points out with amused exasperation). Along those lines, the emphasis placed on handing out postcards as marketing strategy was a surprise; “in San Francisco, it’s a faux pas,” she says of the practice in the local comedy club scene. Above all, her major sense of frustration has come from trying to attract fellow Persians to the show, a difficulty she has not experienced in California.

“In San Francisco I’m an active member of the Persian community,” she explains. “I’m vocal and participate in many organizations. [In New York], nobody knows me outside of this very bold, divisive, and controversial title.”

That many Iranian-Americans she knows identify as atheist rather than Muslim, distancing themselves as much as possible from Iran’s Islamic regime, is certainly part of the obstacle. It seems it’s not just misguided Caucasian theatre-goers who are guilty of confusing “Muslim” with “terrorist”

“This fear of the word Muslim has to stop,” Noorbakhsh opines. “We’ve got to point out how much people flinch at just the word and how horrifyingly racist and damaging that demonization is.”

At Noorbakhsh’s last show of her New York run, a record 20 people are turned away at the door (including, alas, the long-awaited Persians), and the packed house roars appreciatively at her lovingly-skewered portrayal of her foul-mouthed father (“What the shit hell is this, man?”) and her winsome mother, who offers to buy her a Persian rug if she’ll just get married already. Leading the audience through the terms of the compromise they all agree to in order to preserve the peace, Noorbakhsh makes it possible for the audience to fall in love with her tradition-bound family despite their initial resistance to Noorbakhsh’s American-born sensibilities.

And how do her parents feel about Noorbakhsh’s audiences? “They usually sell my tickets,” laughs Noorbakhsh. “They love it.”

ALL ATHEISTS ARE MUSLIM

Through Oct. 1, $20

Opens Thurs/1, 8 p.m.

Runs Thurs.-Sat., 8 p.m.

Stage Werx Theatre

533 Sutter, SF

(415) 517-3581

www.brownpapertickets.com

Our weekly picks: Aug. 31-Sept. 6

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WEDNESDAY 31

FILM

“Bernal Heights Outdoor Cinema”

Don’t let all those school supplies in Walgreens fool you — summer in San Francisco is still going strong. Hope for one (or more!) of those rare fog-free nights during Bernal Heights Outdoor Cinema, a showcase of over 70 shorts made by residents of the ‘hood and points beyond. Tonight’s way-out-east opening party previews the whole shebang with live music by Stoo Odom and the Odom Poles; other events include a block party on Tiffany Avenue (runs parallel to Mission; access it from 29th St.), a “film crawl” down Cortland Avenue (get drunk on HD videos!), a screening in Precita Park, and a finale party at El Rio. The kick-off has a suggested donation to benefit Bernal History Project, but the rest of the fest is free. (Cheryl Eddy)

6:30 p.m., suggested donation $15

Old Clam House

299 Bayshore, SF

(415) 641-0324

www.bhoutdoorcine.org

 

FILM

“Cary Grant: Definitive Star”

Cary Grant was the prototypical total-package leading man: suave and dapper, gruff yet dreamy, totally manly (could kick ass atop Mount Rushmore) yet sensitive (could sweep a starlet off her feet without rumpling his hairdo). George Clooney wishes he could measure up. Show your appreciation for one of cinema’s all-time greats — and hey, the films themselves are pretty special, too — during this weeklong appreciation of the Divine Mr. Grant. Selections hew toward his 1930s-40s output of rapid-fire Howard Hawks comedies (1938’s Bringing Up Baby, which screens in a brand-new 35mm print; 1940’s His Girl Friday), but his Hitchcock turns (including 1959’s North By Northwest and, drool, 1946’s Notorious) and 1940’s classic The Philadelphia Story are also represented. (Eddy)

Through Tues/6, $7.50–$10

Castro Theatre

429 Castro, SF

(415) 621-6120

www.castrotheatre.com

 

THURSDAY 1

MUSIC

Uzi Rash

If your friendly neighborhood punk house grew arms and legs, developed vocal chords, and started a band, said band would probably sound a lot like Uzi Rash. A mad jangle, barely held together by grit and charm, Uzi Rash flourishes on the edge of collapse. No two songs sound the same, and band membership constantly mutates, but the appeal remains. Uzi Rash is Oakland’s answer to the Urinals, bolstered by the avant-garde weirdness of bands like Chrome or Pere Ubu, a combination that has earned a dedicated following in the bay and beyond. Lest you be surprised, an Uzi Rash show is hardly predictable; the energy is organic and the ride is free. Or six bucks. Or something like that. (Cooper Berkmoyer)

With King Lollipop, Buffalo Tooth, and Cool Ghouls

9 p.m., $6

Thee Parkside

1600 17th St., SF

(415) 252-1330

www.theeparkside.com

 

MUSIC

Peaches

What can you learn from the teaches of Peaches? That sex is good, all types of body hair should be adored not shorn, and if you don’t like her style, you can get the fuck out of the club. Berlin-based artist Peaches (not be confused with our own priestess, Peaches Christ) rose from the ranks during electroclash’s heyday in the early 2000s with a far more distinctive style than others that claimed the genre. She was fierce with taboo lyrics, confusing sexuality, and throbbing beats — and is still nails-tough with followup albums such as 2009’s I Feel Cream. And of that now-rubble of electrocrash, she proudly still remains, standing atop it with arms akimbo, gleaming in shiny gold spandex hotpants, the gender-bending mistress of futuristic trash pop. (Emily Savage)

With Maluca

9 p.m., $20

Mezzanine

444 Jessie, SF

(415) 625-8880

www.mezzaninesf.com

 

FRIDAY 2

FILM

“Love Exposure”

Sion Sono, the groundbreaking, prolific, and perhaps mad writer/director/poet who notably brought the world Suicide Circle (2001) — a movie that after having watched twice I still can’t really tell you what it’s about — has once again dropped jaws across the globe with his most ambitious feature to date. Love Exposure is a nearly four-hour-long epic about a love smitten devoutly Catholic teenager named Yu Honda as he masters the art of upskirt photography, chases the object of his obsessive desire, and eludes a violent cultist. Released in Japan over three years ago to widespread acclaim, it has only recently made its way to our shores; Sept. 2 will be your first chance to catch this beast of a film in San Francisco but hopefully not your last. (Berkmoyer)

Fri/2 — 9/8

$10

Roxie Theater

3117 16th St., SF

(415) 863-1087

www.roxie.com

 

MUSIC

Chelsea Wolfe

It’s been one full year since the beginning of based goth club night 120 minutes. As the club puts it: “a year of darkness and based goth… lasers and fog… thizzed out thugz in black throwin’ up occult signs and goth kids sippin’ sizzurp and screamin’ along to waka flocka flame.” To celebrate the anniversary of such mayhem, Los Angeles-based musician Chelsea Wolfe is coming in for a live set, arriving on the heels of her exquisitely haunting new release, Ἀποκάλυψις (pronounced “apokalypsis”). It touches both darkness and light, pain and ecstasy. From the opening beastly howl to the more subdued ethereal end, the album plays out like a black veil-laced journey on-foot through punishing natural elements. Which should fit nicely with the 120 Minutes crowd. (Savage)

120 Minutes anniversary

With DJ Todd Pendu, DJs Nako, and Whitch

10 p.m., $10

Elbo Room

647 Valencia, SF

(415) 552-7788.

www.elbo.com

 

SATURDAY 3

MUSIC

Dreamdate

What’s your dream date? Perhaps the night would start off with beers, then move on to pizza . . . then more beers? You and your date could take a stroll and talk about life. “You know what I hate?” . . . “Me too!” Maybe you would broach the subject of early-to-mid 90s indie pop. What d’ya know, you both like Cub and Go Sailor! The Popguns too! A match made in heaven. “Hey, have you heard of Dreamdate?” “Who?” “It’s new. It’s a three piece from the bay. It’s sweet and catchy without making you feel like you’re choking on a cube of sugar that’s boring its way into your brain.” “I hate that.” “Me too. But I love Dreamdate.” (Berkmoyer)

With Lilac, the Ian Fays and Wild Assumptions

6 p.m., $6

423 40th St., Oak.

(510) 985-0325

www.1234gorecords.com

 

DANCE

RawDance Concept Series 9 Why overpay for a 3D movie when you can get live action art with free popcorn to boot? Dance artists Wendy Rein and Ryan Smith of RawDance host Concept Series 9, an intimate salon featuring works-in-progress and dance repertory by Bay Area dance artists. In addition to pieces by RawDance, this installment includes a new solo by former Martha Graham Dance Company performer David Martinez who has crowdsourced content to fold into his choreography, the darkly humorous 13th Floor Dance Theater directed by Jenny McAllister, Tanya Bello’s project.b, Gretchen Garnett and Dancers and punkkiCo, led by Finnish import Raisa Punkki. (Julie Potter)

Sat/3, 8 p.m. and Sun/4, 3 and 8 p.m.9 p.m., $8

66 Sanchez, SF

(415) 686-0728

www.rawdance.org

 

MUSIC

RTX

With the demise of ’90s indie rock heavyweights Royal Trux in 2001, longtime creative partners Neil Hagerty and Jennifer Herrema parted ways with Hagerty founding Howling Hex and Herrema adopting the name RTX for her own project. Since then, RTX has released scores of records, solidifying Herrema’s reputation as a songwriter and badass of renown while reaching out to a legion of fans, young and old(er) alike, with a lurching amalgam of everything that rocks, from skate punk to old school psychedelia and everything in between; it’s a mystical trip in the desert with nothing but torn jeans, cowboy boots, and a stick-n-poke Camero on your bicep. It makes you want to drink whiskey and say “fuck.” I miss my long hair. (Berkmoyer)

With White Fence, Heavy Cream and Burnt Ones

9 p.m., $8

Thee Parkside

1600 17th St., SF

(415) 252-1330

www.theeparkside.com

 

SUNDAY 4

EVENT

Star Wars Day

Having won their first World Series title since moving to San Francisco last season, the Giants seemed, as Master Yoda would say, “at one with the Force.” In a fitting tribute to their victory, the team is hosting “Star Wars Day” at the ballpark, complete with a pre-game costume contest and party, a post-game screening of The Empire Strikes Back, and a special “Brian Wilson in Carbonite” giveaway. With his awesome, Jedi-like command of the ball when pitching, Wilson is a most appropriate pick — not to mention the fact that with his epic beard, he’s starting to look a little bit like Obi-Wan Kenobi! (Sean McCourt)

11 a.m.; Pricing varies; see website for current availability

AT&T Park

24 Willie Mays Plaza, SF

(415) 972-2000

www.sfgiants.com/specialevents

 

MUSIC

Twin Sister Twin Sister makes funky pink frosted cake-making, pinata-swinging, casual party music. Just check out the Brooklyn-via-Long Island band’s video for “Bad Street” off its forthcoming album In Heaven. Shot on location at breathy, sweet-voiced singer Andrea Estella’s family home, the video captures a pretty epic celebratory affair, replete with balloons and metallic streamers. Estrella’s family is made up of Salvadorians and Puerto Ricans, and she says the the video and the lyrics of the song are about Latin American life in New York. While other Twin Sister tunes expose a dreamy ’80s pop bent, this particular track sounds like a funked out ’70s block party. Just pray you get the invite.(Savage)

With Devon Williams, Library Voices

8 p.m., $12 Rickshaw Stop

155 Fell, SF

(510) 861-2011

www.rickshawstop.com

 

TUESDAY 6

MUSIC

The Mummies

There will only be 40 tickets sold at the door to this notably awesome, already pre-sold out show at the Knockout — I mean, these are the godparents of San Francisco surf punk we’re talking about here. Beginning in 1988, the gauzy white-cloth-wrapped band mixed 1960s-style surf rock riffs with the more modern sounds of clattering garage punk. All the Mummies have since joined other acts, but the band still occasionally regroups for live SF shows. Of course, Russell Quan is most often seen these days behind the DJ booth at twist-crazy club night Teenage Dance Craze at the Knockout, so what better place to host the show? And it should be a good one. The flier teases “Wear white shoes for a special surprise treat. Things will get out of hand.” (Savage)

With the Hondettes, DJ Russell Quan

10 p.m., $15 Knockout

3223 Mission, SF

(415) 550-6994

www.theknockoutsf.com 

 

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Film Listings

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

OPENING

Apollo 18 Faux-found-footage horror flick about a top-secret moon landing gone terribly awry. (1:26)

The Debt On paper, The Debt has a lot going for it: captivating history-based plot, “it” actor Jessica Chastain, Helen Mirren vs. Nazis. And while the latest from John Madden (1998’s Shakespeare in Love) is fairly entertaining, the film is ultimately forgettable. Chastain plays Rachel, a member of an Israeli team tasked with capturing a Nazi war criminal and bringing him to justice. Mirren is the older Rachel, who is haunted by the long-withheld true story of the mission. Although The Debt traffics in spy secrets, it’s actually rather predictable: the big reveal is shrug-worthy, and the shocking conclusion is expected. So while the entire cast — which also includes Tom Wilkinson, Sam Worthington, and Ciaran Hinds — turn in admirable performances, the script is lacking what it needs to make The Debt an effective drama or thriller. Like 2008’s overrated The Reader, the film tries to hide its inadequacies under heavy themes and the dread with which we remember the Holocaust. (1:54) (Peitzman)

Film Socialisme For the record, Jean-Luc Godard is alive and well and still making thought-provoking films. (1:41) SFFS New People Cinema.

A Good Old Fashioned Orgy Thirtysomethings in the Hamptons do the darndest things. (1:35)

*Higher Ground Higher Ground does not bite off more than it can chew. I guess that should go without saying, but it’s striking how comfortably Vera Farmiga (in her directorial debut) tackles this story of devotion and doubt. Based on the memoirs of Carolyn S. Briggs, who co-wrote the screenplay, this deeply personal film follows Corrine Walker (Vera Farmiga) from her adolescence through the trials of youth and middle age, her marriage to high school sweetheart Ethan (Joshua Leonard), and their lives as members of a small hippie Christian community. Although religion serves as a backdrop for Higher Ground, it doesn’t suffocate the human element of the story; it’s less a film about Christianity than it is about the challenges one woman faces as she tries to find room for herself amidst faith. Farmiga treats her subjects with empathy and humor and crafts a thoughtful, tender slice of sixties Midwest Americana. (1:49) (Cooper Berkmoyer)

*The Interrupters See “Chicago Hope.” (2:05)

*Love Exposure See Trash. (3:57) Roxie.

Seven Days in Utopia If the sports sub-sub-genre “existential golf drama” is your idea of a good time, you’re in luck this week. (1:38)

Shark Night 3D Just realized this movie is rated PG-13. DISLIKE. (1:31)

ONGOING

*Beginners There is nothing conventional about Beginners, a film that starts off with the funeral arrangements for one of its central characters. That man is Hal (Christopher Plummer), who came out to his son Oliver (Ewan McGregor) at the ripe age of 75. Through flashbacks, we see the relationship play out — Oliver’s inability to commit tempered by his father’s tremendous late-stage passion for life. Hal himself is a rare character: an elderly gay man, secure in his sexuality and, by his own admission, horny. He even has a much younger boyfriend, played by the handsome Goran Visnjic. While the father-son bond is the heart of Beginners, we also see the charming development of a relationship between Oliver and French actor Anna (Mélanie Laurent). It all comes together beautifully in a film that is bittersweet but ultimately satisfying. Beginners deserves praise not only for telling a story too often left untold, but for doing so with grace and a refreshing sense of whimsy. (1:44) (Peitzman)

*Bellflower Picture Two Lane Blacktop (1971) drifters armed with “dude”-centric vocabulary and an obsession with The Road Warrior (1981) and its apocalypse-wow survivalist chic. There are so many pleasures in this janky, so-very-DIY, heavy-on-the-sunblasted-atmosphere indie that you’re almost willing to overlook the clichés, the dead zones, and the annoying characters. Seeming every-dudes Woodrow (director-writer-producer Evan Glodell) and Aiden (Tyler Dawson) are far too obsessed with tricking out their cars and building a flamethrower for their own good — the misfits must force themselves out of the metal shop of the mind to meet women. So when Woodrow goes up against Milly (Jessie Wiseman) in a cricket-eating contest at a bar, it’s love at first bite. Their meet-gross morphs into a road trip and eventually a relationship, while the flamethrower nags, unexplained, in the background, like an unfired gun — or an unconsummated, not-funny bromance. These manifestations of male fantasy — muscle cars, weapons, and tough chicks — are cast in a dreamy, saturated, and burnt-at-the-edges light, as Glodell and company weave together barely articulated reveries and bad-new-west imagery with a kind of fuck-all intelligence, culminating in a finale that will either haunt you with its scattershot machismo-romanticism or leave you scratching your noggin wondering what just happened. (1:46) (Chun)

Brighton Rock Writer Rowan Joffe (2010’s The American) moves into the director’s chair for this Graham Greene adaptation, previously filmed in 1947 with an early-career star turn by Richard Attenborough. Joffe’s version updates Greene’s 1938 story to 1964, allowing the brutal actions of small-time hood Pinkie Brown to unfold as Britain’s mods vs. rockers youth riots boil in the background. Don’t get too excited, though — despite a cool premise and even cooler setting, and the presence of veterans Helen Mirren and John Hurt in supporting roles, Brighton Rock rages without a rudder. Pinkie is played by Sam Riley (so good as Ian Curtis in 2007’s Control), who snarls like a sociopathic James Dean and is so transparently hateful it’s hard to root for anything other than his hastened demise. Brighton Rock‘s most memorable element is probably Andrea Riseborough, an on-the-verge young Brit who’s being touted as the next Carey Mulligan. She has the thankless (yet showy) role of Rose, a naïve waitress who becomes entangled in Pinkie’s web after being in the wrong place at the wrong time. A far-from-storybook ending awaits, and you’ll experience little enjoyment watching the characters claw their way there. (1:51) (Eddy)

Buck This documentary paints a portrait of horse trainer Buck Brannaman as a sort of modern-day sage, a sentimental cowboy who helps “horses with people problems.” Brannaman has transcended a background of hardship and abuse to become a happy family man who makes a difference for horses and their owners all over the country with his unconventional, humane colt-starting clinics. Though he doesn’t actually whisper to horses, he served as an advisor and inspiration for Robert Redford’s The Horse Whisperer (1998). Director Cindy Meehl focuses generously on her saintly subject’s bits of wisdom in and out of a horse-training setting — e.g. “Everything you do with a horse is a dance” — as well as heartfelt commentary from friends and colleagues. In the harrowing final act of the film, Brannaman deals with a particularly unruly horse and his troubled owner, highlighting the dire and disturbing consequences of improper horse rearing. (1:28) (Sam Stander)

Captain America: The First Avenger OK, Marvel. I could get behind 2008’s Iron Man (last year’s Iron Man 2, not so much), but after Thor and now Captain America, I’m starting to get cynical about this multi-year build-up to the full-on Avengers movie, due in May 2012. Can even a superhero-stuffed movie directed by Joss Whedon live up to all this hype? There’s plenty of time to ponder, and maybe worry a little, with Captain America’s backstory-explaining picture now in theaters. Chris Evans stars as the 90-pound weakling who morphs into a supersoldier, thanks to the World War II-era tinkerings of a scientist (Stanley Tucci) and an inventor (Dominic Cooper as Howard Stark, a.k.a. Iron Man’s dad). The original plan for the musclebound shield-bearer (fighting Nazis, natch) gets waylaid a bit when the newly famous Captain America becomes a PR prop for the U.S. government; it’s abandoned entirely when a worse-than-Hitler foe, in the guise of power-obsessed Red Skull (Hugo Weaving), threatens the world. Directed by Spielberg cohort Joe Johnston, Captain America is gee-whiz enjoyable enough, but it’s very nearly the same movie as Thor, which no amount of Tommy Lee Jones (as a sarcastic army colonel) wisecracks can conceal. And here’s an anti-spoiler: there’s no post-credits surprise in this one, so you can bolt as soon as they start to roll. (2:09) (Eddy)

Colombiana (1:47)

Conan the Barbarian Neither 3D (unnecessary) nor Game of Thrones‘ Jason Momoa (beefcake-y) are enough to make this Conan the Barbarian competition for the 1982 Schwarzenegger classic. This new take is a barely adequate adventure movie helped along by Rose McGowan’s leering turn as an evil witch with Freddy Krueger claws. Would that everyone involved (including frequent remake director Marcus Nispel) had McGowan’s razor-sharp grasp of tone; as a whole, the film is never quite sure if it’s a camp-tastic voyage (the prologue, containing Conan’s birth and much Ron Perlman nostril-flaring, suggests what might have been) or a semi-straightforward fantasy actioner. A totally forgettable female lead (Rachel Nichols), a he-was-scarier-in-Avatar villain (Stephen Lang), a blah mixture of two tired plots (revenge + “chosen one”) — there’s just not a lot here, aside from a few hilarious lines of dialogue and Momoa’s muscles. He was so great in Game of Thrones, though, I suspect this dud won’t keep his career from skyrocketing. (1:42) (Eddy)

Cowboys and Aliens Here ’tis in a nutshell: the movie’s called Cowboys and Aliens — and that’s exactly, entirely what you’ll get. Director Jon Favreau may never best 2008’s Iron Man (actor Jon Favreau will prob never top 1996’s Swingers, but that’s a debate for another time), but that doesn’t mean he won’t have a good time trying. Cowboys is a genre mash-up in the most literal sense; as the title suggests, it pits Wild West gunslingers (Harrison Ford as a crabby cattleman, Daniel Craig as an amnesiac outlaw) against gold-seeking space invaders who also delight in kidnapping and torturing humans. As stupidly entertaining as it is, this is a textbook example of a pretty OK movie that could have been so much better … if only. If only the alien characters had a little bit more District 9-style personality. If only the story had a shred of suspense — look ye not here for “spooky” and “mysterious;” this shit is 100 percent full-on explosions. If only Craig’s comically fine-tooled physique didn’t outshine his wooden acting. And so forth. (1:58) (Eddy)

Crazy, Stupid, Love Keep the poster’s allusion to 1967’s The Graduate to one side: there aren’t many revelations about midlife crises in this cleverly penned yet strangely flat ensemble rom-com, awkwardly pitched at almost every demographic at the cineplex. There’s the middle-aged romance that’s withered at the vine: nice but boring family man Cal (Steve Carell) finds himself at a hopeless loss when wife and onetime teenage sweetheart Emily (Julianne Moore) tells him she wants a divorce and she’s slept with a coworker (Kevin Bacon). He ends up waxing pathetic at a slick nightclub where he catches the eye of the well-dressed, spray-tanned smoothie Jacob (Ryan Gosling), who appears to have taken his ladies man stance from the Clooney playbook. It’s manly makeover time: GQ meets Pretty Woman (1990)! Cut to Cal and Emily’s babysitter Jessica (Analeigh Tipton), who is crushing out on Cal, while the separated couple’s tween Robbie (Jonah Bobo) hankers for Jessica. Somehow Josh Groban worms his way into the mix as the dullard suitor of Hannah (Emma Stone) in a hanging chad of a storyline that must somehow be resolved in this mad, mad, mad, mad — actually, the problem with Crazy, Stupid, Love is that it isn’t really that crazy. It tries far too hard to please everybody in the theater to its detriment, reminding the viewer of a tidy, episodic TV series (albeit a quality effort) like Modern Family more than an actual film. Likewise I yearned for a way to fast-forward through the too-cute Jessica-Robbie scenes in order to get back to the sleazy-smart, punchy complexity of Gosling, playing adeptly off both Carrell and Stone. (1:58) (Chun)

The Devil’s Double Say hello to my little friend, again— and rest assured, it’s not a dream and you’re seeing double. New Zealand filmmaker Lee Tamahori gets back to his potboiler roots with this campy, claustrophobic look back at the House of Saddam Hussein, based on a true story and designed to win over fans of Scarface (1983) with its portrait of mad excess and deca-dancey ’80s-ish soundtrack. The craziest poseur of all is Hussein’s son Uday (Dominic Cooper), a petty dictator-in-the-making — and, according to this film, a full-fledged murderous pedophile — who chomps cigars and wraps his jaws around schoolgirls while Cooper happily chews scenery. Uday needs a double to sidestep all those troublesome assassination attempts, so he enlists look-alike childhood friend Latif (also Cooper) to get the surgery, pop in the overbite, bray like a madman, make appearances in his stead, and function as a kind of pet human. Never mind Ludivine Sagnier, glassy-eyed and absurd in the role of Uday’s favorite sex kitten Sarrab — Double is completely Cooper’s, who seizes the moment, investing the morally upstanding Latif with a serious sincerity with just his eyes and body language and infusing evil odd job Uday with a dangerous, comic-book unpredictability. To his credit, Cooper imbues such cult-ready, blow-the-doors-off lines as “I love cunt! I love cunt more than god!” with, erm, believability, even as the denouement rings somewhat false. (1:48) (Chun)

Don’t Be Afraid of the Dark If you’re expecting a traditional haunted house story, Don’t Be Afraid of the Dark might be a disappointment. The film, which was co-written by Guillermo del Toro, has a lot in common with his Pan’s Labyrinth (2006) — both movies are more dark fairy tale than horror. They follow a young girl who discovers a mystical world around her, much to the disbelief of the adults around her. It’s worth noting that Don’t Be Afraid of the Dark is lighter fare: despite all the peril involved, it’s actually pretty fun. Young Bailee Madison, who made such an impression in 2009’s Brothers, is a charming lead, precocious but believable. And Katie Holmes is surprisingly sympathetic in her role as the caring stepmother, a nice switch from the standard fairy tale trope. As with Fright Night, the ad campaign for Don’t Be Afraid of the Dark is misleading, so here’s hoping audience members looking for a gory slasher will appreciate a whimsical fable instead. (1:40) (Peitzman)

Fright Night Don’t let the spooky trailer fool you: the Fright Night remake is almost as silly as the original. In fact, it follows the 1985 film closely, as young Charley Brewster (Anton Yelchin) comes to realize that his neighbor Jerry (Colin Farrell) is a vampire. The biggest change is a smart one — this Fright Night transforms late-night TV host Peter Vincent into Criss Angel-type illusionist Peter Vincent (David Tennant). The casting is spot on all-around, and frankly, Farrell is a lot more believable than Chris Sarandon as the seductive bad boy. The only real problem with the new Fright Night — other than the unnecessary 3D — is that it never fully commits to camp the way the original did. There’s a bit too much back-and-forth between serious scares and goofy blood splatters. Luckily, it’s still an entertaining remake that doesn’t crap all over a classic. It’s also a great reminder that vampires don’t have to be moody — remember, they used to be fun. (2:00) (Peitzman)

*The Future Dreams and drawings, cats and fantasies, ambition and aimlessness, and the mild-mannered yet mortifying games people play, all wind their way into Miranda July’s The Future. The future’s a scary place, as many of us fully realize, even if you hide from it well into your 30s, losing yourself in the everyday. But you can’t duck July’s collection of moments, objects, and small gestures transformed into something strangely slanted and enchanted, both weird and terrifying, when viewed through July’s looking glass. Care and commitment — to oneself and others — are two vivid threads running through The Future. Cute couple Sophie (July) and Jason (Hamish Linklater) — unsettling look-alikes with their curly crops — appear at first to be sailing contently, aimlessly toward an undemanding unknown: Jason works from home as a customer-service operator, and Sophie attempts to herd kiddies as a children’s dance instructor. But enormous, frightening demands beckon — namely the oncoming adoption of a special-needs feline named Paw-Paw (voiced by July as if it’s a traumatized, innocent child). Lickety-splitsville, they must be all they can be before Paw-Paw’s arrival. The weirdness of the familiar, and the kindness of strangers, become ways into fantasy and escape when the couple bumps up against the limits of their imagination. This ultra-low-key horror movie of the banal is obviously remote territory for July (2005’s Me and You and Everyone We Know). The Future is her best film to date and finds her tumbling into a kind of magical realism or plastic fantastic, embodied by a talking cat that becomes the conscience of the movie. (1:31) (Chun)

The Guard Irish police sergeant Gerry Boyle (Brendan Gleeson) is used to running his small town on his own terms — not in a completely Bad Lieutenant (1992) kind of way, though he’s not afraid to sample drugs and hang with hookers. More like, he’s been running the show for years, and would prefer that big-city cops stay the hell out of his village. Alas, a gang of drug smugglers is doing business in the area, so an officious group of investigators from Dublin (horrors!) and America (in the form of an FBI agent played by Don Cheadle) soon descend. His mother’s dying, his brand-new partner’s missing, and between all the interlopers on both sides of the law, Boyle’s having a hard time having a pint in peace. Good thing he’s not as simple-minded as all who surround him think he is. Writer-director John Michael McDonagh (brother of playwright Martin, who directed 2008’s In Bruges — also starring Gleeson) puts an affable Irish spin on what’s essentially a pretty typical indie comedy, with some pretty typical crime-drama elements layered atop. Boyle’s character is memorably clever, but the film that contains him never quite elevates to his level. (1:36) (Eddy)

Gun Hill Road Though the visibility of gays and lesbians in cinema remains (largely) confined to independent film, Rashaad Ernesto Green, in his debut feature Gun Hill Road, uses the creative freedom afforded by that closeting to explore issues of race and confused sexuality amid the Latino population of the Bronx. Esai Morales is Enrique, a former drug dealer returning from prison to his wife Angela (Judy Reyes) and teenage son Michael (Harmony Santana). But everyone seems to have moved on with their lives. Angela is having an affair, and Michael has created a new persona, Vanessa. Green’s film focuses on the relationship between the damaged Enrique and Michael, whose cross-dressing and budding transsexuality puts the family members at odds. Nominated for the Grand Jury Prize at Sundance and an entry in this year’s Frameline Film Festival, Gun Hill Road is one in a recent spate of films that deals with coming out in an urban setting. Like Green’s film, Peter Bratt’s La Mission (2009) offered a picture of homophobia in the Latino community. But Gun Hill Road, despite its bulging dramatic heft, shirks the after-school-special formula of La Mission by imagining complex characters rather than hewing them from instantly recognizable, sympathetic archetypes. (1:28) (Ryan Lattanzio)

*Harry Potter and the Deathly Hallows Part 2 Chances are you aren’t going to jump into the Harry Potter series with Harry Potter and the Deathly Hallows Part 2. So while the movie is probably the best Harry Potter film yet, it’s more a fitting conclusion than a standalone film. For fans of the books, there are no real surprises — this is a close adaptation. And for those Harry Potter movie fans who haven’t read the books, shame on you, and kudos if you managed to not get spoiled. It’s hard for me to offer a serious critical analysis of Part 2, because it represents the end of a long and very emotional journey. (Everyone in that audience was crying. Everyone.) I will say that, as was the case in the book, there are a few overdone, schmaltzy moments that aren’t really necessary. But in the context of the series, they’re forgivable — this may not be the great cinematic event of our generation, but Harry Potter as a whole is sure to be one of our most enduring cultural icons. (2:10) (Peitzman)

*The Hedgehog You needn’t possess the rough, everyday refinement of the characters of The Hedgehog to appreciate this debut feature by director-screenwriter Mona Achache — just an appreciation for a delicate touch and a tender heart. Eleven-year-old Paloma (the wonderful Garance Le Guillermic) is too smart for her own good, bored, neglected by her parents, and left to fend for herself with only her considerable imagination and a camcorder. She drifts around her fishbowl of privilege, a deluxe art nouveau-style apartment building in Paris, leveling her all-too-wise gaze on its denizens and plotting certain suicide on her 12th birthday — that is until a new resident appears in her viewfinder: a kindly Japanese gentleman Kakuro Ozu (Togo Igawa). He has as much of a connoisseur’s eye as Paloma — the proof is in his unlikely focus of attention, the building’s concierge Renée Michel (Josiane Balasko, resembling a burly Gertrude Stein), who hides her cultured and bookish inclinations behind a gruff, drab exterior. They recognize in each other a reverence for an almost monkish life of the mind, the austere elegance of wabi-sabi, and the transient beauty of rough-hewn imperfection, even in the sleek, well-heeled heart of the City of Light. To the credit of Achache, working with Muriel Barbery’s novel, these unlikely fragile friendships between outsiders take hold in a way that sidesteps preciousness and stays with you long after its pages have turned. (1:40) Smith Rafael. (Chun)

The Help It’s tough to stitch ‘n’ bitch ‘n’ moan in the face of such heart-felt female bonding, even after you brush away the tears away and wonder why the so-called help’s stories needed to be cobbled with those of the creamy-skinned daughters of privilege that employed them. The Help purports to be the tale of the 1960s African American maids hired by a bourgie segment of Southern womanhood — resourceful hard-workers like Aibileen (Viola Davis) and Minny (Octavia Spencer) raise their employers’ daughters, filling them with pride and strength if they do their job well, while missing out on their own kids’ childhood. Then those daughters turn around and hurt their caretakers, often treating them little better than the slaves their families once owned. Hinging on a self-hatred that devalues the nurturing, housekeeping skills that were considered women’s birthright, this unending ugly, heartbreaking story of the everyday injustices spells separate-and-unequal bathrooms for the family and their help when it comes to certain sniping queen bees like Hilly (Bryce Dallas Howard). But the times they are a-changing, and the help get an assist from ugly duckling of a writer Skeeter (Emma Stone, playing against type, sort of, with fizzy hair), who risks social ostracism to get the housekeepers’ experiences down on paper, amid the Junior League gossip girls and the seismic shifts coming in the civil rights-era South. Based on the best-seller by Kathryn Stockett, The Help hitches the fortunes of two forces together — the African American women who are trying to survive and find respect, and the white women who have to define themselves as more than dependent breeders — under the banner of a feel-good weepie, though not without its guilty shadings, from the way the pale-faced ladies already have a jump, in so many ways, on their African American sisters to the Keane-eyed meekness of Davis’ Aibileen to The Help‘s most memorable performances, which are also tellingly throwback (Howard’s stinging hornet of a Southern belle and Jessica Chastain’s white-trash bimbo-with-a-heart-of-gold). (2:17) (Chun)

Midnight in Paris Owen Wilson plays Gil, a self-confessed “Hollywood hack” visiting the City of Light with his conservative future in-laws and crassly materialistic fiancée Inez (Rachel McAdams). A romantic obviously at odds with their selfish pragmatism (somehow he hasn’t realized that yet), he’s in love with Paris and particularly its fabled artistic past. Walking back to his hotel alone one night, he’s beckoned into an antique vehicle and finds himself transported to the 1920s, at every turn meeting the Fitzgeralds, Gertrude Stein (Kathy Bates), Dali (Adrien Brody), etc. He also meets Adriana (Marion Cotillard), a woman alluring enough to be fought over by Hemingway (Corey Stoll) and Picasso (Marcial di Fonzo Bo) — though she fancies aspiring literary novelist Gil. Woody Allen’s latest is a pleasant trifle, no more, no less. Its toying with a form of magical escapism from the dreary present recalls The Purple Rose of Cairo (1985), albeit without that film’s greater structural ingeniousness and considerable heart. None of the actors are at their best, though Cotillard is indeed beguiling and Wilson dithers charmingly as usual. Still — it’s pleasant. (1:34) (Harvey)

Motherland When Raffi Tang (Francoise Yip) learns of her estranged mother’s death, the prodigal-daughter returns to her hometown, San Francisco, only to discover that nothing is as first supposed. Forced to contend with the protracted legal battle between her late mother and re-married father (Kenneth Tsang) as well as an incompetent (and poorly acted) police detective (Jason Payne), Tang drifts, looking distracted, lost, and maybe vaguely concerned throughout the first two thirds of the film. Yip does little to enliven a flat script rife with stock phrases and worn cinematic conventions, and while her emotional distance seems genuine, it’s boring nonetheless. Motherland is, to its credit, an angry movie — director Doris Yeung drew on her own experience with the murder of her mother — but the rage fizzles when it finally does erupt, smothered by uninspired acting and a directionless screenplay. (1:33) (Berkmoyer)

*My Perestroika Robin Hessman’s very engaging documentary takes one very relatable look at how changes since glasnost have affected some average Russians. The subjects here are five thirtysomethings who, growing up in Moscow in the 70s and 80s, were the last generation to experience full-on Communist Party indoctrination. But just as they reached adulthood, the whole system dissolved, confusing long-held beliefs and variably impacting their futures. Andrei has ridden the capitalist choo-choo to considerable enrichment as the proprietor of luxury Western menswear shops. But single mother Olga, unlucky in love, just scrapes by, while married schoolteachers Lyuba and Boris are lucky to have inherited an apartment (cramped as it is) they could otherwise ill afford. Meanwhile Ruslan, once member of a famous punk band (which he abandoned on principal because it was getting “too commercial”), both disdains and resents the new order just as he did the old one. Home movies and old footage of pageantry celebrating Soviet socialist glory make a whole ‘nother era come to life in this intimate, unexpectedly charming portrait of its long-term aftermath. (1:27) Balboa. (Harvey)

*The Names of Love Arthur (Jacques Gamblin) is a 40-ish scientist being interviewed about the threat of a bird flu epidemic when his radio broadcast is interrupted by 20-something Baya (Sara Forestier), who denounces him on-air as a “fascist” for frightening the public. But then, Baya tends to use that label rather indiscriminately, applying it to anyone who might conceivably have views to the right of the dial — and Arthur is in fact a solid liberal, which means she can bed him for love. As opposed to the many, many other men she beds as a self-described “political whore,” seeking out conservative types in order to seduce them and hopefully induce an idealogical shift by whispering sweet nothings (“Not all Arabs are thieves,” etc.) as they orgasm. Raised by parents whose emotions are so tightly wound his mother won’t acknowledge her parents were Jews killed at Auschwitz, Arthur has a hard time adjusting to a relationship with a lover who is faithful emotionally but sees promiscuity as her propagandic gift to the world. Meanwhile Baya’s largely Algerian family treats garrulous political argument as the very air they breathe. This odd-couple story written by Baya Kasmi and director Michel Leclerc deals with serious issues in both humorous and respectful fashion, making for one of the more novel, delightful and depthed French romantic comedies in a long time. Added plus: lots of antic gratuitous nudity. (1:42) Smith Rafael. (Harvey)

*One Day Why do romantic comedies get such a bad rap? Blame it on the lame set-up, the contrived hurdles artificially buttressed by the obligatory chorus of BFFs, the superficial something-for-every-demographic-with-ADD multinarrative, and the implausible resolutions topped by something as simple as a kiss or as conventional as marriage, but often no deeper, more crafted, or heartfelt than an application of lip gloss. Yet the lite-as-froyo pleasures of the genre don’t daunt Danish director Lone Scherfig, best known for her deft touch with a woman’s story that cuts closer to the bone, with 2009’s An Education. Her new film, One Day, based on the best-selling novel by David Nicholls, flirts with the rom-com form — from the kitsch associations with Same Time, Next Year (1978) to the trailer that hangs its love story on a crush — but musters emotional heft through its accumulation of period details, a latticework of flashbacks, and collection of encounters between its charming protagonists: upper-crusty TV presenter Dexter (Jim Sturgess) and working-class aspiring writer Emma (Anne Hathaway). Their quickie university friendship slowly unfolds, as they meet every St. Swithin’s Day, July 15, over a span of years, into the most important relationship of their lives. Despite the blue-collar female lead and UK backdrop that it shares with An Education, One Day feels like a departure for Scherfig, who first found international attention for her award-winning Dogme 95-affiliated Italian for Beginners (2000). (1:48) (Chun)

*Our Idiot Brother If you thought 1998’s The Big Lebowski had eked all the humor that it could from the Dude, well, screenwriter (and Vanity Fair contributor) Evgenia Peretz, her not-so-idiotic brother (director Jesse Peretz), and star Paul Rudd would differ. They correctly guessed that there are still laughs to be wrung from a shaggy stoner in floral jams, only this time with less fuuuck-s and more benevolent, idiot-savant good vibrations. Dazed and confused broheim 2.0 (Rudd) is glimpsed through the jaded, harried prism of his three dysfunctional, supposedly normal sisters: frumpadelic mom Liz (Emily Mortimer), queen-bitch Vanity Fair writer Miranda (Elizabeth Banks), and slatternly would-be comedian Natalie (Zooey Deschanel). A good-hearted naïf who’s easily entrapped by a uniformed police officer claiming to need some pity doobage, Ned has just emerged from the joint and is now couch-surfing among his sibs, exposing the hypocrisies of bourgie-hipster Brooklyn, as well as the infidelities and vanities of family, friends, and partners (Steve Coogan, Rashida Jones, Adam Scott, and Hugh Dancy) as he goes, in his own good-natured, aw-shucks way. As innocuous (and desexualized) as Andy Griffith beneath the hippie trappings, this dude-with-a-little-d knows where his real family is — with his dog, Willie Nelson, who loves him just as unconditionally. Beastie besties have never seemed so innocent as they are in this proudly feel-good comedy, and despite a cringe-y, saccharine soundtrack and lackadaisical pacing, Rudd’s charismatic sunny slacker and some pointed jabs at the follies of the cooler-than-thou save this indie-that-could. (1:36) (Chun)

*Point Blank Not for nothing did Hollywood remake French filmmaker Fred Cavaye’s last film, Anything for Her (2008) as The Next Three Days (2010) — Cavaye’s latest, tauter-than-taut thriller almost screams out for a similar rework, with its Bourne-like handheld camera work, high-impact immediacy, and noirish narrative economy. Point Blank — not to be confused with the 1967 Lee Marvin vehicle —kicks off with a literal slam: a mystery man (Roschdy Zem) crashing into a metal barrier, on the run from two menacing figures until he is cornered and then taken out of the action by fate. His mind mainly on the welfare of his very pregnant wife Nadia (Elena Anaya), nursing assistant Samuel (Gilles Lellouche) has the bad luck to stumble on a faux doctor attempting to make sure that the injured man never rises from his hospital bed. As police wrangle over whose case this exactly is — the murder of an industrialist seems to have expanded the powers of the stony-faced, monolithic Commandant Werner (Gerard Lanvin) — Samuel gets sucked into the mystery man’s lot, a conspiracy that allows them to trust no one, and seemingly impossibly odds against getting out of the mess alive. Cavaye never quite stops applying the pressure in this clever, unrelenting cat-and-mouse and mouse-and-his-spouse game, topping it with a nerve-jangling search through a messily chaotic police station. (1:24) (Chun)

*Rise of the Planet of the Apes “You gotta love a movie where the animals beat up on the humans,” declared my Rise of the Planet of the Apes companion. Indeed, ape must not kill ape, and this Planet of the Apes prequel-cum-remake of Conquest of the Planet of the Apes (1972) takes the long view, back to the days when ape-human relations were still high-minded enough to forbid smart apes from killing those well-armed, not-so-bright humanoids. I was a fan of the original series, but honestly, I approached Rise with trepidation: I dreaded the inevitable scenes of human cruelty meted out to exploited primates — the current wave of chimp-driven films seems focused on holding a scary, shaming mirror up to the two-legged mammalian violence toward their closest living genetic relatives. It’s a contrast to the original series, which provided prisms with which to peer at race relations and generational conflict. But I needn’t have feared this PG-13 “reboot.” There’s little CGI-driven gore, apart from the visceral opening and the showdown, though the heartbreak remains. Scientist Will (James Franco, brow perpetually furrowed with worry) is working to find a medicine designed to supercharge the brain in the wake of Alzheimer’s — a disease that has struck down his father (John Lithgow). When the experimental chimp that responds to his serum becomes violently aggressive, the project is shut down, although the primate leaves behind a surprise: a baby chimp that Will and his father name Caesar and raise like a beloved child in their idyllic Bay Area Victorian. Growing in intelligence as he matures, Caesar finds himself torn by an existential dilemma: is he a pet or a mammal with rights that must be respected? Rise becomes Caesar’s story, rendered in heart-wrenching, exhilarating ways — to director Rupert Wyatt and his team’s credit you don’t miss the performance finesse of Roddy McDowell and Kim Hunter in groundbreaking prosthetic ape face in the original movies — while resolving at least one question about why humans gave up the globe to the primates. One can only imagine the next edition will take care of the lingering question about how even the cleverest of apes will feed themselves in Muir Woods. (1:50) (Chun)

Sarah’s Key (1:42)

*Senna When Ayrton Senna died in 1994 at the age of 34, he had already secured his legacy as one of the greatest and most beloved Formula One racers of all time. The three-time world champion was a hero in his native Brazil and a respected and feared opponent on the track. This eponymous documentary by director Asif Kapadia is nearly as dynamic as the man himself, with more than enough revving engines and last minute passes to satisfy your lust for speed and a decent helping Ayrton’s famous personality as well. Senna was a champion, driven to win even as the sometimes-backhanded politics of the racing world stood in his way. A tragic figure, maybe, but a legend nonetheless. You don’t have to be an F1 fan to appreciate this film, but you may wind up one by the time the credits roll. (1:44) Smith Rafael. (Berkmoyer)

Sholem Aleichem: Laughing in the Darkness This documentary cuts to the chase right at the beginning: yeah, Sholem Aleichem was the guy who wrote the Tevye stories that inspired Fiddler on the Roof. But filmmaker Joseph Dorman isn’t trying to make Fiddler: Behind the Musical. Instead, he takes an in-depth look at the life, writing career, and cultural significance of “one of the great modern Jewish writers — and our greatest Yiddish writer,” per the film’s press notes. Fans of Jewish lit will be particularly engaged by Sholem Aleichem’s tale; raised in a shtetl in what’s now the Ukraine, he moved around Europe and to the United States pursuing various careers, but always writing the popular stories that addressed not just Jewish life, but broader issues facing turn-of-the-last-century Jews, including the cross-generational conflicts that make up much of Fiddler‘s plot and humor. That said, this film does rely an awful lot on PBS-style slow pans over black-and-white photos and intellectual talking heads; one suspects the subject himself (so devoted was he to entertaining the regular folk who gobbled up his tales) would’ve preferred his life story to unfold in a livelier fashion. (1:33) (Eddy)

*Shut Up Little Man! An Audio Misadventure Once upon a time (1987 to be exact), two young men moved to San Francisco from the Midwest. Eddie Lee “Sausage” and Mitchell “Mitch D” Deprey wound up living in a somewhat derelict apartment in the Lower Haight. The paint was peeling and the walls were thin, but the rent was cheap. What Eddie and Mitch didn’t count on was having Peter J. Haskett and Raymond Huffman as their neighbors. “You blind cocksucker. You wanna fuck with me? You try to touch me and I will kill you in a fucking minute.” “Shut up! Shut up! Shut up! Shut up little man!” The insults, tantrum throwing, and threats of violence coming from next door were constant. Eddie and Mitch started to lose sleep; after one failed attempt at complaining to Raymond’s face (he threatened death), they started tape-recording the endless geyser of vitriol — first, as possible future evidence, but also out of a growing voyeuristic fascination with these two seniors who had to be the world’s oddest and angriest odd couple. The rest is history. Mitch and Eddie started including snippets of Peter and Ray’s bickering on mix tapes for friends. Somehow, the editor of the now-defunct SF noise music zine Bananafish heard a snippet and approached Mitch and Eddie about distributing compilations of the recordings to a large network of found sound fans. Gradually “Peter and Raymond” became known and much-beloved characters. Their warped repartee inspired several theatrical adaptations, short animated films, pages of comic book panels by artists such as Dan Clowes, and even a one-off single from Devo side project the Wipeouters. Matthew Bate’s documentary Shut Up Little Man! An Audio Misadventure is much an attempt to comprehensively recount the above long, strange trip from start to finish; it is also the newest chapter in the now 20-year saga of Peter, Raymond, Mitch, and Eddie. (1:30) Roxie. (Sussman)

30 Minutes or Less In some ways, 30 Minutes or Less is reminiscent of 2008’s Pineapple Express: both are stoner action comedies about normal people shoved into high-stakes criminal activity. But while Pineapple Express was an exciting addition to the genre, 30 Minutes or Less is a flimsy 80-minute diversion that still feels like a waste of time. Jesse Eisenberg plays Nick, a pizza delivery boy who is forced to rob a bank after two would-be criminals strap a bomb to his chest. Strangely, Eisenberg was more charming as Mark Zuckerberg in The Social Network (2010) — and his buddy Chet (Aziz Ansari) doesn’t exactly up the likability factor. There’s actually the potential for an interesting story here: something darker seems appropriate, given that 30 Minutes or Less was inspired by a true story with a very unhappy ending. But the film completely fumbles, delivering an action comedy that’s neither tense nor funny. That means the pizza’s free, right? (1:29) (Peitzman)

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) (Harvey)

*The Trip Eclectic British director Michael Winterbottom rebounds from sexually humiliating Jessica Alba in last year’s flop The Killer Inside Me to humiliating Steve Coogan in all number of ways (this time to positive effect) in this largely improvised comic romp through England’s Lake District. Well, romp might be the wrong descriptive — dubbed a “foodie Sideways” but more plaintive and less formulaic than that sun-dappled California affair, this TV-to-film adaptation displays a characteristic English glumness to surprisingly keen emotional effect. Playing himself, Coogan displays all the carefree joie de vivre of a colonoscopy patient with hemorrhoids as he sloshes through the gray northern landscape trying to get cell reception when not dining on haute cuisine or being wracked with self-doubt over his stalled movie career and love life. Throw in a happily married, happy-go-lucky frenemy (comic actor Rob Brydon) and Coogan (TV’s I’m Alan Partridge), can’t help but seem like a pathetic middle-aged prick in a puffy coat. Somehow, though, his confused narcissism is a perverse panacea. Come for the dueling Michael Caine impressions and snot martinis, stay for the scallops and Brydon’s “small man in a box” routine. (1:52) (Devereaux)

The Whistleblower (1:58) Smith Rafael.

*!Women Art Revolution Bay Area artist and filmmaker Lynn Hershman Leeson’s vibrant look back at the first waves of feminist art in the ’60s and ’70s is an extremely necessary and impassioned recounting of a history that perpetually seems to be on the edge of erasure. Mixing old and new interviews with artists, critics, and scholars — many of which are from Hershman Leeson’s own personal archive — !W.A.R. lets those who stood at the frontlines of one the most significant movements in contemporary art tell their own stories. Seeing and hearing the testimonies of the likes of Yoko Ono, Cindy Sherman, B. Ruby Rich, Judy Chicago, Carolee Scheeman, Rachel Rosenthal, and Ingrid Sischy, one after another, is dazzling — like being in the presence of an Olympian summit — even as their overlapping tales of pushback, casual misogyny and outright ridicule from critics, the art establishment, and in some cases, their colleagues, paint a damning picture of just how endemic sexism was, and as the need for a film such as !WAR attests to, in many ways still is. (1:23) (Sussman)

 

Stage Listings

0

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 further information on how to submit items for the listings, see Picks. For complete listings, see www.sfbg.com.

THEATER

OPENING

All Atheists Are Muslim Stage Werx Theatre, 533 Sutter, SF; (415) 517-3581, www.brownpapertickets.com. $20. Opens Thurs/1, 8pm. Runs Thurs-Sat, 8pm. Through Oct 1. Zahra Noorbakhsh performs her solo romantic comedy.

Cymbeline Parade Ground Lawn, Main Post, Presidio (between Graham and Keyes), SF; www.sfshakes.org. Free. Opens Sat/3, 7:30pm. Runs Sun/4-Mon/5, 2:30pm; Sept 10, 17, and 24, 7:30pm; Sept 11, 18, and 25, 2:30pm. Through Sept 25. The San Francisco Shakespeare Festival presents its annual “Free Shakespeare in the Park” performance.

King Henry the Sixth Boxcar Studios, 125a Hyde, SF; www.brownpapertickets.com. $12-15. Opens Fri/2, 8pm. Runs Thurs-Sat, 8pm. Through Sept 17. Do It Live Productions debuts with a contemporary Shakespeare adaptation.

BAY AREA

A Delicate Balance Aurora Theatre, 2081 Addison, Berk; (510) 843-4822, www.auroratheatre.org. $10-48. Previews Fri/2-Sat/3 and Sept 7, 8pm; Sun/4, 2pm; Tues/6, 7pm. Opens Sept 8, 8pm. Runs Tues, 7pm; Wed-Sat, 8pm; Sun, 2 and 7pm. Through Oct 9. Aurora Theatre performs Edward Albee’s comedy of manners.

Rita Moreno: Life Without Makeup Berkeley Repertory Theatre, Roda Theatre, 2015 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. $14.50-73. Previews Fri/2-Sat/3 and Tues/6, 8pm; Sun/4, 7pm. Opens Sept 7, 8pm. Runs Tues-Sun, showtimes vary. Through Oct 30. Rita Moreno stars in a show created specifically for her by Berkeley Rep’s Tony Taccone and David Galligan.

ONGOING

“AfroSolo Arts Festival” Various venues, SF; www.afrosolo.org. Free-$100. Through Oct 20. The AfroSolo Theatre Company presents its 18th annual festival celebrating African American artists, musicians, and performers.

American Buffalo Actors Theatre of San Francisco, 855 Bush, SF; (415) 345-1287, www.actorstheatresf.org. $26-38. Wed-Sat, 8pm. Extended through Sept 17. Actors Theatre of San Francisco performs the David Mamet crime classic.

Exit, Pursued By a Bear Boxcar Playhouse, 505 Natoma, SF; www.crowdedfire.org. $10-35. Wed-Sat (no shows this week; shows resume Sept 7), 8pm. Through Sept 17. Crowded Fire performs Lauren Gunderson’s new play, a feminist revenge comedy.

Geezer Marsh, 1062 Valencia, SF; (415) 282-3055. $25-100. Thurs, 8pm; Sat-Sun, 5pm. Through Sept 18. Geoff Hoyle returns to the Marsh with his acclaimed solo show.

Tigers Be Still SF Playhouse, 522 Sutter, SF; www.sfplayhouse.org. $30-50. Tues-Wed, 7pm; Thurs-Sat, 8pm (also Sat, 3pm). Through Sept 10. SF Playhouse performs Kim Rosenstock’s quirky comedy.

True West NOHspace, 2840 Mariposa, SF; 1-800-838-3006, www.truewestsf.com. $10-28. Wed-Sat, 8pm. Through Sept 17. Expression Productions presents Sam Shepard’s tale of two brothers.

2012: The Musical! This week: Mill Valley Community Center (back lawn), 180 Camino Alto, Mill Valley; www.sfmt.org. Free. Wed/31, 7pm. Also Thurs/1, 7pm, Mitchell Park, South Field, 600 East Meadow, Palo Alto; Sat/3-Mon/5, 2pm, Dolores Park, 18th St at Dolores, SF. Continues through Sept 25 at various Bay Area venues. San Francisco Mime Troupe mounts their annual summer musical; this year’s show is about a political theater company torn between selling out and staying true to its anti-corporate roots.

Waiting for Giovanni Decker Theater, New Conservatory Theatre Center, 25 Van Ness, SF; www.nctcsf.org. $25-36. Wed-Sat, 8pm; Sun, 2pm. Through Sept 18. This world-premiere play by Jewelle Gomez in collaboration with Harry Waters Jr. imagines a split-second of indecision in the mind of author James Baldwin.

BAY AREA

Candida Bruns Memorial Amphitheater, 100 California Shakespeare Theatre Way, Orinda; www.calshakes.org. $35-66. Wed/31-Thurs/1, 7:30pm; Fri/2-Sat/3, 8pm (also Sat/3, 2pm); Sun/4, 4pm. Cal Shakes artistic director helms this taken on George Bernard Shaw’s classic about a housewife torn between her husband and a new suitor.

The Complete History of America (abridged) Dominican University of California, Forest Meadows Amphitheater, 1475 Grand, San Rafael; (415) 499-4488, www.marinshakespeare.org. $20-35. Performance times vary; check website for schedule. Through Sept. 25. Marin Shakespeare Company performs Adam Lon, Reed Martin, and Austin Tichenor’s three-person romp through American history.

The Merry Wives of Windsor Old Mill Park, 375 Throckmorton, Mill Valley; www.curtaintheatre.org. Free. Sat-Sun and Sept 5, 2pm. Through Sept 18. Curtain Theatre performs Shakespeare’s Falstaff-centric comedy.

Not a Genuine Black Man Marsh Berkeley, TheaterStage, 2120 Allston, Berk; 1-800-838-3006, www.themarsh.org. $20-50. Sat, 5pm (also Sept 8 and 22, 7:30pm). Through Sept 24. This is it: the final extension of Brian Copeland’s solo show about growing up in (nearly) all-white San Leandro.

Of Dice and Men La Val’s Subterranean, 1834 Euclid, Berk; www.impacttheatre.com. $10-20. Thurs-Sat, 8pm. Through Oct 1. Impact Theatre performs Cameron McNary’s comedy about a group of adult Dungeons and Dragons players.

The Road to Hades John Hinkel Park, Southampton Ave, Berk; (510) 841-6500, www.shotgunplayers.org. $10 (suggested donation; no one turned away for lack of funds). Sat-Sun, 3pm. Through Sept 11. Shotgun Players presents a new comedy written by and starring veteran comedian and clown Jeff Raz.

Sense and Sensibility Mountain View Center for the Performing Arts, 500 Castro, Mtn View; (650) 463-1960, www.theatreworks.org. $19-69. Tues-Wed, 7:30pm; Thurs-Sat, 8pm (also Sat, 2pm); Sun, 2 and 7pm. Through Sept 18. TheatreWorks performs Roger Parsley and Andy Graham’s adaptation of the Jane Austen novel.

Seven Guitars Marin Theatre Company, 397 Miller, Mill Valley; (415) 388-5208, www.marintheatre.org. $34-55. Wed/31, 7:30pm; Thurs/1-Sat/3, 8pm (Sat/3, 2pm); Sun/4, 2 and 7pm. Marin Theatre Company performs August Wilson’s 1940s-set entry into his series of plays about the African-American experience.

The Tempest Dominican University of California, Forest Meadows Amphitheater, 1475 Grand, San Rafael; (415) 499-4488, www.marinshakespeare.org. $20-35. Performance times vary; check website for schedule. Through Sept. 25. Marin Shakespeare Company presents Shakespeare’s romance with a steampunk twist.

Toke Ashby Stage, 1901 Ashby, Berk; www.brownpapertickets.com. $25. Thurs-Sat, 8pm; Sun, 5pm. Through Sept 11. Swirl Media presents Deedee Kirkwood’s pot-fueled comedy.

PERFORMANCE/DANCE

“The Kurt Weill Project” Café Royale, 800 Post, SF; (415) 641-6033. Wed, 8pm. Free. Cabaret opera.

“The Romane Event Comedy Show” Make-Out Room, 3225 22nd St, SF; www.romaneeventcomedyshow.com. Wed, 7:30pm. $10. Paco Romane hosts, and Nato Green headlines, this comedy variety show.

BAY AREA

“Finian’s Rainbow” Woodminster Amphitheater, Joaquin Miller Park, 3300 Joaquin Miller, Oakl; (510) 531-9597, www.woodminster.com. $26-42. Opens Fri/2, 8pm. Runs Thurs and Sun, 7pm; Fri-Sat, 8pm. Through Sept 11. Outdoor performance of the Irish-tinged Broadway classic.

Desolation angels

0

arts@sfbg.com

FILM Wanda (1970) takes a long time to settle into anything resembling a plot, but the wayward scenes at the start of the film have a remarkable exactness to them. In one, the title character (played by director Barbara Loden) walks into a dingy bar looking to end the day early. She’s fresh from divorce court, where she lost her kids, merely acceding to the judgments of her ex-husband and the court. As the bartender puts a bottle of beer and glass on her table, a greasy lump at the bar says he’ll take care of the drink. The unsolicited offer clouds Wanda’s face; she sips her drink resigned to what it means. A rude cut takes us to a spent motel room where Wanda sleeps naked alone in pale afternoon light. The guy from the bar tiptoes around the room to leave, but he makes a noise setting Wanda to hurriedly dress herself, pointlessly calling after him to wait. The plainness of the scene’s despair tells us it’s nothing new for her.

Characterization emerges in the fluidity of situation and behavior, melancholy in an unanchored camera and stark ellipses. Once its protagonist takes up with an amateur thief who radiates nervous energy, Wanda unspools as an inverted Gun Crazy (1950), its unsentimental portrait of a female drifter looking ahead to films like Jeanne Dielman (1975), Vagabond (1985), Safe (1995), and Kelly Reichardt’s River of Grass (1994) and Wendy and Lucy (2008). Wanda screens in a restoration print as part of a bountiful overview at the Pacific Film Archive called “The Outsiders: New Hollywood in the Seventies.”

Drawing inspiration from The Last Great American Picture Show, an excellent anthology edited by Alexander Horwath to accompany an earlier retrospective at the Austrian Film Museum, the PFA series shifts the historical narrative of New Hollywood from movie brats to unnamed margins. Celebrity-driven surveys of the same period (like Peter Biskind’s Easy Riders, Raging Bulls) miss the congruence of by-the-teeth filmmaking and borderline characters that helps to define the PFA series. Ample room is made for those filmmakers whose careers couldn’t hold a straight line (Loden’s career as a director began and ended with Wanda), and familiar landmarks like Mean Streets and Badlands (both 1973) are considered alongside lesser known but no less groundbreaking character studies like Dusty and Sweets McGee (1971), Ice (1970) and The Heartbreak Kid (1972).

The swift scene of Wanda getting picked up at the bar establishes a few leitmotifs for “The Outsiders.” You notice right away that the crummy motel rooms and bars are the real thing, and that an actor’s vanity is never spared a frank look at a character’s worn down body and face. The incidental nature of the camera placement, long duration of scenes, and dispersive spread of sound deepen the melancholy reality of these appearances. A verité-style handheld camera takes single measure of the scene, registering the immediacy of behavior but stopping short of slicing up the conflict into easy points of identification (Wanda cinematographer Nicholas T. Proferes cut his teeth with Robert Drew’s pioneering documentary crew in the early 1960s). Also borrowed from observational documentary is an interest in private, semi-coherent forms of speech; the stories are as much told through gesture and movement. You constantly feel on the precipice of emotions, watching as they form and stagnate in a languid real time that makes a character’s exhaustion palpable in the theater.

Most of these movies are indeed populated by outsiders, though the meaning of the word shifts from film to film. There are plenty of figures of hedonism (memorably, Rip Torn’s hard-driving country western singer in 1972’s Payday), but so too are there close portraits of the lived differences of gender, race, class and age — Wanda, but also Killer of Sheep (1977), Bush Mama (1975), and Over the Edge (1979). Unlike Easy Rider (1969), the film typically cited as launching a hundred New Hollywood productions, these movies don’t valorize the outsider towards an obvious political morality. A film like Killer of Sheep is delicate because it recognizes the social constraints of the central character’s life while at the same time respecting the fullness of his winnowed existence. The same long-take camera style which expresses pessimism is also left open to moments of ragged beauty that escape political allegory.

The exciting vision of radical heroism offered by Sweet Sweetback’s Baadasssss Song (1971) is the exception that makes it easier to imagine how Wanda‘s brittle poetry of despair might have disappointed feminists at the time. Wanda is left alone again at the end of the film, seemingly unable to live with or without a man. There’s a glimmer of hope when another woman invites her inside a raucous roadhouse where mixed company drink and smoke and laugh as a string duo stomp out a joyful sound. But through it all Wanda remains withdrawn, eating and drinking as if someone might at any moment snatch the food out of her hands. The film ends with a freeze frame of her blank face as the music slowly drains away on the soundtrack. The shot holds a mirror up to our desire for her story to mean something, our wish for the succor of tragedy or redemption. Loden’s film instead narrows in on the insoluble nature of the character’s existence, holding the wreckage of her life in view with both pitiless reserve and tender regard.

THE OUTSIDERS: NEW HOLLYWOOD CINEMA IN THE SEVENTIES

Sept. 2-Oct.27, $5.50–<\d>$9.50

Pacific Film Archive

2575 Bancroft, Berk.

(510) 642-5249

bampfa.berkeley.edu

The real Leland Yee

53

tredmond@sfbg.com

It’s early January 2011, and the Four Seas restaurant at Grant and Clay is packed. Everyone who is anyone in Chinatown is there — and for good reason. In a few days, the Board of Supervisors is expected to appoint the city’s first Asian mayor.

The rally is billed as a statement of support for Ed Lee, the mild-mannered bureaucrat and reluctant mayoral hopeful. But that’s not the entire — or even, perhaps, the central — agenda.

Rose Pak, who describes herself as a consultant to the Chinese Chamber of Commerce but who is more widely known as a Chinatown powerbroker, is the host of the event. She stands in front of the room, takes the microphone, and, in Cantonese, delivers a remarkable political speech.

According to people in the audience, she says, in essence, that the community has come out to celebrate and support Ed Lee — but that’s just the start. She also urges them not just to promote their candidate — but to do everything possible to prevent Leland Yee from becoming mayor.

She continues on for several minutes, lambasting Yee, the state Senator who lived in Chinatown as a child, accusing him of about every possible political sin — and turning the Lee rally into an anti-Yee crusade. And nobody in the crowd seems terribly surprised.

Across Chinatown, from the liberal nonprofits to the conservative Chamber of Commerce, there’s a palpable fear and distrust of the man who for years has been among San Francisco’s most prominent Asian politicians — and who, had Lee not changed his mind and decided to run for a full term this fall, was the odds-on favorite to become the city’s first elected Chinese mayor.

The reasons for that fear are complex and say a lot about the changing politics of Asian San Francisco, the power structure of a city where an old political machine is making a bold bid to recover its lucrative clout — and about the career of Yee himself.

Senator Leland Yee is a political puzzle. He’s a Chinese immigrant who has built a political base almost entirely outside of the traditional Chinatown community. He’s a politician who once represented a deeply conservative district, opposed tenant protections, voted against transgender health benefits and sided with Pacific Gas and Electric Co. on key environmental issues — and now has the support of some of the most progressive organizations in the city. He’s taken large sums of campaign money from some of the worst polluters in California, but gets high marks from the Sierra Club.

His roots are as a fiscal conservative — yet he’s been the only Democrat in Sacramento to reject budget compromises on the grounds that they required too many spending cuts.

He’s grown, changed, and developed his positions over time. Or he’s become an expert at political pandering, telling every group exactly what it wants to hear. He’s the best chance progressives have of keeping the corrupt old political machine out of City Hall — or he’s a chameleon who will be a nightmare for progressive San Francisco.

Or maybe he’s a little bit of all of that.

 

Leland Yin Yee was born in Taishan, a city in China’s Guangdong province on the South China Sea. The year was 1948; Mao Zedong’s Communist Party of China had taken control of much of the countryside and was moving rapidly to take the major cities. The nationalist army of General Chiang Kai-Shek was falling apart, and Yee’s father, who owned a store, decided it was time for the family to leave.

The Yees made it to Hong Kong, and since Mee G. Yee had previously lived in the United States and served in the U.S. Army during World War II, he was ultimately able to move the family to San Francisco. In 1951, the three-year-old Leland Yee arrived in Chinatown.

For four years, Yee lived with his sister and mother in a one-room apartment with a shared bathroom while his father worked as a sailor in the merchant marine. It was, Yee recalled in a recent interview, a tight, closed, and largely self-sufficient community.

“The movie theater, the shoe store, the barber shop, food — everything you needed you could get in Chinatown,” Yee said. “You never had to leave.”

Of course, after a while, Yee and his mom started to venture out, down Stockton Street to Market, where they’d shop at the Emporium, the venerable department store. “It was like walking into a different country,” he said. “If you didn’t know English, they didn’t have time for you.”

Yee, like a lot of young Chinese immigrants of his era, put much of his time into his studies — in the San Francisco public schools and in a local Chinese school. “My mom spoke a village dialect, and we had to learn Cantonese,” he said. “Every little kid had to go to Chinese school. We hated it.”

When Yee was eight, his parents managed to buy a four-unit building on Dolores Street, and the family moved to the Mission, where he would spend not only the rest of his childhood but much of his early adult life. He graduated from Mission High School, enrolled in City College, studied psychology and after two years won admission to UC Berkeley.

Berkeley in 1968 was a very different world from Chinatown and even the relatively controlled environment he’d experienced at home in the Mission. “You didn’t protest in school. You’d have been sent home, and your mother would kill you,” he said.

At Berekely, all hell was breaking loose, with the antiwar protests, the People’s Park demonstrations, the campaign to create a Third World College (which led to the first Ethnic Studies Department), and a general attitude of mistrust for authority. “I developed a sense of activism,” Yee said. “I realized I could speak out.”

That spirit quickly vanished when Yee lost faith in some of his fellow activists. “People would work with us, then get into positions of power and use that against you,” he recalled. “A lot of my friends said ‘forget it.’ I left the scene.”

Yee once again devoted his energy to school, earning a masters at San Francisco State University and a Ph.D in child psychology from the University of Hawaii. Along the way, he met his wife, Maxine.

With his new degree, the Yees moved back to San Francisco — and back in with his parents at the Dolores property, where he, Maxine and a family that would grow to four kids would live for more than a decade.

 

Yee worked as a child psychologist for the San Francisco Department of Public Health, starting the city’s first high school mental-health clinic. He went on to become a child psychologist at the Oakland Unified School District, then joined a nonprofit mental health program in San Jose.

In 1986, Yee decided to get active in politics for the first time since college, and ran for the San Francisco School Board. He lost — and that would be the only election he would ever lose. In 1988, he won a seat, and established himself as an advocate for students of color, fighting school closures in minority neighborhoods. He also tried to get the district to modify its harsh disciplinary rules, arguing against mandatory expulsions.

On fiscal issues, though, Yee was a conservative. For his first term, despite the brutal cutbacks of the recession of the late 1980s and early 1990s, he insisted that the district make do with the money it had. His solution to the red ink: Cut waste. Only in 1992, when he was up for re-election, did he acknowledge that the district needed more cash; at that point, he supported a statewide initiative to tax the rich to bring money to the schools.

The sense of fiscal conservatism — of holding the line on taxes, but mandating open and fair contracting procedures and tight financial controls — was a hallmark of much of his political career. When the Guardian endorsed him for re-election to the board in 1992, we wrote that “there’s real value in his continuing vigilance against administrative fat and favoritism in contracts.”

Over the next four years, Yee worked with then-Superintendent Waldemar “Bill” Rojas, a deeply polarizing figure who pushed his own personal theory of “reconstitution” — firing all the staff at low-performing schools — and later was enmeshed in a scandal that led to prison time for a contractor he’d hired. Yee told me he was the only board member to vote against hiring Rojas, but people who were watching the board closely back then say he didn’t always stand up to the superintendent.

He also became what some say was a bit too close with Tim Tronson, a consultant hired by the district as a $1,000-a-day facilities consultant. Tronson wound up getting indicted on 22 counts of grand theft, embezzlement, and conspiracy in a scheme to steal $850,000 from the schools, and was sentenced to four years in state prison.

In 1998, when some school board members wanted to build housing for teachers on property that the district owned in the Sunset, Yee led the opposition — with Tronson’s help. At one meeting at Sunset Elementary School, Yee went so far as to say, according to people present, that “Tim Tronson is my man, and I rely on him for advice.”

Yee acknowledged that he worked closely with Tronson to defeat that housing project. “He was the facilities manager,” Yee explained, “and I said that I trusted his judgment.”

 

Yee has either a great sense of political timing or exceptional luck. He ran for the Board of Supervisors in 1996, facing one of the weakest fields in modern San Francisco history. He was the only Chinese candidate and one of just two Asians (the other, appointed incumbent Michael Yaki, barely squeaked to re-election). In an at at-large election with the top five winning seats, Yee came in third, with 103,000 votes.

He was never a progressive supervisor. In 2000, the Guardian ranked the good votes of what we referred to as Willie Brown’s Board, and Yee scored only 43 percent. He was against campaign finance reform. He supported the brutal gentrification and community displacement represented by the Bryant Square development. He voted to kill a public-power feasibility study and opposed the Municipal Utility District initiative. He opposed a moratorium on uncontrolled live-work development.

In 2002, Yee was one of only three supervisors to oppose Proposition D, a crucial public-power measure that would have broken up PG&E’s monopoly in the city. He stood with PG&E (and then-Sups. Tony Hall and Gavin Newsom) in opposition to the measure, then signed a pro-PG&E ballot argument packed with PG&E lies.

When I asked him about that stand, Yee at first didn’t recall opposing Prop. D, but then said he “stood with labor” on the issue. In fact, the progressive unions didn’t oppose Prop. D at all; the opposition was led by PG&E’s house union, IBEW Local 1245.

Yee was particularly bad on tenant issues. He not only voted to deny city funding for the Eviction Defense Collaborative, which helped low-income tenants fight evictions; he actually tried to get the city to put up money for a free legal fund to help landlords evict their tenants. He opposed a ballot measure limiting condo conversions. He opposed a measure to limit the ability of landlords to pass improvement costs on to their tenants.

In 2001, Yee voted to uphold a Willie Brown veto of legislation to limit tenancies in common, a backdoor way to get around the city’s condo conversion ordinance. Only Hall and Newsom, then the most conservative supervisors on the board, joined Yee. At one point, he started asking whether the city should consider repealing rent control.

He opposed an affordable housing bond in 2002, joining the big landlord groups in arguing that it would raise property taxes. Every tenant group in town supported the measure, Proposition B; every landlord group opposed it.

I asked Yee about his tenant record, and he told me that he now supports rent control. But he said that he was always on the side of homeowners and small landlords, and that property ownership was central to Chinese culture. “I was responding to the Chinese community and the West Side,” he said.

He wasn’t much of an environmentalist, either — at least not in today’s terms. He was one of the only city officials to support a “Critical Car” rally in 1999, aimed at promoting the rights of vehicle drivers (and by implication, criticizing Critical Mass and the bicycle movement).

His record on LGBT issues was mixed. While he supported a counseling program for queer youth when he was on the school board, he also supported JROTC, angering queer leaders who didn’t want a program in the public schools run by, and used as a recruiting tool for, the military, which at that point open discriminated against gay and lesbian people.

 

 

Yee was also one of only two supervisors who voted in 2001 against extending city health benefits to transgender employees.

That was a dramatic moment in local politics. Nine votes were needed to pass the measure, and while eight of the supervisors were in favor, Yee and Hall balked. At one point, Board President Tom Ammiano had to direct the Sheriff’s Office to go roust Sup. Gerardo Sandoval, who was ducking the issue in his office, to provide the crucial ninth vote.

Yee didn’t just vote against the bill. According to one reliable source who was there at the time, Yee spoke to a community meeting out on Ulloa Street in the Sunset and berated his colleagues, quipping that the city should have better things to do than “spend taxpayer money on sex-change operations.”

It was a bit shocking to trans people — Yee had, over the years, befriended some of the most marginalized members of what was already a marginalized community. “There was one person at the rail crying, saying ‘Leland, how could you do this to us,'” Ammiano recalled.

The LGBT community was furious with Yee. “I didn’t speak to him for at least a year,” Gabriel Haaland, one of the city’s most prominent transgender activists, told me.

Yee now says the vote was a mistake — but at the time, he told me, he was under immense pressure. When he voted for the queer youth program, he said, “the elders of the Chinese community ripped me apart. They called my mother’s friends back in the village [where he was born] and said her son was embarrassing the Chinese community.”

That must have been difficult — and he said that “if I had known the pain I had caused, I wouldn’t have voted that way.” But it was hard to miss that pain his vote caused.

On the other hand, people learn from their experiences, attitudes evolve, we all grow up and get smarter, and the way Yee describes it, that’s what happened to him.

In 2006, when he was running for state Senate, Yee met with a group of trans leaders and formally — many now say sincerely — apologized. It was an important gesture that made a lot of his critics feel better about him.

“He didn’t have to do that,” Haaland said. “People change, and he paid for his crime, and that’s genuine enough for me.”

As a former school board member, Yee kept an interest in the schools — but not always a healthy one. At one point, he actually proposed splitting SFUSD into two districts, one on the (poorer) east side of town and one on the (richer) west. “We strongly opposed that,” recalled Margaret Brodkin, who at the time ran Coleman Advocates for Children and Youth. “Eventually he dropped the idea.”

For all the problems, in his time on the Board of Supervisors, Yee developed a reputation for independence from the Brown Machine, which utterly dominated much of city politics in the late 1990s. His weak 43 percent rating on the Guardian scorecard was actually third-best among the supervisors, after Ammiano and the late Sue Bierman.

In 1998, he was one of the leaders in a battle to prevent the owners of Sutro Tower from defying the city’s zoning administrator and placing hundreds of new antennas on Sutro Tower. He, Bierman, and Ammiano were the only supervisors opposing Brown’s crackdown on homeless people in Union Square.

When he ran in the first district elections, in 2000, against two opponents who had Brown’s support and big downtown money, the Guardian endorsed him, noting that while he “can’t be counted on to support worthy legislation … He’s one of only two board members who regularly buck the mayor on the big issues.”

(He never liked district elections, and used to take any opportunity to denounce the system, at times forcing Ammiano to use his position as president to tell Yee to quit dissing the electoral process and get to the point of his speech.)

 

In 2002, the westside state Assembly district seat opened up, and both Yee and his former school board colleague Dan Kelly ran in the Democratic primary. Yee won, and went on to win the general election with only token opposition.

His legislative record in the Assembly wasn’t terribly distinguished. Yee never chaired a policy committee — although he did win a leadership post as speaker pro tem. And he cast some surprisingly bad votes.

In 2003, for example, then-Assemblymember Mark Leno introduced a bill that would have exempted single-room occupancy hotels from the Ellis Act, which allows landlords to evict tenants for no reason. Yee refused to vote for the bill. Leno was furious — he was one vote short of a majority and Yee’s position would have doomed the bill. At the last minute, a conservative Republican who had grown up in an SRO hotel voted in favor.

When he ran for re-election in 2004, we noted: “What’s Leland Yee doing up in Sacramento? We can’t figure it out — and neither, as far as we can tell, can his colleagues or constituents. He’s introduced almost no significant bills — compared, for example, to Assemblymember Mark Leno’s record, Yee’s is an embarrassment. The only high-profile thing he’s done in the past several years is introduce a bill to urge state and local governments to allow feng shui principles in building codes.”

In 2006, Yee decided to move up to the state Senate, and he won handily, beating a weak opponent (San Mateo County Supervisor and former San Francisco cop Mike Nevin) by almost 2-1. His productivity increased significantly in the upper chamber — and in some ways, he moved to the left. He’s begun to support taxes — particularly, an oil severance tax — and when I’ve questioned him, he somewhat grudgingly admits that Prop. 13 deserves review.

He’s done some awful stuff, like trying to sell off the Cow Palace land to private developers. But he has consistently been one of the best voices in the Legislature on open government, and that’s brought him some national attention.

Yee has been a harsh critic of spending practices and secrecy at the University of California, and when UC Stanislaus refused in 2010 to release the documents that would show how much the school was paying Sarah Palin to speak at a fundraiser, Leland flew into action. He not only blasted the university and introduced legislation to force university foundations to abide by sunshine laws; he worked with two Stanislaus students who had found the contract in a dumpster and made headlines all over the country.

He’s fought for student free speech rights and this year pushed a bill mandating that corporations that get tax breaks for job creation prove that they’ve actually created jobs — or pay the tax money back. He’s also won immense plaudits from youth advocates and criminal justice reformers for his bill that would end life-without-parole sentences for offenders under 18.

Along the way, he compiled a 100 percent voting record from the major labor unions, including the California Nurses Association and SEIU, and with the Sierra Club. All three organizations have endorsed him for mayor.

Yee told me that he thinks he’s become more progressive over the years. “My philosophy has shifted,” he said.

Yet when you talk to his colleagues in Sacramento, including Democrats, they aren’t always happy with him. Yee has a tendency to be a bit of a loner — he’s never chaired a policy committee and in some of the most bitter budget fights, he’s refused to go along with the Democratic majority. Yee insists that he’s taken principled stands, declining to vote for budget bills that include deep service cuts. But the reality in Sacramento is that budget bills have until this year required a two-thirds vote, meaning two or three Republicans have had to accept the deal — and losing a Democratic vote has its cost.

“You have to give up all sorts of things, make terrible compromises, to get even two Republicans,” one legislative insider told me. “When a Democrat goes south, you have to find another Republican, and give up even more.”

In other words: It’s easy to take a principled stand, and make a lot of liberal constituencies happy, when you aren’t really trying to make the state budget work.

 

I met Rose Pak on a July afternoon at the Chinatown Hilton. She brought along her own loose tea, in a paper package; the waitress, who clearly knew the drill, took it back to the kitchen to brew. Pak and I have not been on the greatest of terms; she’s called the Guardian all kinds of names, and I’ve had my share of critical things to say about her. But on this day, she was polite and even at times charming.

After we got the niceties out of the way (she told me I was unfair to her, and I told her I didn’t like the way she and Willie Brown played politics), we started talking about Yee. And Pak (unlike some people I interviewed for this story) was happy to speak on the record.

She told me Yee had “no moral character.” She told me she couldn’t trust him. She told me a lot of stories and made a lot of allegations that we both knew neither she nor I could ever prove.

Then we got to talking about the politics of Chinatown and Asians in San Francisco, and a lot of the animosity toward Yee became more clear.

For decades, Chinatown and the institutions and people who live and work there have been the political center of the Chinese community. Nonprofits like the Chinatown Community Development Center have trained several generations of community organizers and leaders. The Chinese Chamber of Commerce, the Six Companies, and other business groups have represented the interests of Chinese merchants. And while the various players don’t always get along, there’s a sense of shared political culture.

“In Chinatown,” Gordon Chin, CCDC’s director, likes to say, “it’s all about personal connections.”

There’s a lively infrastructure of community-service programs, some of which get city money. There’s also a sense that any mayor or supervisor who wants to work with the Chinese community needs to at least touch base with the Chinatown establishment.

Yee doesn’t do that. “He doesn’t give a shit about them,” David Looman, a political consultant who has worked with many Chinese candidates over the years, told me.

Yee’s Asian political base is outside of Chinatown; he told me he sees himself representing more of the Chinese population of the Sunset and Richmond and the growing Asian community in Visitacion Valley and Bayview.

Pak is connected closely to Brown, who Yee often clashed with. For Pak, Brown, and their allies, strong connections to City Hall mean lucrative lobbying deals and public attention to the needs of Chinatown businesses. Then there’s the nonprofit sector.

CCDC and other nonprofits do important, sometimes crucial work, building and maintaining affordable housing, taking care of seniors, fighting for workers rights, and protecting the community safety net. Yee, Pak said, “has never shown any interest in our local nonprofits. We all work together here, and he doesn’t seem to care what we do.” Yee told me he has no desire to see funding cut for any critical social services in any part of town. But he has also made no secret of the fact that he questions the current model of delivering city services through a large network of nonprofits, some of which get millions of taxpayer dollars. And the way Pak sees it, all of that — the nonprofits, the business benefits, the contracts — are all at risk. “If Leland Yee is elected mayor,” she told me, “we are all dead.”

I ran into an old San Francisco political figure the other day, a man who has been around since the 1970s, inside and outside of City Hall, who remains an astute observer of the players and the power relationships in the local scene. At the time we talked, he wasn’t supporting any of the mayoral candidates, but he had a thought for me. “This town,” he said, “is being taken over by a syndicate. Willie Brown is the CEO, and Rose Pak is the COO, and it’s all about money and influence.”

That’s not a pleasant thought — I’ve lived through the era of political machine dominance in this town, and it was awful. In the days when Brown ran San Francisco, politics was a tightly controlled operation; only a small number of people managed to get elected to office without the support of the machine. Developers made land-use policy; gentrification and displacement were rampant; corruption at City Hall turned a lot of San Franciscans off, not only to the political process but to the whole notion that government could be a positive force in society.

A few years ago, I thought those days were over — and to a certain extent, district elections will always make machine politics more difficult. But when I see signs of the syndicate popping up — and I see a candidate like Ed Lee, who’s close friends with Brown, leading the Mayor’s Race — it makes me nervous. And for all his obvious flaws, at least Leland Yee isn’t part of that particular operation. If there’s a better reason to vote for him, I don’t know what it is.

YEE HOME PURCHASE RAISES SUSPICIONS

Rose Pak has a question about Leland Yee. “How,” she asked me, “did the guy manage to buy a million-dollar house on a $30,000 City Hall salary?”

Pak isn’t the only one asking — numerous media reports over the years have examined how Yee raised a family of four and bought a house in the Sunset on very little visible income. And while I’m not usually that interested in the personal finances of political candidates, I decided that it was worth a look.

Here’s what I found: Public records show that in July 1999, Yee and his wife, Maxine, purchased a house on 24th Avenue for $875,000 (it’s now assessed at slightly more than $1 million). At the time, Yee was a San Francisco supervisor, earning a little more than $30,000 a year. (The salary of the supervisors was raised dramatically shortly after Yee left the board and went to the state Assembly.) His wife wasn’t working. And his economic interest statements for that period show no other outside earnings. So the disposable, after-tax income of the entire Yee family couldn’t have been much more than $25,000.

That, by any normal standard, shouldn’t have been enough to float a mortgage that, records show, totaled $516,000. In fact, the interest payments alone on that mortgage alone would total $3,600 a month — more than Yee’s gross income.

Documents in the Assessor’s Office show another paper trail, too. In 1989, Jung H. Lee, Yee’s mother, transferred the deed on a four-unit Dolores St. building where the family had been living to Maxine and Leland Yee — for no money. And a few months before the Yees bought the Sunset house, they took out a $320,000 home-equity loan on that property. That was the down payment on the Sunset property.

Still: At that point, the Yees would have been paying off two mortgages, with a total nut of about $5,000 a month — and supporting four kids, in San Francisco. In 2002, Yee’s economic interest statement’s show some modest income from teaching at Lincoln University — but nowhere near enough to pay that level of expenses.

What happened? Yee explains it this way: “For more than 10 years, we were living rent-free in my parents’ property,” he told me I an interview. “We were a close Chinese family, and my parents provided the food and helped pay for the children’s clothing. So we had almost no expenses and we lived very frugally.”

During that period, Yee was working for the San Francisco Department of Public Health, the Oakland Unified School District, and a San Jose nonprofit, earning, he said, between $50,000 and $90,000 a year. If he saved almost all of that money, he would have had more than a half-million dollars in the bank when he bought the Sunset house.

There’s nothing on any of his economic disclosure forms showing any ownership of stocks or other reportable financial interests during that period, so he wasn’t investing the money. In fact, he says, it was, and is, all in simple savings accounts. A bit unusual for that large a sum of money.

How did he get a mortgage? “Back then,” he said, “banks were willing to lend a lot more freely than they do today.”

Starting in 2003, Yee was in the state Assembly, making a higher salary — but still not much in excess of $100,000 a year. After taxes, he was probably taking home about $75,000 — and $60,000 was going to the two mortgages.

How did he do it? “We have been supplementing our income with our savings,” he said. “We don’t take vacations, we are very careful with our money.” And they clearly aren’t desperate for cash — Yee’s daughter occupies two of the four units in the Dolores St. building they own, but the other two units are vacant.

It’s possible. It’s plausible. But I don’t blame people for wondering how he managed to pull it off. (Tim Redmond, with research assistance by Oona Robertson) 

 

 

 

BIG CORPORATIONS HAVE BACKED YEE

Yee became a prodigious fundraiser in Sacramento — and a lot of the money came from big corporations that had business in the Legislature. And while he has perfect scores from the Sierra Club and the big labor unions, he’s taken tens of thousands of dollars from some of the biggest corporations, agribusiness interests, and polluters in the state. And at times, he’s voted their way.

Since 1993, for example, campaign finance records show Yee has taken more than $20,000 from Chevron, ExxonMobil, Valero, Conoco Phillips, and BP. He’s received another $22,450 from the chemical industry (and industry employees). Most of it came from Clorox, Dow Chemical, and Dupont.

And while the Sierra Club may not have considered it a priority, Sen. Mark Leno has worked hard to pass a bill limiting chemical fire retardants in furniture. In 2008, Yee voted against Leno’s AB 706.

That year he also refused to support a bill that would prohibit the use of the chemical diacetyl in workplaces. The industries that opposed AB 514 (including Bayer, Abbott Laboratories, Pfizer, and Johnson & Johnson) have given Yee a total of more than $60,000.

In 2003, Yee voted against a crucial tenant bill, one that would have prevented the owners of single room occupancy hotels from using the Ellis Act to evict tenants. He received a campaign check for $2,500 from the San Francisco Apartment Association the next day. Landlords in general have given Yee close to $40,000.

Then there’s agribusiness. Yee gets a lot of money from the farming industry, despite the fact that there obviously aren’t many farms in his district. Why, for example, would the California Poultry Association, the California Cattlemen’s Association, and the California Farm Bureau give him money? The Poultry Association’s Bill Mattos told us that Yee “has taken a keen interest in California’s poultry industry.”

Yee also took immense flak from the San Francisco Chronicle and other papers over a 2003 vote against a bill to limit emissions from farm vehicles. In an editorial, the paper wrote that he was “doing dirty work for the lobbyists.” In the end, under immense public pressure, he switched positions and voted for the bill. I asked Yee about all that money from all those bad operators, and he told me — as most politicians will — that campaign cash has never influenced any of his votes.

So why do all these groups give him money? “It’s about whether you will sit down and listen,” Yee said. “I will talk to all sides and at least consider the arguments as a thoughtful human being. Then I vote my conscience.” (Tim Redmond, with research by Oona Robertson) 

Good girls inhale

16

caitlin@sfbg.com

HERBWISE This is the image that could very well legalize weed in the United States, if not on the books then in our national subconscious: a be-curlered, white-bathrobed housewife ducking behind the backyard clothesline for a quick toke before her adolescent son comes to ask her to wash his gear for the Little League championship tomorrow.

Dee Dee Kirkwood thinks so. The playwright behind Toke places the image at the center of an opening scene in her semi-autobiographical play about a woman and her weed.

“It’s all positives, there are no negatives about marijuana,” chirped Kirkwood over the phone the day after the friends and family preview performance of Toke. “I wanted to focus my writing on making a change, helping cannabis smokers, and helping people come out of the closet.”

Out of the closet? Kirkwood does put much truck in marijuana as a libido-enhancer, and noted Bay sexologist Carol Queen is slated to step into the pointy high heels of Toke‘s pot fairy character for the second two weeks of the play. Sexuality is in the air of Ashby Theatre as much as smoke, in fact — but Kirkwood’s talking about an entirely different kind of self-realization here.

The climactic scene of Toke takes place after protagonist Wee Dee (get it!) has surfed the seas of kitchen table abortions, Post Traumatic Stress Disorder-having Vietnam vet first loves, radical European commune life, and a confining marriage to the father of her two children — happenings that Kirkwood’s script manage to make touching and madcap in turns. The character is plucky, likable, fun, so it makes sense when her second hubby encourages her to take that indomitable Wee Dee spirit and channel it towards marijuana activism.

So she organizes an event. It’s not important what the event is, because it’s at the end of an already-wacky play and if you’re not stoned by that point, it’s not clear why you at a production called Toke to begin with.

What is important is that after Wee Dee has listened to the This is Your Life-style cassette tape of various blasts from the past wishing her well, she emerges onstage with a glittering, Beach Blanket Babylon-esque cannabis headdress. She announces “I’m coming out of the closet! I’m green!”

And boy does the audience cheer. Wee Dee is a hero.

Toke is Kirkwood’s raison d’être. She doesn’t consider herself a career activist, just wants to lead people to more morality-based look at marijuana’s outlaw status, even though the unjust incarceration issue doesn’t get much play in Toke. As a wife and mother, she wants others to share in the happiness that the dro has brought to her life.

And — if it ever makes it out of Berkeley’s green hills — one could see Toke performing similar feats for weed that Eat, Pray, Love enacted on Middle America’s acceptance of yoga and women traveling solo.

“If it ever makes it out of Berkeley” being the key phrase there, of course.

TOKE

Fri/26 – Sept. 11, Thu.-Sat, 8 p.m.; Sun., 5 p.m., $25

Ashby Theatre

1901 Ashby, Berk.

www.toketheplay.com