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Herrera’s gang injunction becomes part of D. 10 dialogue

Mary Magee
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As stated in this week’s article about City Attorney Dennis Herrera’s Viz Valley gang injunction, Herrera’s move gives D. 10 candidates an opportunity to show they are tracking all the issues in a district that is home to the city’s largest public housing site.

As C.L.A.E.R. Project director Sharen Hewitt put it at a debriefing session about the injunction, “D. 10 has been reduced to the Lennar issue, and that’s what’s criminal.”

And the injunction is becoming part of the dialogue in the D. 10 race, with eleven candidates in that race sounding off on the injunction, many of them critiquing Dennis Herrera’s approach and/or advocating for legal representation for those named in the suit, and more services in this historically neglected district.

Candidates Isaac Bowers, Kristine Enea, Chris Jackson, Nyese Joshua, Steve Moss and Marlene Tran attended Hewitt’s August 12 gang injunction debriefing.

And by meeting’s end, Bowers and Enea said they would help community members get legal representation.
“A lot of people being served, don’t know what an injunction is, or don’t show up at the hearing and then they become subject to the injunction,”  Bowers said.

Enea said she was glad that City Attorney Yvonne Mere clarified at the debriefing that the 41 young men named in Herrera’s filing could not be included in the actual injunction until they have been served.

“It was important to clarify the notice process,” Enea said.

Jackson said he’s committed to helping these men access job and education opportunities.
“If you i.d. folks as low-income gang members, there is a lot more you can do than simply hand over their names to law enforcement,” Jackson said.
“Before the City Attorney puts in a gang injunction, that office should talk about it with the community.” Jackson continued. “Ultimately this is about land use.”

“For the City Attorney to have a top down approach to gang injunctions is unfortunate,” Jackson said, noting that Herrera’s injunctions have been in predominantly
African American and Latino neighborhoods.

“And in terms of taking away people’s civil rights, it’s unacceptable, “ Jackson added, noting that the City Attorney’s list of targeted individuals is public information.

Reached by phone, Moss says he’d like to see a time limit imposed on gang injunctions. Currently, injunctions are indefinite, once they have been granted.

“I haven’t studied the precise details,” Moss said, noting that he went to Hewitt’s debriefing and has leaved through materials the City Attorney’s Office provided.
“Generally, no one likes gang injunctions because they potentially threaten civil liberties and sometimes the city gets it wrong,” Moss said, referring to cases where folks have been wrongly named in previous injunctions. “But in places where injunctions have been brought, they do seem to have reduced the violence and calmed down the district. I’d like there to be a time limit, a sunset clause.”

D. 10 candidate Marlene Tran said she thinks the injunction could help reduce violence in the neighborhood.
“I was trying to listen to the different input at the debriefing session,” Tran said. “But on TV, I heard that when Herrera talked to the Chinese press, he cited some 200 incidents in the proposed safety zone. About 100 of those incidents involved guns, and there have been ten homicides in three years. Those are really glaring statistics. And this morning I read that there is another injunction in Oakland, and they talked about success with gang injunctions in Salinas, where the homicide rate dropped from 50 to 5, compared to 2008/2009.”

Tran, who sits on the Community Advisory Board for the Police Department’s Ingleside Station, said she heard from Ingleside Captain Louis Cassenego that he wants to serve all 41 respondents named in the injunction peacefully.
“If this is done without any casualties to the district and the community, and if it prevents any further violence, then this is the way to go,” Tran said.

Tran expressed some due process concerns.
“If they spend that much personnel and time [on putting the injunction together], it should be done with due process,” Tran said.

But she feels the current level of violence in Viz Valley is unacceptable.
“I’ve lived here for twenty something years, and if you talk to residents and children, who wants to hear gun fire,” Tran said. “So I think we have to work for a peaceful community to prevent these problems. That’s why we call ourselves the emergent district.”

D. 10 candidate Ed Donaldson believes the injunctions are a product of neglect.
“It comes back to a question of overall neglect in the district,” Donaldson explained.  When you have that level of social and economic neglect, gang injunctions become “necessary’. But when you look at the resources coming into the district through local non-profits, which comes, I believe to $110 million a year, 80 percent of which is city money, paid mostly to non-profits that may not be based in the district, you have to ask, Are we getting what we paid for? And do these non-profits have enough integrity to make sure there is a level of impact to transform people’s lives? “

Donaldson says that, given the overall level of neglect in public housing, it’s not surprising the district has challenges.

“So, are we willing to invest in the neighborhood in a very transformative way, or are we going to continue to give money to police and prisons?” Donaldson asked.
He notes that every year, 1,600 men and women return to the southeast side of San Francisco, and there is a 71 percent recidivism rate among these folks.

“Why is this rate so high in a progressive city like San Francisco?” Donaldson said. “Part of the answer lies with our public housing policy: if you can’t get public housing, you can’t apply for a job, you can’t go to school to better yourself.”

Donaldson says there is a direct connection between the district’s homicide rate and the people getting out of prison, returning to the district and re-offending.
“So, what’s so hard about getting our arms around 1,600 people a year and stabilizing them? Because then a lot of stuff about public safety will go away.”

D. 10 candidate Tony Kelly believes that if there were gangs in Viz Valley, then Herrera’s injunction would be valid.
 “There is gang-like activity, but it’s small scale turf wars, shootings and retaliations, and it’s not organized,” Kelly said. “ Instead, you’ve got unorganized young black men with no other options, doing whatever it takes to get ahead. But instead of doing something constructive, the City Attorney calls them gangs.”

Kelly notes that the City Attorney claims that most of the individuals named in the Viz Valley injunction don’t live in the proposed safety zone.
“But according to what I’m hearing on the ground, a bunch of them do live here and/or grew up here,” Kelly said. “So, we want their families to get involved. They need safe havens. But combined with last year’s budget cuts, all this does is criminalize young people and pushes the problem around. As long as we have 40-50 percent unemployment, we are not going to solve our crime problem.”

DeWitt Lacy, also a D. 10 candidate, said he is concerned that gang injunctions are circumventing people’s due process rights.
“In a criminal case, you have the right to an attorney, but that’s not so in a civil action,” Lacy said.

Lacy worries that gang injunctions lend themselves to racial profiling.
“Folks have to stay in their house or quickly go to and fro because they can’t hang out in the neighborhood,” Lacy said. “A smarter approach would be to do community policy that Sup. Ross Mirkarimi introduced in the Western Addition. It’s been shown to have a positive impact on criminal activity. We should have officers walking around in troubled areas. The more we change a foot patrol pilot into citywide policy, the more we actually address serious issues and problems. Everyone understands the value that police bring and everyone wants to be able to rely on them. When we only use police to bring a punitive action it reinforces the notion that they are evil enforcers.”

D. 10 candidate Malia Cohen said she was concerned by Herrera’s approach.
“I think we need a more comprehensive approach, otherwise, we’ll simply be moving crime two blocks over,” Cohen said. “We need long-term, not short-term solutions.”

Cohen noted that there are Chinese and Russian gangs in town, as well as African American ones, and Latino gangs like the Nortenos and Sudenos.
“But the style of how each gang manifests is different, which makes African Americans an easy target. We need to have a uniform approach to how we deal with this.”

The 41 men identified in Herrera’s latest injunction all appear to be African American, and many have family ties and roots in Sunnydale, meaning the injunction impacts a much larger circle of folks than those simply named in Herrera’s filings.
“The impact on families caught up in this can’t be overstated,” Cohen said.  “Either they’ll have to take bus down to court, or drag down and pay hella money for parking, and for food, and even take a day off from work if they are employed. And then there’s the emotional effect. We could be using our resources in a more productive way. I understand that Dennis Herrera is ambitious, but this is playing on people’s racism. It’s tantamount to ethnic cleansing. Maybe Herrera wants to be seen as tough on crime, but ut how about being seen as big on compassion? Or big on fair? This is not going to help people get jobs and housing. And it prevents American citizens from being able to travel.”

Eric Smith, also a D. 10 candidate, says it’s right to question the injunctions.
“David Campos and Eric Quezada both expressed concerns about Herrera’s injunction against the Nortenos, when they were running in the 2008 race for D. 9,” Smith observed.
“They talked about the unintended consequences of that injunction in terms of deporting folks who then train the next generation in the ways of gangs.”

Smith questions how effective gang injunctions are in the long-term.
“They are a band-aid,” Smith said. “This is like putting a finger in the dike, or using a hammer to kill a flea. Because the root causes are not addressed. If you don’t deal with young people’s lack of education and joblessness, their hopelessness, their choicelessness, the gang becomes their family. So, if the city did community policing and had great youth programs, it would help.”

Smith, who is a professional jazz musician, wants to see more music, poetry and spoken word programs and activities in the neighborhood.
“There’s a lot of untapped talent,” he said. “When you have arts, music and theater, those are life-saving opportunities.”

Also a bio-diesel advocate, Smith wants to see people who are returning to the community after a stint inside, being able to access green jobs, instead of doing more of the same stuff, only better, than the activities that landed them inside in the first place.

“I care about everyone in the district, but most of all about those who have been kicked to the curb and end up in gangs, on drugs, or dead.”

And D. 10 candidate Diane Wesley Smith believes there are better solutions than gang injunctions

“African American culture is almost opposite in terms of physical mannerisms and gestures and tone of voice, and that can be scary to someone who is used to being conservative,” Wesley Smith said, speaking to the rising tensions between some black and Asian residents in the district.

“I believe these things could be solved with town hall meetings, where there is food and translators so folks could talk things out, “ she said. “It’s never going to be worked out through the police. Only law enforcement benefits from these kinds of proceedings. We need to reach out and touch each other, so that the Chinese community knows that the black community has the same goals as they do, which are employment, housing and safety.”

“When we talk about violating people’s civil rights, posting people’s pictures on websites, preying on people’s fears, well, that’s how we got into the war,” Wesley-Smith said. “Unemployment. Lack of access to opportunity. Lack of education. No money for our schools, but an increase in spending on our jails. These all send the same message: You are not wanted.”

Wesley Smith is concerned that the gang injunctions will accelerate the mass exodus of blacks and people of color from San Francisco.
“We all want a safe San Francisco,” she observed. “The solution is more jobs, not war. People are just going to go more underground in face of these injunctions. Meanwhile, the kids in my district don’t have toilet paper or computer paper in their schools.”

“I understand that Dennis Herrera is a career politician, and time will tell what his true aspirations are, but this is not legislation we propose in a caring society,” Wesley-Smith concluded. “We’re not showing any of these kids any love. All we need to do is partner with business and government and work this out. Te thought that four men standing on a corner drinking an energy drink could be considered gang members is shocking. That’s how they perpetuated slavery, and that’s why blacks have problems today. All my nephews dress similarly. So, are we going to consider them gang members? The good and the bad kids dress the same. We need people and parents to understand that none of us can be safe, until we take care of those who have the least in our community. I’d venture that everyone who is a safety concern has not pursued their education, has not been assisted in pursuing education, and has not been assisted in pursuing employment.”

D. 10 candidate Lynette Sweet promised to call me back to talk about the gang injunction, and if and when she does, I’ll be sure to include her comments here. The same goes for Nyese Joshua, Geoffrea Morris and Steve Weber  who had not returned my calls as of blog time, and for any other D. 10 candidates that I was unable to reach for this article. So, stay tuned…

Music, lovers

Jesse Hawthorne Ficks
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Music, lovers

arts@sfbg.com

FALL ARTS La-dee-dah, ’tis autumn, and to hold your loved ones close really is no crime — just ask the birds and the trees and old Father Time. So an old song goes, one that applies to some lovely new songs by Kisses. Musical and romantic partners Jesse Kivel and Zinzi Edmundson have crafted what might be my favorite album of the year so far, Heart of the Nightlife, a ten-song collection that summons a strong sense of longing in a resort setting, thanks to Kivel’s handsome voice and way with a melody. Perhaps too fittingly, considering the album’s atmosphere, Heart of the Nightlife has yet to find a label to call home, but that hasn’t stopped the duo from moving forward with a fall tour, including a November stop in San Francisco. I recently caught up with Kivel on the phone.

SFBG Travel and a sense of place and of displacement sort of dance with one another throughout Heart of the Nightlife. Can you tell me a bit about that, both in terms of personal experience and inspiration?

JK A year and a half ago I quit my day job and was trying to find ways to make money. I found an ad on Craigslist about writing for a travel site. It focused on vacation spots and timeshares. I thought it might be a scam, but then I started getting paid. They didn’t care about me going anywhere — it wasn’t mandatory for me to go to a hotel before recommending it. In terms of journalistic integrity it was pretty low, but it was a funny way of making money. Kisses was already happening. The song “Weekend in Brooklyn” was the first song I recorded. I’d been listening to a lot of Arthur Russell.

SFBG To me Kisses brings a sort of new new romanticism or Postcard (as in the record label) romance. In the ’80s, new romanticism was a pop phenom. There are waves of groups with ’80s qualities at the moment, but Kisses is the only one that seems to distill or refine them into something potent and distinct.

JK My favorite artists have always toed the line in terms of sentimentality, where the lyrics might be heart-on-your-sleeve or sentimental, but it works. Instead of writing lyrics about vague, cool, things — with so many bands now, you can’t even hear the lyrics.

That’s why I get so mad about being lumped in with chillwave. No one knows how to write songs, but there’s an aesthetic to it that can be easily imitated and people take advantage of that. They can’t sing, but the vocals are covered in reverb. I like a cool vibe, but at the end of the day there’s nothing unique about it. Being a part of a scene like that is degrading to me in terms of songwriting and work put into music.

SFBG The beat of “People Can Do the Most Amazing Things,” puts me in mind of Arthur Russell’s “Platform on the Ocean.” I also feel like there a kinship between the tender and human quality of Russell’s lyrics and yours.

JK It’s unbelievable how few people have even recognized that. Everybody is so engrossed with what is happening this second. There are bands I don’t mind being lumped in with — the Balearic and Swedish bands, the people on Sincerely Yours. But that isn’t chillwave. Culturally, those groups pull off a lot of lyrics because of their unique relationship to the English language. They phrase things in a more poetic way but its incidental.

SFBG How and when did you come up with the line “I would like to take you out for a nice steak dinner” [from “Midnight Lover”]?

JK Have you ever seen Catch Me If You Can? That line is in the movie, and Leonardo DiCaprio says it in this weird accent to a girl, and she loves it. There’s something archaic and formal about it. There are so many things you’re assuming with that line. You’re assuming that a girl would eat red meat. That’s a bold move in this day and age. I liked the image I got from that lyric.

SFBG The other line I have to bring up is “I thought all my friends were over me,” from “Bermuda.” I love how it mixes solitude and closeness.

JK That’s one of the most honest lyrics on the record. I’ve seen this happen with me, and with Zinzi and her friends. You can be wrapped up in your life and have this insecurity about your friends being over you. After school, you are restricted by space and time from hanging out with the people you grew up with, and you wonder whether you’re still important.

SFBG Disco producers such as Alec Costanidos and Gino Soccio are mentioned in relation to Kisses. How does Constanidos figure in your music?

JK I’ve known Alec my entire life. My mom’s best friend is married to Alec, and I remember going to his studio when I was little and dancing around to MC Hammer. I never cared about what he made — in the ’90s, disco was something cheesy and irrelevant.

I revisited Alec after listening to more contemporary artists revive disco in a way that I thought was exciting — people like Lindstrom and Glass Candy and Chromatics. I was trying to figure out my voice in dance music. Songs like Cerrone’s “Supernature” and “Love in C Minor,” which Alec wrote with him, really inspired the style and feeling of Kisses. There are pop elements to them — even though they’re long-playing, with tons of repetition, they have great hooks. 

www.myspace.com/blowkissess

Film listings

David Talbot
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Film listings are edited by Cheryl Eddy. Reviewers are Kimberly Chun, Michelle Devereaux, Peter Galvin, Max Goldberg, Dennis Harvey, Johnny Ray Huston, Louis Peitzman, Lynn Rapoport, Ben Richardson, and Matt Sussman. For rep house showtimes, see Rep Clock. For first-run showtimes, see Movie Guide.

OPENING

Avatar: Special Edition Now with nine extra minutes? Wasn’t this movie long enough the first time? (2:51)

Cairo Time Patricia Clarkson plays a married magazine editor who unexpectedly falls in love while on vacation in Cairo. (1:29) Embarcadero, Piedmont, Shattuck, Smith Rafael.

*Centurion Neil Marshall is the kind of filmmaker who inspires glee among horror and action junkies, but indifference among mainstream moviegoers. Centurion isn’t likely to change this. It’s the second century, and Romans are invading what’s now the Scottish Highlands, much to the displeasure of the Picts, the tribal people who’re already living there. Enter Quintus Dias (Michael Fassbender), a Roman soldier who becomes the de facto leader of an ever-shrinking group of men trapped behind enemy lines after their general (The Wire‘s Dominic West) is captured. Devotees of Marshall (2002’s Dog Soldiers, 2005’s The Descent, 2008’s Doomsday) will recognize certain elements: an ensemble cast, a military setting, the presence of a fierce female (Bond heroine Olga Kurylenko, who makes Pict warrior drag both spooky and sexy). Unlike his earlier films, though, there’s no supernatural twist; it’s just good old battlefield guts and gore. Sure, the romantic subplot feels a little forced, but this is genre filmmaking in its purest form, to be celebrated with gusto by those who appreciate grisly decapitations and the like. (Read my interview with Marshall at www.sfbg.com/pixel_vision.) (1:39) Lumiere, Shattuck. (Eddy)

Flipped I’m sure a "he said/she said" film exists that makes good on the premise, but Rob Reiner’s Flipped doesn’t quite cut it. Nestled safely in 1960s small-town America, the film is first narrated by Bryce, an eighth grader who’s spent the past four years rebuking the advances of Juli, the girl who lives across the street. Bryce is a pretty typical boy, bumbling and unsure of just what he wants, but soon the story "flips" and we see the same events narrated from Juli’s POV. Juli is drawn to Bryce’s "sparkling eyes," yes, but with a poor family and an annoyingly sincere love for life, she has problems outside of lusting for Bryce. Based on a tween-hit novel by author Wendelin Van Draanen, the story’s familiarity perhaps stems from the source material — in my experience those sorts of novels rarely invite readers older than high school — and similarly in the case of Flipped, I think this might be something we should leave to the kids. (1:30) Embarcadero. (Galvin)

The Last Exorcism Latest in a long line of Louisiana preachers, genial extrovert Cotton Marcus (Patrick Fabian) isn’t even sure he believes in God anymore — but it’s the family business, and it’s a living. He definitely doesn’t believe in demonic possession, yet has presided over many an "exorcism" if only to fool the psychologically damaged into thinking they’re "cured" of delusional ails. But now he’s decided such hijinks might be more harmful than helpful. So to debunk the whole idea, he takes a documentary filmmaking crew on one last "soul-saving" trek, answering a desperate letter from a widowed farmer (Louis Herthum) whose 16-year-old daughter (Ashley Bell) is believed possessed. Cotton deploys theatrical tricks to rig an alleged purging of Satan’s minion. And it works … but this wouldn’t be a horror movie if that rationalist triumph didn’t turn out to be a false finish, followed by all kinds of inexplicable WTF. German director Daniel Stamm’s first English-language feature (written by Huck Botko and Andrew Gurland) is being positioned by Lionsgate as the next viral word-of-mouth horror sensation a la prior faux-docs The Blair Witch Project (1999) and Paranormal Activity (2007). But the "reality" illusion is more transparent here. Despite some clever buildup tactics, okay twists, and a handful of scares, this ultimately disappoints — a preview audience’s catcalls at its underwhelming fadeout suggested there will be no Last Exorcism 2. (1:27) Shattuck. (Harvey)

*Mesrine: Killer Instinct This first half of a two-part film about notorious French bank robber Jacques Mesrine examines the early life of its subject, before he was a flamboyant, headline-grabbing folk hero. The very first scene uses 70s-style split-screens to revel Mesrine’s violent 1979 death; writer-director Jean-François Richet (2005’s Assault on Precinct 13) then jumps back 15 or so years for a glimpse of our (anti-) hero’s soldiering days in Algeria. Before long, "Jacky" (an outstanding Vincent Cassel, in a César-winning performance) is back in Paris, horrifying his upper-class parents and young wife by choosing the underworld over conventional pencil-pushing. (A near-unrecognizable Gérard Depardieu appears as a mob boss.) Killer Instinct, which is adapted from Mesrine’s own prison-penned autobiography, suffers from some standard biopic problems — it tries to cram in too much, and feels mighty rushed at times. But there’s still plenty of bad, bad behavior to enjoy, including the film’s spectacular last act, a breakneck recreation of one of the daring prison escapes that helped make Mesrine a legend. Continuation Mesrine: Public Enemy No. 1, which beings where this film ends, comes out Sept 3. (1:53) Embarcadero, Shattuck. (Eddy)

Takers This just in: Hayden Christensen still getting work. (1:57) Shattuck.

*The Two Escobars In America, the World Cup ends, and most sports fans turn their attentions elsewhere. In other countries, soccer is a year-round happening that inspires religious devotion. Putting this fact into perspectives both glorious and cruel is The Two Escobars, Jeff and Michael Zimbalist’s involving new doc about the rise of "narco-soccer" in Colombia, circa the coke-crazed 1980s and early 90s. One Escobar, we’ve all heard of: Pablo, a noted drug kingpin who was also a hero to the slum-dwellers who benefited from his donations of housing and, perhaps more importantly, soccer fields. A rabid footy fan himself, Pablo invested in Colombian teams, an influx of cash that helped the national team become one of the strongest in the world. Escobar number two is Andrés, the affable, wholesome defender who served as team captain in the 1994 World Cup. The events that caused both Escobars to meet untimely and brutal deaths are detailed here, by people who knew them well, in a moving, well-edited film that’s as cautionary as it is celebratory. Highly recommended. (1:40) Sundance Kabuki. (Eddy)

ONGOING

*Animal Kingdom More renowned for its gold rush history and Victorian terrace homes than its criminal communities, Melbourne, Australia gets put on the same gritty map as Martin Scorsese’s ’70s-era New York City and Quentin Tarantino’s ’90s Los Angeles with the advent of director-writer David Michôd’s masterful debut feature. The metropolis’ sun-blasted suburban homes, wood-paneled bedrooms, and bleached-bone streets acquire a chilling, slowly building power, as Michôd follows the life and death of the Cody clan through the eyes of its newest member, an unformed, ungainly teenager nicknamed J (James Frecheville). When J’s mother ODs, he’s tossed into the twisted arms of her family: the Kewpie doll-faced, too-close-for-comfort matriarch Smurf (Jacki Weaver), dead-eyed armed robber Pope (Ben Mendelsohn), Pope’s best friend Baz (Joel Edgerton), volatile younger brother and dealer Craig (Sullivan Stapleton), and baby bro Darren (Luke Ford). Learning to hide his responses to the escalating insanity surrounding the Codys’ war against the police — and the rest of the world — and finding respite with his girlfriend, Nicky (Laura Wheelwright), J becomes the focus of a cop (Guy Pearce) determined to take the Codys down — and discovers he’s going to have use all his cunning to survive in the jungle called home. Stunning performances abound — from Frecheville, who beautifully hides a growing awareness behind his character’s monolithic passivity, to the adorably scarifying Weaver — in this carefully, brilliantly detailed crime-family drama bound to land at the top of aficionados’ favored lineups, right alongside 1972’s The Godfather and 1986’s At Close Range and cult raves 1970’s Bloody Mama and 1974’s Big Bad Mama. (2:02) Shattuck, Sundance Kabuki. (Chun)

Army of Crime In 1941 Paris, a group of resistance fighters — mostly foreign-born, many Jewish — form an underground network to sabotage the ever-growing Nazi presence in France. Their schemes range from the clever (playing loud piano to disguise the sound of a printing press) to the violent (grenades tossed under buses). Tension builds as the film progresses, though we learn in the first three minutes which characters will have "Died for France" at the end. In addition to its important historical lesson (with a modern-day nod toward the shifting definition of what makes a terrorist), Army of Crime also boasts a strong, easy-on-the-eyes ensemble cast and a depiction of wartime Paris that favors glamorous nostalgia. (2:13) Sundance Kabuki. (Eddy)

Cats and Dogs: The Revenge of Kitty Galore (1:40) 1000 Van Ness, SF Center.

The Concert (1:47) Clay.

Cyrus It’s tempting to label Mark and Jay Duplass’ Cyrus as "mumblecore goes mainstream." Yes, the mumblecore elements are all there: plentiful moments of awkward humiliation, characters fumbling verbally and sometimes physically in desperate attempts to establish emotional connections, and a meandering, character-driven plot, in the sense that the characters themselves possess precious little drive. The addition of bona fide indie movie stars John C. Reilly, Catherine Keener, and Marisa Tomei — not to mention Hollywood’s chubby-funny guy du jour, Jonah Hill — could lead some to believe that the DIY-loving Duplass brothers (2005’s The Puffy Chair, 2008’s Baghead) have gone from slacker disciples of John Cassavetes (informally known as "Slackavetes") to worshippers at the slickly profane (with a heart) altar of Judd Apatow. But despite the presence of Apatow protégé Hill (2007’s Superbad) in the title role, Cyrus steers clear of crowd-pleasing bombast, instead favoring small, relatively naturalistic moments. That is to say, not much actually happens. Mumblecore? More or less. Mainstream? Not exactly. Despite playing a character with some serious psychological issues, Hill comes off as likeable. Unfortunately the movie is neither as broadly comic nor as emotionally poignant as it needs to be — the two opposing forces seem to cancel each other out like acids and bases. (1:32) Four Star. (Devereaux)

Despicable Me Judging from the adorable, booty-shaking, highly merchandisable charm of its sunny-yellow Percocet-like minions, Despicable Me‘s makers have more than a few fond memories of the California Raisins. That gives you an idea of the 30-second attention-span level at work here. Thanks to Pixar and company, our expectations for animated features are high, but despite the single lob at Lehman Brothers aimed toward the grown-ups, the humor here is pitched straight at the eight and younger crowd: from the mugging, child-like minions to the all-in-good-fun, slightly quease-inducing 3-D roller-coaster ride. Gru (Steve Carell) is Despicable‘s also-ran supervillain — a bit too old and too unoriginal for a game that’s been rigged in the favor of the youthful, annoyingly perky Vector (Jason Segel), who’s managed to swipe the Giza Pyramids and become the world’s number one bad dude. When Vector steals away the crucial shrink ray needed for Gru’s plot to thieve the moon, the latter pulls out the big guns: three adorable orphans who have managed to penetrate Vector’s defenses with their fund-raising cookie sales. It turns out kids have their own insidiously heart-warming way of wrecking havoc on one’s well-laid plans. Filmmakers Pierre Coffin and Chris Renaud do their best to exploit the 3-D medium, but Avatar (2009) this is not. Nor will many adults be able to withstand the onslaught of cute undertaken by all those raisins, I mean, minions. (1:35) SF Center. (Chun)

Dinner for Schmucks When he attracts favorable notice and a possible promotion from his corporate boss, Tim (Paul Rudd) is invited to an annual affair in which executives compete to see who can dig up the freakiest loser dweeb for everyone to snicker at. He literally runs into the perfect candidate: Barry (Steve Carrell), an IRS employee whose hobby is making elaborate tableaux with stuffed dead nice in tiny human clothes. He’s also the sort of person who, in trying to be helpful, inevitably wreaks havoc on the unlucky person being helped. Which means the 24 hours or so before the "Biggest Idiot" contest provide plenty of time for well-intentioned Barry to nearly destroy Tim’s relationship with a girlfriend (Stephanie Szostak), reunite him with Crazy Stalker Chick (Lucy Punch), and imperil his wooing of a multimillion-dollar account. Director Jay Roach (of the Austin Powers and Meet the Fockers series) has a full load of comedy talent on board here. So why are the results so tepid? This remake softens the bite of Francis Veber’s 1998 original French The Dinner Game by making Tim not a yuppie scumbag but a nice guy who just happens to have a jerk’s job (his company seizes ailing firms and liquidates them), and who doesn’t really want to expose hapless Barry to humiliation. But even with that satirical angle removed and a wider streak of sentimentality, it should cough up more laughs than it does. (1:50) 1000 Van Ness, SF Center. (Harvey)

*The Disappearance of Alice Creed The reliably alarming Eddie Marsen (concurrently Life During Wartime‘s pederast) plays bullying Vic, one-half of a criminal duo — with puppyish Danny (Martin Compston) his younger subordinate — who abduct grown child of wealth Alice (Gemma Arterton) for ransom in a carefully-thought-out kidnapping. This simple setup, for the most part very simply set in the two abandoned-apartment-complex rooms where Alice is held captive, allows talented British writer-director J. Blakeson to spring a number of escalating narrative surprises. The whole endeavor is almost too chamber-scaled to justify being seen on the big screen (let alone being shot in widescreen format). But it does have some mighty satisfying tricks up its sleeve. (1:40) Sundance Kabuki. (Harvey)

Eat Pray Love The new film based on Elizabeth Gilbert’s chart-busting memoir, Eat Pray Love, benefits greatly from the lead performance by Julia Roberts, an actor who can draw from her own reserves of pathos when a project has none of its own. The adaptation, about a whiny American author farting around the globe in search of what amounts to spiritual room service, is nothing without her. The journey begins with the Type-A, book contract-inspired premise that Gilbert will travel to three appointed countries over the course of a year in order that, having thrice denied herself absolutely nothing, she might come out the other end a better-balanced human being. The first stop is Italy, where her entire plan is to finally unbutton her jeans and indulge in a celebrated cuisine, as if her home base of Manhattan were a culinary backwater. But this film is all about tired equivalencies, so Italy equals food, and expressive hand gestures, and "the art of doing nothing." India, her next stop, equals enlightenment (her discovery that the guru she’s come to see is currently at an ashram in New York is an irony lost on the movie). And Bali, her final getaway, apparently equals contradictory but flattering aphorisms and thematically hypocritical romances. The sole appeal to a moviegoer here is aspirational. What’s so embarrassing about Eat Pray Love is its insistence that this appeal sprouts from the spiritual quest itself, and not just from the privilege that enables Gilbert to have such an extravagant quest in the first place. But then, self-awareness is supposed to be a obstacle to enlightenment. She’s got nothing to worry about there. (2:30) Empire, Marina, 1000 Van Ness, SF Center, Sundance Kabuki. (Jason Shamai)

The Expendables Exactly what you’re expecting: a completely ludicrous explosion-o-thon about mercenaries hired by Bruce Willis to take down a South American general who’s actually a puppet for evil CIA agent-turned-coke kingpin Eric Roberts. Clearly, Sylvester Stallone (who directed, co-wrote, stars, and even coaxed a cameo out of Schwarzenegger) knows his audience, but The Expendables — bulging with a muscle-bound cast, including Dolph Lundgren, Terry Crews, Jason Statham, and Steve Austin, plus Jet Li, who suffers many a short-guy joke — is content to simply tap every expected rung on the 80s-actioner homage ladder. There’s no self-awareness, no truly witty one-liners, no plot twists, and certainly no making a badass out of any female characters (really, couldn’t the South American general’s daughter have packed some heat, or kicked someone in the balls — anything besides simply heaving her cleavage around?) The only truly memorable thing here is the inclusion of Mickey Rourke as Stallone’s tattoo-artist pal; I would possibly wager that Rourke was allowed to write his own weepy monologue, delivered in a close-up so extreme it’s more mind-searing than any of the film’s many machine-gun brawls. (1:43) 1000 Van Ness, Sundance Kabuki. (Eddy)

The Extra Man The polar opposite of buddy cop action flicks and spoofs a la The Other Guys, with only a faint resemblance to the bromances of Judd Apatow, Adam McKay, Will Ferrell, Seth Rogen, and so on, The Extra Man is a gently weird throwback to another era, much like its title character, Henry Harrison (Kevin Kline). Sweet, cross-dressing-curious teacher and would-be writer Louis Ives (Paul Dano) is drifting though life passively when he stumbles on eccentric playwright Harrison’s room-for-let and his oddball realm of hangers-on. A blustery, prickly, proudly misogynistic collector of Christmas balls, given to spasms of improvisational dancing, Harrison relishes his role as an escort to aged socialites, crankily shucking and jiving to score invites to fancy dinner parties and vacation homes in Florida. When Ives isn’t courting environmental magazine editor Mary (Katie Holmes) or hiding from the fearsome-looking wooly recluse Gershon (John C. Reilly), the mentor-able young man turns out to be more adept at the role than Harrison ever imagined. And like fossilized grande dames in Chanel, literate audiences also might be charmed by director-writer Shari Springer Berman’s unassuming, crushed-out bon mot, based on the novel by Jonathan Ames, to a few mannered, less-than-examined, happily twisted New York City subcultures. (1:45) Opera Plaza. (Chun)

Get Low Born from the true story of Felix Bush, an eccentric Tennessee hermit who invited the world to celebrate his funeral in advance of his own death, Get Low is a loose take on what might inspire a man to do a thing like that. It’s a small story, and unlikely to attract the attention of popcorn-addled viewers in the midst of the summer blockbuster season, but Get Low has a whopper of a character in Felix Bush. Robert Duvall becomes Bush, constructing a quiet man who sees it all and speaks only when he has something to say, and supporting roles from Sissy Spacek and Bill Murray are expectedly solid, but the real surprise is what a strong eye director Aaron Schnieder has. In allowing scenes to unfold on their own terms and in their own time, Schneider gives a real humanity to what could have been a Hallmark movie. (1:42) Albany, Embarcadero, Piedmont. (Galvin)

*The Girl Who Played With Fire Lisbeth Salander is cooler than you are. The heroine of Stieg Larsson’s bestselling book series is fierce, mysterious, and utterly captivating: in the movie adaptations, she’s perfectly realized by Noomi Rapace, who has the power to transform Lisbeth from literary hero to film icon. Rapace first impressed audiences in The Girl With the Dragon Tattoo (2009), a faithful adaptation of Larsson’s premiere novel, and she returns as Lisbeth in The Girl Who Played With Fire. The sequel, as is often the case, isn’t quite on par with the original, but it’s still a page-to-screen success. And while the first film spent equal time on journalist Mikael Blomkvist (Michael Nyqvist), The Girl Who Played With Fire is almost entirely Lisbeth’s story. Sure, there’s more to the movie than the hacker-turned-sleuth — and the actor who plays her — but she carries the film. Rapace is Lisbeth; Lisbeth is Rapace. I’d watch both in anything. (2:09) Lumiere, Shattuck, Smith Rafael. (Peitzman)

*I Am Love I Am Love opens in a chilly, Christmastime Milan and deliberately warms in tandem with its characters. Members of the blue-blood Recchi family are content hosting lavish parties and gossiping about one another, none more than the matriarch Emma (Tilda Swinton). But when prodigal son Edoardo befriends a local chef, Emma finds herself taken by both the chef’s food and his everyman personality, and is reminded of her poor Soviet upbringing. The courtship that follows is familiar on paper, but director Luca Guadagnino lenses with a strong style and small scenes acquire a distinct energy through careful editing and John Adams’ unpredictable score. Swinton portrays Emma’s unraveling with the same gritty gusto she brought to Julia (2008), and her commitment to the role recognizes few boundaries. You’ve probably seen this story before, but it has rarely been this powerful. (2:00) Opera Plaza. (Galvin)

Inception As my movie going companion pointed out, "Christopher Nolan must’ve shit a brick when he saw Shutter Island." In Nolan’s Inception, as in Shutter Island, Leonardo DiCaprio is a troubled soul trapped in a world of mind-fuckery, with a tragic-vengeful wife (here, Marion Cotillard) and even some long-lost kids looming in his thoughts at all times. But Inception, about a team of corporate spies who infiltrate dreams to steal information and implant ideas, owes just as much to The Matrix (1999), Eternal Sunshine of the Spotless Mind (2004), and probably a James Bond flick or two. Familiar though it may feel, at least Inception is based on a creative idea — how many movies, much less summer blockbusters, actually require viewer brain power? If its complex house-of-cards plot (dreams within dreams within dreams) can’t quite withstand nit-picking, its action sequences are confidently staged and expertly directed, including a standout sequence involving a zero-gravity fist fight and elevator ride. Though it’s hardly genius — and Leo-recycle aside — Inception is worth it, if you don’t mind your puzzle missing a few pieces. (2:30) Empire, Marina, 1000 Van Ness, Sundance Kabuki. (Eddy)

*Joan Rivers: A Piece of Work Whether you’re a fan of its subject or not, Ricki Stern and Annie Sundberg’s documentary is an absorbing look at the business of entertainment, a demanding treadmill that fame doesn’t really make any easier. At 75, comedian Rivers has four decades in the spotlight behind her. Yet despite a high Q rating she finds it difficult to get the top-ranked gigs, no matter that as a workaholic who’ll take anything she could scarcely be more available. Funny onstage (and a lot ruder than on TV), she’s very, very focused off-, dismissive of being called a "trailblazer" when she’s still actively competing with those whose women comics trail she blazed for today’s hot TV guest spot or whatever. Anyone seeking a thorough career overview will have to look elsewhere; this vérité year-in-the-life portrait is, like the lady herself, entertainingly and quite fiercely focused on the here-and-now. (1:24) Four Star, Opera Plaza. (Harvey)

*The Kids Are All Right In many ways, The Kids Are All Right is a straightforward family dramedy: it’s about parents trying to do what’s best for their children and struggling to keep their relationship together. But it’s also a film in which Jules (Julianne Moore) goes down on Nic (Annette Bening) while they’re watching gay porn. Director Lisa Cholodenko (1998’s High Art) co-wrote the script (with Stuart Blumberg), and the film’s blend between mainstream and queer is part of what makes Kids such an important — not to mention enjoyable — film. Despite presenting issues that might be contentious to large portions of the country, the movie maintains an approachability that’s often lacking in queer cinema. Of course, being in the gay mecca of the Bay Area skews things significantly — most locals wouldn’t bat an eye at Kids, which has Nic and Jules’ children inviting their biological father ("the sperm donor," played by Mark Ruffalo) into their lives. But for those outside the liberal bubble, the idea of a nontraditional family might be more eye-opening. It’s not a message movie, but Kids may still change minds. And even if it doesn’t, the film is a success that works chiefly because it isn’t heavy-handed. It refuses to take itself too seriously. At its best, Kids is laugh-out-loud funny, handling the heaviest of issues with grace and humor. (1:47) Bridge, California, Piedmont, Presidio, SF Center. (Peitzman)

Lebanon "Das Boot in a tank" has been the thumbnail summary of writer-director Samuel Maoz’s film in its festival travels to date, during which it’s picked up various prizes including a Venice Golden Lion. On the first day of Israel’s 1982 invasion (which Maoz fought in), an Israeli army tank with a crew of three fairly green 20-somethings — soon joined by a fourth with even less battle experience — crosses the border, enters a city already halfway reduced to rubble, and promptly gets its inhabitants in the worst possible fix, stranded without backup. Highly visceral and, needless to say, claustrophobic (there are almost no exterior shots), Lebanon may for some echo The Hurt Locker (2009) in its intense focus on physical peril. It also echoes that film’s lack of equally gripping character development. But taken on its own willfully narrow terms, this is a potent exercise in squirmy combat you-are-thereness. (1:33) Lumiere, Smith Rafael. (Harvey)

Lottery Ticket (1:39) 1000 Van Ness.

*Mao’s Last Dancer Based on the subject’s autobiography of the same name, this Australian-produced drama chronicles the real-life saga of Li Cunxin (played as child, teen, and adult by Huang Wen Bin, Chengwu Guo, and Chi Cao), who was plucked from his rural childhood village in 1972 to study far from home at the Beijing Dance Academy. He attracted notice from Houston Ballet artistic director Ben Stevenson (Bruce Greenwood) during a cultural-exchange visit, and was allowed to go abroad for a Texas summer residency. At first the film looks headed toward well-handled but slightly pat inspirational territory pitting bad China against good America, as it cuts between Li’s grueling training by (mostly) humorless Party ideologues, and his astonishment at the prosperity and freedom in a country he’d been programmed to believe was a capitalist hellhole of injustice and deprivation. (Though as a Chinese diplomat cautions, not untruthfully, he’s only been exposed to "the nice parts.") Swayed by love and other factors, Li created an international incident — tensely staged here — when he chose to defect rather than return home. But Jan Sardi’s script and reliable Aussie veteran Bruce Beresford’s direction refuse to settle for easy sentiment, despite a corny situation or two. Our hero’s new life
isn’t all dream-come-true, nor is his past renounced without serious consequence (a poignant Joan Chen essays his peasant mother). The generous ballet excerpts (only slightly marred by occasional slow-mo gimmickry) offer reward enough, but the film’s greatest achievement is its honestly earning the right to jerk a few tears. (1:57) Albany, Embarcadero, Sundance Kabuki. (Harvey)

Nanny McPhee Returns Emma Thompson is back as the titular Mary Poppins type who’s far from practically perfect, her extreme case of the uglies lessening whenever children in her charge learn a "lesson." The family in need this time belongs to harried Isabel Green (Maggie Gyllenhaal, trying a little too hard like everyone here), who’s got way more than she can handle raising three unruly children and running an English farm while her husband’s away fighting World War II. Making matters worse is the arrival of a horribly bratty nephew and niece fleeing the London Blitz, not to mention the constant pestering of a brother-in-law (Rhys Ifans) who wants the farm sold to cover his secret gambling debts. Enter guess who, restoring order and civility with the thump of her magic walking stick. The first Nanny McPhee (2005) movie, adapted from Christianna Brand’s children’s books by Thompson and directed by Kirk Jones, was an old-fashioned delight adults could thoroughly enjoy. This sequel, again written by Thomson though directed by Susanna White, is roughly what Babe: Pig in the City (1998) was to the original Babe (1995): something endearingly simple and charming turned shrill, overproduced, and charmless, with way too many CGI animals doing stupid things (like porcine synchronized swimming). It’s bad enough that Ralph Fiennes and Ewan McGregor — no doubt beguiled by the earlier film — chose to do thankless cameos in such dross. But it’s pretty unforgivable that Dame Maggie Smith should suffer a career nadir as a senile old dear who at one point happily plops down on a big pat of cow shit. (1:48) 1000 Van Ness, Presidio, Shattuck. (Harvey)

The Other Guys Will Ferrell and Adam McKay can do no wrong in some bro-medy aficionados’ eyes, but The Other Guys is no Talladega Nights: The Ballad of Ricky Bobby (2006) or Anchorman: The Legend of Ron Burgundy (2004). The other two Ferrell-McKay team-ups made short work of men’s jobs, in addition to genre filmmaking tropes, with crisper, cut-to-the-gag punchiness. And despite its laugh-out-loud first quarter — and some surprising TLC references by Michael Keaton, of all people, The Other Guys is about half a genuinely hilarious film that pokes fun at masculinity, as well as, interestingly, whiteness and beyond-the-pale, big-bucks white-collar crime. This lampoon of action buddy-cop flicks is dealt a semi-fatal blow when excess-loving, damage-dealing supercops Samuel Jackson and Dwayne Johnson exit, manically chewing scenery as they go. Two forgotten desktop jocks, forensic accounting investigator-with-a-past Allen (Ferrell) and ragaholic screwup Terry (Mark Wahlberg), must step it up when the dynamic duo dissipates, and go after crooked financier David Ershon (Steve Coogan). The second half of The Other Guys could have used some of the dramatic tension budding between buddy team Jackson-Johnson and reluctant cohorts Ferrell-Wahlberg, especially when Wahlberg begins to get bogged down in single-gear disbelief. But perhaps we should just be grateful for what few yuks we can glean from the atrocities of Great Recession-era robber barons. (1:47) California, 1000 Van Ness, Presidio. (Chun)

Pirahna 3D (1:29) 1000 Van Ness.

Salt Angelina Jolie channels the existential crisis of Jason Bourne and the DIY spirit of MacGyver in a film positing that America’s most pressing concern is extant Russian cold warriors, who are plotting to reestablish their country’s pre-glasnost glory via nuclear holocaust and a Dark Angel–style army of spy kids. Jolie plays CIA agent Evelyn Salt, a woman who can stymie the top-shelf surveillance system at work using her undergarments and fashion a shoulder-mounted rocket out of interrogation-room furniture and cleaning supplies. These talents surface after Salt is accused of being a Russian operative in league with the aforementioned disturbers of the new world order and takes flight, with her agency coworkers (Liev Schreiber and Chiwetel Ejiofor) in hot pursuit. What ensues is a vicious and confounding assault on the highest levels of the U.S. government, most known rules of logic, and the viewer’s patience and powers of suspending disbelief. Salt’s off-the-ranch maneuverings are moderately engaging, particularly in the first leg of the chase, but clunky expository flashbacks, B-movie-grade dialogue, and an absurd plotline slow the momentum considerably. (1:31) 1000 Van Ness, Sundance Kabuki. (Rapoport)

*Scott Pilgrim vs. The World For fans of Bryan Lee O’Malley’s just-completed comics saga Scott Pilgrim, the announcement that Edgar Wright (2004’s Shaun of the Dead, 2007’s Hot Fuzz) would direct a film version was utterly surreal. Geeks get promises like this all the time, all too often empty (Guillermo del Toro’s Hobbit, anyone?). But miraculously, Wright indeed spent the past five years crafting the winning Scott Pilgrim vs. the World. The film follows hapless Toronto 20-something Scott Pilgrim (Michael Cera), bassist for crappy band Sex Bob-omb, as he falls for delivery girl Ramona Flowers (Mary Elizabeth Winstead), only to find he must defeat her seven evil exes — like so many videogame bosses — before he can comfortably date her. As it happens, he’s already dating a high-schooler, Knives (Ellen Wong), who’s not coping well with Scott moving on. Cera plays a good feckless twerp; his performance isn’t groundbreaking, but it dodges the Cera-playing-his-precious-self phenomenon so many have lamented. The film’s ensemble cast maintains a sardonic tone, with excellent turns by Alison Pill, Aubrey Plaza, and newcomer Wong. Jason Schwartzman is perfectly cast as the ultimate evil ex-boyfriend — there’s really no one slimier, at least under 35.The film brilliantly cops the comics’ visual language, including snarky captions and onomatopoetic sound effects, reminiscent onscreen of 1960s TV Batman. Sometimes this tends toward sensory overload, but it’s all so stylistically distinctive and appropriate that excess is easily forgiven. (1:52) California, Four Star, Presidio. (Sam Stander)

Step Up 3D The third installment of the Step Up enterprise graduates performing arts high school and moves to the sidewalks, rooftops, and warehouses of New York City, as well as the occasional venue — part underground club, part ad-plastered sports arena — where packs of street dancers battle and mop up the floor with their rivals, employing only the weaponry of a fierce routine. That, and the fast-forward button in the editing suite — beyond drop kicks and droplets of water coming out of the screen at your face, Step Up 3D unabashedly adopts the choreographed F/X of contemporary action films, manipulating footage to make the dancers look like nimble, ferocious, supernatural creatures with a youthful disdain for gravity and the space-time continuum. There is a plot of sorts, involving a crew called the Pirates; their fearless leader Luke (Rick Malambri); his mysterious lady friend Natalie (Sharni Vinson); an NYU freshman named Moose (Adam Sevani of 2008’s Step Up 2: The Streets), who was, in Luke’s oft-repeated words, "born from a boombox" (or BFAB); and the warehouse wonderland where the Pirates live and train, amid a decor of tape-deck-womb walls and galleries of limited-edition sneakers. It’s best, though, not to follow along too closely on the rare occasions when director Jon Chu (Step Up 2) mistakenly lets more than four lines of earnest dialogue stack up without a dance-scene intervention. The near-continuous wave of choreographed outbursts is like eye candy injected with multiple shots of 5-Hour Energy drink, but those who flinch at the idea of Auto-Tuning dance performance may want to stay home and rent 2000’s Center Stage. (1:46) 1000 Van Ness, SF Center. (Rapoport)

*The Switch Has any hard-working actor ever made as many mediocre, albeit vigorously marketed, movies as Jennifer Aniston? It seems like an age since her last good one, Nicole Holofcener’s Friends with Money (2006), though some might go as far back as 2002’s The Good Girl, her dramatic and cinematic breakthrough. Perhaps that dry spell seems extra long due to Aniston’s tabloid overexposure, or maybe it’s just the feeble conceits (a la 2009’s Love Happens) that Aniston allows herself to get roped into. In any case, armed with a sharp script based on a Jeffrey Eugenides short story and a less-than-perfect but comically well-equipped everyman foil in Jason Bateman, The Switch turns out to be a refreshing break from Aniston’s run of predictability: it’s actually good, girl (if a bit far-fetched that even a neurotic, successful financial whiz could be so emotionally constipated). Heeding her biological alarm clock over the objections of best friend Wally (Bateman), Kassie (Aniston) decides to get artificially inseminated by handsome, smart, and charming donor Roland (Patrick Wilson), but nothing goes according to plan when Wally gets wasted at her insemination party and — no use crying over spilled semen — woozily decides to substitute his own emissions for Roland’s. Funny, tender, heart-strings-tugging shenanigans ensue when Kassie returns to NYC after seven years with her adorable, neurotic mini-Wally Sebastian (Thomas Robinson). Bateman is as reliably excellent as ever. Blades of Glory (2007) directors Will Speak and Josh Gordon put care into the details — from the lighting, to the scene-swiping cameos by Juliette Lewis and Jeff Goldblum, to the on-point yet relatively realistic dialogue, and it shows, making this, along with The Kids Are All Right, a, ahem, seminal year for donor-coms. (1:56) 1000 Van Ness, Shattuck. (Chun)

Tales from Earthsea Drawn from Ursula K. Le Guin’s Earthsea series of fantasy novels, the feature debut of Goro Miyazaki, the legendary Hayao Miyazaki’s son, is the latest to come out of Japan’s Studio Ghibli. It tells the story of angsty patricidal prince-refugee Arren, who finds himself in the company of the wise Archmage Sparrowhawk and must help him and his friends defeat a Maleficent-esque evil sorcerer. But this film’s fantastical world tends too often toward the unengagingly mundane, with a cast of half-baked archetypes battling over overwrought metaphysical concepts. To boot, too many of the weird creatures and unreal elements seem reminiscent of the elder Miyazaki’s creations in films like Princess Mononoke (1997) and Spirited Away (2001). Ghibli is famed for its relentlessly creative productions, but Earthsea misses the mark, even if it is entirely watchable. It’s worth noting that Le Guin herself has written a lengthy piece on the film’s many problems. (1:55) Sundance Kabuki. (Stander)

*Toy Story 3 You’ve got a friend in Pixar. We all do. The animation studio just can’t seem to make a bad movie — even at its relative worst, a Pixar film is still worlds better than most of what Hollywood churns out. Luckily, Toy Story 3 is far from the worst: it’s actually one of Pixar’s most enjoyable and poignant films yet. Waiting 11 years after the release of Toy Story 2 was, in fact, a stroke of genius, in that it amplifies the nostalgia that runs through so many of the studio’s releases. The kids who were raised on Toy Story and its first sequel have now grown up, gone to college, and, presumably, abandoned their toys. For these twentysomethings, myself included, Toy Story 3 is a uniquely satisfying and heartbreaking experience. While the film itself may not be the instant classic that WALL-E (2008) was, it’s near flawless regardless of a viewer’s age. Warm, funny, and emotionally devastating—it’s Pixar as it should be. (1:49) Shattuck. (Peitzman)

Vampires Suck (1:40) 1000 Van Ness.

The Wildest Dream: Conquest of Everest The Everest documentary has, by now, become a genre unto itself. It’s got its own tropes (sweeping shots of the mountain’s face, somber voice-over philosophizing about the human struggle with nature) and its own canon (topped, perhaps, by the harrowing 1998 IMAX hit Everest). The latest entry into this field is National Geographic Entertainment’s The Wildest Dream, which chronicles early-20th century explorer George Mallory’s lifelong — and ultimately life-ending — quest to reach Everest’s summit, and modern mountaineer Conrad Anker’s attempt to recreate his predecessor’s final climb. Director Anthony Geffen unfolds his tale in standard adventure-doc fashion. We get a lot of scratchy footage from Mallory’s climbs, a few risibly awkward dramatic re-creations, and quite a lot of portentous voiceover work. These are worn techniques, to be sure, but that doesn’t make the story told any less compelling. Mallory himself emerges as a particularly fascinating figure — a talented and charming scholar, a devoted husband, and an irresponsible, borderline suicidal obsessive. It’s a shame that we’re only able to observe him at a century’s distance. (1:33) Opera Plaza. (Zach Ritter)

*Winter’s Bone Winter’s Bone has already won awards at the Berlin International Film Festival and the Sundance Film Festival, but it’s the kind of downbeat, low-key, quiet film that may elude larger audiences (and, as these things go, Oscar voters). Like Andrea Arnold’s recent Fish Tank, it tells the story of a teenage girl who draws on unlikely reserves of toughness to navigate an unstable family life amid less-than-ideal economic circumstances. And it’s also directed by a woman: Debra Granik, whose previous feature, 2004’s Down to the Bone, starred Vera Farmiga (2009’s Up in the Air) as a checkout clerk trying to balance two kids and a secret coke habit. Drugs also figure into the plot of the harrowing Winter’s Bone, though its protagonist, Ree Dolly (Jennifer Lawrence), is faced with a different set of circumstances: her meth head father has jumped bail, leaving the family’s humble mountain home as collateral; the two kids at stake are her younger siblings. With no resources other than her own tenacity, Ree strikes out into her rural Missouri community, seeking information from relatives who clearly know where her father is — but ain’t sayin’ a word. It’s a journey fraught with menace, shot with an eye for near-documentary realism and an appreciation for slow-burn suspense; Lawrence anchors a solid cast with her own powerful performance. Who says American independent film is dead? (1:40) Empire, Four Star, Opera Plaza, Shattuck. (Eddy)

Bay Bridge tolls a boost for congestion pricing?

Zelda Bronstein
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Bay Bridge tolls a boost for congestion pricing?


San Francisco officials are watching closely to see if higher tolls on the Bay Bridge might help the city make the case for charging fees to drive into downtown in high-traffice periods — and so far, the evidence is promising.


Since tolls increased July 1, an additional 4,000 commuters turning to BART — and that means fewer cars on the bridge.
The Bay Area Toll Authority elevated fees during the hours of 5 am to 10 am and 3 pm until 7 pm for crossing all bridges except the Golden Gate, which is managed by a different agency.


Drivers crossing the Bay Bridge during weekday commute hours are now expected to pay $6. During other hours, the weekday toll remains at $4. The toll is $5 on both Saturday and Sunday.


The toll has also been bumped up to $5 on the Antioch, Carquinez, Dumbarton, San Mateo, Benicia-Martinez and Richmond bridges. Although previously exempt from charges, occupants in the carpool lane now pay $2.50.
These increased costs may have prompted discontented commuters to add to the approximately 335,000 individuals that use BART each day, spokesman Jim Allison said.


“We have seen 2,000 to 4,000 more people riding BART on an average weekday this month compared with last,” he said.
Allison was careful to note that because of the brief time element and other seasonal changes, it is hard to determine higher tolls as the only reason for a boost in ridership.


“It is just too soon to draw any conclusions,” he said. “While it may be a factor, the increase cannot necessarily be attributed to the changes on the Bay Bridge.”


However, executives from the San Francisco County Transportation Authority planning to bring a citywide congestion pricing plan before the Board of Supervisors this fall were encouraged by the trend toward public transit.
“We do think that it is too early to draw any conclusions,” SFCTA deputy director for planning Tilly Chang said. “But the general indication is that people are shifting their behavior in some way, which is the goal of congestion pricing.”
The toll hikes mark the Bay Area’s first quasi-attempt at congestion pricing, with officials hoping to encourage the use of public transportation while simultaneously decreasing travel time for those who choose to stay in the driver’s seat.
According to a preliminary study on the compounded tolls, there were more than 12,000 fewer carpoolers and 2,300 more drivers paying the full fare on their commutes.


Spokesman John Goodwin said that the increase in solo drivers could be due to the new system’s ability to weed out cheaters, with FasTrak identification and a guaranteed minimum toll putting a damper on disobedience.
“It may very well be that we didn’t have as many real carpoolers as we thought we did,” Goodwin said. “There is, of course, no way of quantifying exactly how many drivers who didn’t meet the occupancy requirement are now recalibrating

Film Listings

Jesse Hawthorne Ficks
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0

Film listings are edited by Cheryl Eddy. Reviewers are Kimberly Chun, Michelle Devereaux, Max Goldberg, Dennis Harvey, Johnny Ray Huston, Louis Peitzman, Lynn Rapoport, Ben Richardson, and Matt Sussman. 

OPENING

*Animal Kingdom More renowned for its gold rush history and Victorian terrace homes than its criminal communities, Melbourne, Australia gets put on the same gritty map as Martin Scorsese’s ’70s-era New York City and Quentin Tarantino’s ’90s Los Angeles with the advent of director-writer David Michôd’s masterful debut feature. The metropolis’ sun-blasted suburban homes, wood-paneled bedrooms, and bleached-bone streets acquire a chilling, slowly building power, as Michôd follows the life and death of the Cody clan through the eyes of its newest member, an unformed, ungainly teenager nicknamed J (James Frecheville). When J’s mother ODs, he’s tossed into the twisted arms of her family: the Kewpie doll-faced, too-close-for-comfort matriarch Smurf (Jacki Weaver), dead-eyed armed robber Pope (Ben Mendelsohn), Pope’s best friend Baz (Joel Edgerton), volatile younger brother and dealer Craig (Sullivan Stapleton), and baby bro Darren (Luke Ford). Learning to hide his responses to the escalating insanity surrounding the Codys’ war against the police — and the rest of the world — and finding respite with his girlfriend, Nicky (Laura Wheelwright), J becomes the focus of a cop (Guy Pearce) determined to take the Codys down — and discovers he’s going to have use all his cunning to survive in the jungle called home. Stunning performances abound — from Frecheville, who beautifully hides a growing awareness behind his character’s monolithic passivity, to the adorably scarifying Weaver — in this carefully, brilliantly detailed crime-family drama bound to land at the top of aficionados’ favored lineups, right alongside 1972’s The Godfather and 1986’s At Close Range and cult raves 1970’s Bloody Mama and 1974’s Big Bad Mama. (2:02) Metreon, Shattuck. (Chun)

Army of Crime In 1941 Paris, a group of resistance fighters — mostly foreign-born, many Jewish — form an underground network to sabotage the ever-growing Nazi presence in France. Their schemes range from the clever (playing loud piano to disguise the sound of a printing press) to the violent (grenades tossed under buses). Tension builds as the film progresses, though we learn in the first three minutes which characters will have “Died for France” at the end. In addition to its important historical lesson (with a modern-day nod toward the shifting definition of what makes a terrorist), Army of Crime also boasts a strong, easy-on-the-eyes ensemble cast and a depiction of wartime Paris that favors glamorous nostalgia. (2:13) Sundance Kabuki. (Eddy)

Hugh Hefner: Playboy, Activist, and Rebel See “Bunny Business.” (2:04) Lumiere, Shattuck.

Lebanon “Das Boot in a tank” has been the thumbnail summary of writer-director Samuel Maoz’s film in its festival travels to date, during which it’s picked up various prizes including a Venice Golden Lion. On the first day of Israel’s 1982 invasion (which Maoz fought in), an Israeli army tank with a crew of three fairly green 20-somethings — soon joined by a fourth with even less battle experience — crosses the border, enters a city already halfway reduced to rubble, and promptly gets its inhabitants in the worst possible fix, stranded without backup. Highly visceral and, needless to say, claustrophobic (there are almost no exterior shots), Lebanon may for some echo The Hurt Locker (2009) in its intense focus on physical peril. It also echoes that film’s lack of equally gripping character development. But taken on its own willfully narrow terms, this is a potent exercise in squirmy combat you-are-thereness. (1:33) Embarcadero, Shattuck, Smith Rafael. (Harvey)

Lottery Ticket When Bow Wow wins $370 million in the lottery, his neighbors are, understandably, a bit jealous. The all-star ensemble also features Ice Cube, Loretta Devine, Mike Epps, and Charlie Murphy. (1:39)

*Mao’s Last Dancer Based on the subject’s autobiography of the same name, this Australian-produced drama chronicles the real-life saga of Li Cunxin (played as child, teen, and adult by Huang Wen Bin, Chengwu Guo, and Chi Cao), who was plucked from his rural childhood village in 1972 to study far from home at the Beijing Dance Academy. He attracted notice from Houston Ballet artistic director Ben Stevenson (Bruce Greenwood) during a cultural-exchange visit, and was allowed to go abroad for a Texas summer residency. At first the film looks headed toward well-handled but slightly pat inspirational territory pitting bad China against good America, as it cuts between Li’s grueling training by (mostly) humorless Party ideologues, and his astonishment at the prosperity and freedom in a country he’d been programmed to believe was a capitalist hellhole of injustice and deprivation. (Though as a Chinese diplomat cautions, not untruthfully, he’s only been exposed to “the nice parts.”) Swayed by love and other factors, Li created an international incident — tensely staged here — when he chose to defect rather than return home. But Jan Sardi’s script and reliable Aussie veteran Bruce Beresford’s direction refuse to settle for easy sentiment, despite a corny situation or two. Our hero’s new life isn’t all dream-come-true, nor is his past renounced without serious consequence (a poignant Joan Chen essays his peasant mother). The generous ballet excerpts (only slightly marred by occasional slow-mo gimmickry) offer reward enough, but the film’s greatest achievement is its honestly earning the right to jerk a few tears. (1:57) Albany, Embarcadero. (Harvey)

Nanny McPhee Returns Emma Thompson reprises her role as the magical nanny, this time helping out harried mother Maggie Gyllenhaal. (1:48) Presidio, Shattuck.

The Switch Sperm-donor humor: now officially a tired trend. (1:56) Shattuck.

Vampires Suck And they’re ripe for parody, too. (1:40)

ONGOING

Agora (2:06) Shattuck.

*Alamar (1:13) Roxie.

Cats and Dogs: The Revenge of Kitty Galore (1:40) 1000 Van Ness, SF Center.

The Concert (1:47) Clay.

Despicable Me (1:35) 1000 Van Ness, SF Center.

Dinner for Schmucks (1:50) 1000 Van Ness, SF Center.

*The Disappearance of Alice Creed (1:40) Sundance Kabuki.

Eat Pray Love The new film based on Elizabeth Gilbert’s chart-busting memoir, Eat Pray Love, benefits greatly from the lead performance by Julia Roberts, an actor who can draw from her own reserves of pathos when a project has none of its own. The adaptation, about a whiny American author farting around the globe in search of what amounts to spiritual room service, is nothing without her. The journey begins with the Type-A, book contract-inspired premise that Gilbert will travel to three appointed countries over the course of a year in order that, having thrice denied herself absolutely nothing, she might come out the other end a better-balanced human being. The first stop is Italy, where her entire plan is to finally unbutton her jeans and indulge in a celebrated cuisine, as if her home base of Manhattan were a culinary backwater. But this film is all about tired equivalencies, so Italy equals food, and expressive hand gestures, and “the art of doing nothing.” India, her next stop, equals enlightenment (her discovery that the guru she’s come to see is currently at an ashram in New York is an irony lost on the movie). And Bali, her final getaway, apparently equals contradictory but flattering aphorisms and thematically hypocritical romances. The sole appeal to a moviegoer here is aspirational. What’s so embarrassing about Eat Pray Love is its insistence that this appeal sprouts from the spiritual quest itself, and not just from the privilege that enables Gilbert to have such an extravagant quest in the first place. But then, self-awareness is supposed to be a obstacle to enlightenment. She’s got nothing to worry about there. (2:30) Cerrito, Elmwood, Empire, Marina, 1000 Van Ness, SF Center, Sundance Kabuki. (Jason Shamai)

The Expendables Exactly what you’re expecting: a completely ludicrous explosion-o-thon about mercenaries hired by Bruce Willis to take down a South American general who’s actually a puppet for evil CIA agent-turned-coke kingpin Eric Roberts. Clearly, Sylvester Stallone (who directed, co-wrote, stars, and even coaxed a cameo out of Schwarzenegger) knows his audience, but The Expendables — bulging with a muscle-bound cast, including Dolph Lundgren, Terry Crews, Jason Statham, and Steve Austin, plus Jet Li, who suffers many a short-guy joke — is content to simply tap every expected rung on the 80s-actioner homage ladder. There’s no self-awareness, no truly witty one-liners, no plot twists, and certainly no making a badass out of any female characters (really, couldn’t the South American general’s daughter have packed some heat, or kicked someone in the balls — anything besides simply heaving her cleavage around?) The only truly memorable thing here is the inclusion of Mickey Rourke as Stallone’s tattoo-artist pal; I would possibly wager that Rourke was allowed to write his own weepy monologue, delivered in a close-up so extreme it’s more mind-searing than any of the film’s many machine-gun brawls. (1:43) 1000 Van Ness, Sundance Kabuki. (Eddy)

The Extra Man (1:45) Elmwood, Embarcadero.

Farewell (1:53) Opera Plaza, Shattuck.

Get Low Born from the true story of Felix Bush, an eccentric Tennessee hermit who invited the world to celebrate his funeral in advance of his own death, Get Low is a loose take on what might inspire a man to do a thing like that. It’s a small story, and unlikely to attract the attention of popcorn-addled viewers in the midst of the summer blockbuster season, but Get Low has a whopper of a character in Felix Bush. Robert Duvall becomes Bush, constructing a quiet man who sees it all and speaks only when he has something to say, and supporting roles from Sissy Spacek and Bill Murray are expectedly solid, but the real surprise is what a strong eye director Aaron Schnieder has. In allowing scenes to unfold on their own terms and in their own time, Schneider gives a real humanity to what could have been a Hallmark movie. (1:42) Albany, Embarcadero, Piedmont. (Peter Galvin)

*The Girl Who Played With Fire (2:09) Embarcadero, Piedmont, Shattuck, Smith Rafael.

*The Girl With the Dragon Tattoo (2:32) Shattuck.

Harimaya Bridge (2:00) Four Star.

*I Am Love (2:00) Elmwood, Opera Plaza.

Inception (2:30) Empire, Marina, 1000 Van Ness, Sundance Kabuki.

*Joan Rivers: A Piece of Work (1:24) Opera Plaza, Red Vic.

*The Kids Are All Right In many ways, The Kids Are All Right is a straightforward family dramedy: it’s about parents trying to do what’s best for their children and struggling to keep their relationship together. But it’s also a film in which Jules (Julianne Moore) goes down on Nic (Annette Bening) while they’re watching gay porn. Director Lisa Cholodenko (1998’s High Art) co-wrote the script (with Stuart Blumberg), and the film’s blend between mainstream and queer is part of what makes Kids such an important — not to mention enjoyable — film. Despite presenting issues that might be contentious to large portions of the country, the movie maintains an approachability that’s often lacking in queer cinema. Of course, being in the gay mecca of the Bay Area skews things significantly — most locals wouldn’t bat an eye at Kids, which has Nic and Jules’ children inviting their biological father (“the sperm donor,” played by Mark Ruffalo) into their lives. But for those outside the liberal bubble, the idea of a nontraditional family might be more eye-opening. It’s not a message movie, but Kids may still change minds. And even if it doesn’t, the film is a success that works chiefly because it isn’t heavy-handed. It refuses to take itself too seriously. At its best, Kids is laugh-out-loud funny, handling the heaviest of issues with grace and humor. (1:47) Bridge, California, Cerrito, 1000 Van Ness, Piedmont, Presidio, SF Center. (Peitzman)

*Life During Wartime The Kids Are Alright isn’t the only film this summer that subtly skewers the suburban upper-middle class by following a seemingly well-adjusted family as they’re thrown into crisis when a shadowy father figure attempts to enter their orbit. Only in the case of Todd Solondz’s Life During Wartime, instead of a sperm donor, Dad is a convicted child molester. A quasi-sequel to 1998’s Happiness, Life picks up 10 years later to survey the still-damaged Jordan sisters. After discovering that her husband Allen (Michael Kenneth Williams) is still making sexually harassing phone calls, mousy Joy (squeaky-voiced British actress Shirley Henderson) flees to Florida, where her older sister Trish (Allison Janney) has attempted to start a new life for herself and her children. Oldest Billy (Chris Marquette) is now a bitter college student, and youngest son Timmy (Dylan Riley Snyder) still doesn’t know the horrible truth about his father Bill (Ciarán Hinds), who has just been released from prison. Third sister Helen (Ally Sheedy), has had success in Hollywood, but still feels victimized by her family. Despite the entirely new cast, happiness remains just as elusive as before. Pleasure, when it can be found, is fleeting. Characters’ awkward conversations with each other inevitably sputter and stall, and even the best intentions are no measure against disaster. Solondz may be a scathing observer, but he is not above being sympathetic when its called for. Neither does he gloss over the serious questions — what are the limits of forgiveness? When is forgetting necessary? (1:37) Lumiere. (Sussman)

Lourdes (1:39) Roxie.

Middle Men (1:45) 1000 Van Ness, Sundance Kabuki.

The Other Guys (1:47) California, 1000 Van Ness, Presidio.

Patrik Age 1.5 (1:38) Lumiere.

Peepli Live (1:46) Balboa.

Salt (1:31) 1000 Van Ness, Sundance Kabuki.

*Scott Pilgrim vs. The World For fans of Bryan Lee O’Malley’s just-completed comics saga Scott Pilgrim, the announcement that Edgar Wright (2004’s Shaun of the Dead, 2007’s Hot Fuzz) would direct a film version was utterly surreal. Geeks get promises like this all the time, all too often empty (Guillermo del Toro’s Hobbit, anyone?). But miraculously, Wright indeed spent the past five years crafting the winning Scott Pilgrim vs. the World. The film follows hapless Toronto 20-something Scott Pilgrim (Michael Cera), bassist for crappy band Sex Bob-omb, as he falls for delivery girl Ramona Flowers (Mary Elizabeth Winstead), only to find he must defeat her seven evil exes — like so many videogame bosses — before he can comfortably date her. As it happens, he’s already dating a high-schooler, Knives (Ellen Wong), who’s not coping well with Scott moving on. Cera plays a good feckless twerp; his performance isn’t groundbreaking, but it dodges the Cera-playing-his-precious-self phenomenon so many have lamented. The film’s ensemble cast maintains a sardonic tone, with excellent turns by Alison Pill, Aubrey Plaza, and newcomer Wong. Jason Schwartzman is perfectly cast as the ultimate evil ex-boyfriend — there’s really no one slimier, at least under 35.The film brilliantly cops the comics’ visual language, including snarky captions and onomatopoetic sound effects, reminiscent onscreen of 1960s TV Batman. Sometimes this tends toward sensory overload, but it’s all so stylistically distinctive and appropriate that excess is easily forgiven. (1:52) California, Four Star, Presidio, Shattuck. (Stander)

Step Up 3D (1:46) 1000 Van Ness, SF Center.

Tales from Earthsea Drawn from Ursula K. Le Guin’s Earthsea series of fantasy novels, the feature debut of Goro Miyazaki, the legendary Hayao Miyazaki’s son, is the latest to come out of Japan’s Studio Ghibli. It tells the story of angsty patricidal prince-refugee Arren, who finds himself in the company of the wise Archmage Sparrowhawk and must help him and his friends defeat a Maleficent-esque evil sorcerer. But this film’s fantastical world tends too often toward the unengagingly mundane, with a cast of half-baked archetypes battling over overwrought metaphysical concepts. To boot, too many of the weird creatures and unreal elements seem reminiscent of the elder Miyazaki’s creations in films like Princess Mononoke (1997) and Spirited Away (2001). Ghibli is famed for its relentlessly creative productions, but Earthsea misses the mark, even if it is entirely watchable. It’s worth noting that Le Guin herself has written a lengthy piece on the film’s many problems. (1:55) Sundance Kabuki. (Sam Stander)

*Toy Story 3 (1:49) 1000 Van Ness, Shattuck, Sundance Kabuki.

Vengeance Prolific Hong Kong director Johnnie To’s two best films to date are 1999’s The Mission and its sorta-sequel, 2006’s Exiled. Both are about hired killers going about their business — a favored To plot that allows him to explore his fascination with male bonding, particularly amid crooks who fiercely adhere to the underworld’s sticky loyalty codes. His latest stateside release is 2009’s Vengeance; I had to double-check to make sure this was a new movie, because how could To have not made one called Vengeance already? The turf is classic To; The Mission and Exiled star Anthony Wong is, of course, the chief assassin; as always, he’s a cool, stone-faced cat of the sunglasses-at-night variety. There are elegantly staged gun battles, a post-skirmish tending-our-wounds scene, a daring getaway via a series of fire escapes, and lots of slo-mo. But there’s one new element here: 60-something Johnny Hallyday, dubbed “the French Elvis” in the 1960s. His Costello is a killer-turned-chef seeking revenge for the death of his Macau-based daughter’s family. He hasn’t been in the game for decades, so he hires Wong and co. to help him annihilate the bad guys. Hallyday has a certain glamorous presence, but at times it feels like he’s been grafted onto Vengeance just so it won’t feel like To is repeating himself (again). Costello is losing his memory at a rapid rate, so much time is spent waiting for him to shuffle through his Memento-style sheaf of Polaroids, struggling to recall who he’s with, why he’s there, and finally, “What is revenge?” Indeed, as another character points out, “What does revenge mean when you can’t remember anything?” Wong’s gunslingers may have just met Costello, but he’s paid for their loyalty — and earned their respect. Plus, his Paris restaurant is called “Frères,” so of course his newfound “brothers” will finish the job. (1:48) Four Star, Sundance Kabuki. (Eddy)

The Wildest Dream: Conquest of Everest (1:33) Opera Plaza.

*Winter’s Bone (1:40) Empire, Lumiere, Shattuck.

Not according to plan

Jesse Hawthorne Ficks
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3
Not according to plan

rebeccab@sfbg.com

The long-term viability of eight women’s health clinics operating under regional affiliate Planned Parenthood Golden Gate (PPGG) was thrown into question Aug. 6 when Planned Parenthood Federation of America (PPFA) announced that the affiliate would lose its accreditation.

The clinics — which serve roughly 55,000 clients, predominantly women living at or below the federal poverty level — will still be allowed to operate but must stop using Planned Parenthood’s nationally trusted name beginning Sept. 3.

Some news articles immediately following PPFA’s announcement referenced confidential internal conflicts to explain the break, but financial documents and the accounts of several former employees gathered by the Guardian suggest that the organization had reached a precarious financial position that made it difficult to meet accreditation standards.

“To not have a Planned Parenthood in San Francisco is like heresy,” a former PPGG employee told the Guardian. Yet this person and other former coworkers attributed this outcome to dysfunction at the senior management level of PPGG and said the national organization had little choice but to take action.

The Bay Citizen reported that 30 members of PPGG’s medical services staff sent a letter to Harrison and PPFA executives in October 2008 to raise concerns about “the misappropriation and mismanagement of PPGG’s funds.” The letter charges that “executive staff’s personal expenditures are excessive and are not aligned with the mandatory fiscal restrictions. Flagrant use of PPGG funds to pay for personal belongings, personal services, and exorbitant technology products is seemingly unchallenged and not subject to the same financial scrutiny that clinic supplies and staff salaries are, for example.”

A former PPGG staffer noted that employees had tried in the past to sound the alarm, including going to the media. Another noted that they had been made to sign a confidentiality agreement on leaving the organization, a practice that was common within PPGG.

While the current CEO, Therese Wilson, did not return numerous phone calls seeking comment, she was quoted in a fairly sympathetic San Francisco Chronicle article referencing the economic downturn and inability for many of the clients to pay as reasons behind the agency’s financial woes. While the recession, cuts to state funding to nonprofits, and other external factors have clearly had an impact, documents suggest that things were going awry before the recession hit full force.

An internal PPGG document provided to the Guardian displays the agency’s on-hand cash reserves compared with other affiliates, suggesting that the reserve ratios were at or below the minimum required by Planned Parenthood national for all but one year from 1998 to 2007 — and well below that of other affiliates of similar size. That is a key requirement for meeting accreditation standards.

When we asked Elizabeth Toledo, a Planned Parenthood Federation of America (PPFA) spokesperson, about this apparent pattern, she said she could not comment because she had not seen the documents. She also said the accreditation reviews were confidential. “Understanding the true financial picture for health care providers takes a very in-depth evaluation,” Toledo said. “PPFA and PPGG were working together over the last few years to resolve fiscal challenges.”

The Packard Foundation, a major donor to Planned Parenthood, awarded PPGG a $30,000 “organizational effectiveness” grant last year to “select a talented, external provider to help them think through some of these challenges.” The grant expires in September, according to spokesperson Dan Cohen.

In an era marked by high unemployment, economic instability, and deep cuts in public funding for health services, Planned Parenthood clinics provide an increasingly important safety net for uninsured and low-income clients in need of birth control, screenings for sexually transmitted disease or cervical cancer, abortion services, or information on sexual health that isn’t manipulated by a pro-life agenda. As things stand, women in rural communities seeking abortions often must travel very long distances to clinics, and any gap in services resulting from a PPGG accreditation loss could further broaden those geographical boundaries.

Since financial problems are at the root of the San Francisco-based affiliate’s problems, the PPGG clinics — which are located in San Francisco, Alameda, San Mateo, Sonoma, Marin, and Mendocino counties — are in an especially precarious position without national support, despite operating as a separate entity from PPFA. Planned Parenthood affiliates Mar Monte and Shasta Diablo plan to take over some of the existing clinics or cover gaps in service area by opening satellite centers, Toledo told us. “It’s unusual to have a disaffiliation,” she said. “But it’s not unusual for national committees to have a reallocation of service area. That part is well practiced.” She added that “every effort possible will be made” to ensure continuity of care.

The Mar Monte affiliate operates clinics in the Central Valley, Sacramento, the Sierra region, the San Joaquin Valley, and Silicon Valley. The Shasta Diablo affiliate covers areas in Butte, Contra Costa, Lake, Napa, Shasta, and Solano counties, with locations in El Cerrito and Walnut Creek. Depending on clients’ starting points, travel times could lengthen considerably and waiting rooms could become more crowded if the current PPGG clinics can’t stay afloat.

It’s too early to say just how PPGG staff members and patients will be affected by the loss of accreditation. However, it became obvious from Guardian interviews and more than two dozen Web comments on the Guardian’s online coverage of PPGG management woes that there was a high level of employee discontent at PPGG. Former staffers even keep in touch through a sort of club titled “PPGG PTSD” — a humorous reference to being shaken by the experience of working there. Yet while many were angered by the affiliate’s administrative problems, they nonetheless remain dedicated to the mission of Planned Parenthood.

“I’m a senior citizen who hasn’t needed birth control in quite some time, yet I remember when I was a young woman without resources who depended on PPGG for basic health care,” noted “Ellen,” a commenter. “They provide more than just reproductive services. They found an early cervical cancer, and I’m alive today as a result of the early diagnosis that they provided.

“It’s a tragedy that the current and recent trustees and management ruined such a fine organization,” she continued. “A friend of mine is a talented and dedicated nurse with a background of serving low-income women. She resigned from PPGG a year ago because she couldn’t handle the mismanagement any longer. I hope one of the nearby chapters is able to take over the PPGG clinics. In any case, current PPGG management and trustees need to go.”

On the Cheap listings

David Talbot
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On the Cheap listings are compiled by Paula Connelly. Submit items for the listings at listings@sfbg.com.

WEDNESDAY 11

Ethical Borders  Modern Times Bookstore, 888 Valencia, SF; www.mtbs.com. 6pm, free. In his new book, Bill Ong Hing examines the relationship between NAFTA, globalization, and undocumented migration and discusses policy options for immigration control, including opening the U.S./Mexican border while improving the conditions that give people incentive to migrate.

THURSDAY 12

“What Cannot Be Taken Away” SOMArts Cultural Center, 934 Brannan, SF; (415) 863-1414. This new exhibition titled, “What Cannot Be Taken Away: Families and Prisons Project,” consists of eight collaboratively designed and created portraits that resulted from creative dialogue between Bay Area youth who have incarcerated parents and fathers who are currently incarcerated in San Francisco jail.

FRIDAY 13

American Craft Council Show Herbst and Festival Pavilions, Fort Mason Center, Laguna at Beach, SF; 1-800-836-3470. Fri. 10am-8pm, Sat. 10am-6pm, Sun. 10am-5pm; $5-$12. Check out crafts made by over 250 artists from around the country, an AltCraft exhibit featuring upcycled jewelry, “trashion”, and eclectic handmade pieces, an Etsy craft bar, wine tastings, and more for DIY enthusiasts and craft lovers alike.

“New Frequencies Unplugged” Grand Lobby, Yerba Buena Center for the Arts, 701 Mission, SF; (415) 978-2700. 6pm, free. Part of YBCA’s Thursday and Friday Art Tap happy hours, this week’s party invites attendees to stroll through the galleries while enjoying live jazz from the Nice Guy Trio, playing original compositions representing folk traditions from around the globe.

SATURDAY 14

“Color en el Barrio” Mission Cultural Center for Latino Arts, 2868 Mission, SF; (415) 643-5001. 5pm, free. Learn about the challenges that graffiti artists face when trying to transition from tagging to creating murals that serve a public function at this panel discussion with celebrated urban artists Francisco “Twick” Aquino, Jonathan Brumfield, Jet Martinez, and Marina “Mincho” Perez-Wong. All panelists have participated in the StreetSmARTS program, which connects urban artists with private property owners to create vibrant murals and reduce vandalism.

DIYbca Yerba Buena Center for the Arts, 701 Mission, SF; (415) 978-2787. 9pm, free. This TechnoCRAFT inspired, do-it-yourself night highlights the Bay Area’s pioneering brand of homemade, homespun crafting weirdness by inviting participants to create their own instruments, customize their own shoes with Mrs. Vera’s Sole Makeover, create stencils with public artist Jeremy Novy, and more.

Make Piñatas! Flax Art and Design, 1699 Market, SF; (415) 552-2355. 1pm, free. Get ready for your next fiesta at this workshop where you can learn to make your own piñata out of tissue and balloons. Supplies provided.

Sea Turtle Benefit Art Show 10 Arkansas, SF; www.seaturtles.org/artshow. Noon-6pm, free. Fifteen fine artists and craftspeople will exhibit work available for purchase at a silent auction to benefit the Sea Turtle Restoration Project. Show to feature on-site artisan food vendors, music performances, and presentations throughout the afternoon.

Sideshow Happening Root Division Gallery, 3175 17th St., SF; (415) 863-7668. 7pm, $5-$20 sliding scale. Celebrate the link between conceptual art and carnival at this exhibit featuring stand-up comedy, glass eating, lectures, living sculpture, noise music, snake charming fantasy travel, film, slideshow, dance, and more from Root Division Artists, artists from their Adult Ed program, and other performers.

Tomato Cooking Contest Omnivore Books, 3885a Ceasar Chavez, SF; (415)282-4712. 4pm, $5. Cook up an inventive dish that utilizes tomatoes from August’s fabulous tomato bounty and enter for a chance to win cash. Cut your dish into as many pieces as possible for judges and tasters. Free admission for all who enter a dish.

SUNDAY 15

Candlestick Park Antique Faire Candlestick Park, Hunter’s Point Expressway at Jamestown, SF; (510) 217-8696. 6am-3pm, $5-$15. Over 500 vendor booths filled with antiques and collectibles will be selling treasures all day at Candlestick Park. Food vendors will be available.

North Beach by Night Meet at Spec’s, 12 Saroyan Place, SF; www.sfcityguides.org. 7pm, free. There is plenty to do and see in North Beach during the day, but the most interesting things happen here by the light of the neon signs. Learn about this colorful neighborhood where food, culture, and history have intersected in many unexpected ways. Bring warm layers.

BAY AREA

Bike Church Manifesto Bicycles, 412 40th St., Oakl.; (510) 595-1155. 10:30am, free. Come one, come all to a non-religious community gathering for bike lovers featuring live music, brunch by Jon’s Street Eats, and lots of friendly people.

TUESDAY 17

Idiolexicon Rancho Parnassus, 132 6th St., SF; (415) 503-0700. 7pm, free. The new creative space, art gallery, café, and community gathering venue, Rancho Parnassus, is hosting the Idiolexicon poetry reading series featuring experimental poets Carrie Hunter, Della Watson, and Jessica Wickens.

One For None Space Gallery, 1141 Polk, SF; (415) 377-3325. 7pm; $10, includes copy of book. Attend the launch for m.g. martin’s first book of poems featuring performances by spoken word poet Charlie Getter, fiction writer Alia Volz, comedian Janine Brito, music performances by Jess Silva and Andrew Paul Nelson as HoneyBaby, and DJ Benito spinning funk, dub-step, and more.

 

The bridge isn’t the only problem with Lennar’s plan

Mary Magee
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I’m glad to see the New York Times circle back to the Candlestick-Shipyard development with an article that was a tad more critical than their previous piece.

But while I enjoyed NYT’s joke about how the proposed bridge over the Yosemite Slough “has become a 950-foot-long chicken bone that keeps getting stuck in San Francisco politicians’ throats,”  I’m afraid the Board is in greater danger of choking on the bones of red herrings that they have been fed about this project,  along with last week’s bombshell that the Board won’t be able to amend Lennar’s plan, after all, when it votes July 27 on this massive proposal..

D. 10 candidate Tony Kelly says if that bombshell turns out to be true, it’ll be another example of what he calls, “The bait and switch and switch,” on the deal.

“I’m worried that the Board is getting advice that is less about a case of not being able to vote, and more a case of, if you vote, you could open up the city to liability,” Kelly said.

“Back in 2008, folks were told, just vote for Prop. G because it’s just a concept and we’ll have a robust conversation about the plan itself, but they’ve been running away from that promise ever since,” Kelly explained. “And during the EIR hearings, we were told that folks were simply approving the environmental impact report, not the plan itself.”

Kelly’s critiques of Lennar’s plan and the process by which it has been winning final approvals helped him win former Board President Matt Gonzalez’s endorsement last week in the pivotal race to replace termed-out D. 10 Sup. Sophie Maxwell.

But Kelly worries about the fallout that the next D. 10 supervisor will be left to mop up, if the Board goes ahead and approves Lennar’s plan, as is.
 
“What I’d dread to see happen is that this plan get bullied through on an up and down vote, and then a fifth, or even a tenth of people’s concerns prove to be true, and the next D. 10 supervisor spends the next 4-8 years apologizing to the people of the Bayview, because they won’t be able to do anything else for the area, and this plan keeps lumbering along and doesn’t even work,” Kelly explained.

He says he wants to know who can amend the plan, if it’s not the Board and when.

“ My concern is that after the July 27 vote, the city and Lennar will never have to come before the Board again,” Kelly said, pointing to the uncritical endorsement of the project EIR that the Planning and Redevelopment Commissions, the lead agencies on the plan, made June 3, and who would likely be tasked with any additional studies and findings.

Sup. Ross Mirkarimi confirmed today that the Board has been told that it has limited reach because of Redevelopment law, which supercedes municipal law.”
“But, nonetheless, I’m going to try to make some amendments,” Mirkarimi said.

He noted that the five amendments that Board President David Chiu introduced July 12 during a Land Use Committee hearing were “very benign.”

‘They mostly restated what was already in the project agreement or project EIR,” Mirkarimi said. “So, they don’t amend much, because they are statements of what has already been evaluated or pre-agreed to by Lennar and the city. And they are very benign because they do not require any changes to the plan.”

Mirkarimi observes that the current process by which the city is trying to push this deal through is designed to lock the Board out.

“There are larger questions in play here about our relationship with the Redevelopment Agency and redevelopment law,” Mirkarimi continued. He notes that San Francisco is one of only a few counties in California where the Board is not the same entity as the Redevelopment Agency.

“It’s long overdue that we return to the idea of having the Board have authority over the Redevelopment Agency, it’s been a problem for 40 years,” Mirkarimi said,  referring to Redevelopment’s disastrous handling of the Fillmore, which resulted in the massive and mostly permanent displacement of the Western Addition’s African American community—a negative consequence that many fear will be repeated by the plan for Candlestick-Hunters Point.

“There is a real capitalization on a starving population which is desirous of and at times desperate for positive changes and for jobs and housing, which is understandable,” Mirkarimi continued. “But absent of any alternative, it’s logical that this plan would move forward.”

In an effort to improve the plan, Mirkarimi says he will try to introduce a range of amendments at the Board’s July 27 meeting.

‘These include an attempt to make sure that whatever changes the Board makes are indeed enforceable,” he said. “And I am not satisfied with the discussion on the bridge, and how the gate has been left open on a bridge of any kind.”

Mirkarimi notes that there has been a lot of fanfare surrounding a community benefits agreement that various community-based organizations, labor and the project proponents entered into, in spring 2008.

“But I think they can do better, especially in reaching out to a community that has a high ex-offender population, and connecting to other disadvantaged communities throughout the city,” Mirkarimi said.

He also wants to ensure that if public power is not implemented, or fails, then Community Choice Aggregation program would automaticcally take over.

Mirkarimi is further concerned that there is nothing in the current plan that defines the percentages of housing units offered for rental and for home ownership.

“We are proposing to build 10,500 units but we have no idea what percentage is rental,” he said, noting that he also has concerns about air quality, air monitoring and parcels of land that have not yet been cleaned up to residential standards.

“Parcel E-2 is the most famous, but it’s not the only one,” he said. “The bridge and Parcel  E-2 have become major distractions in that they have sucked the oxygen out of other areas of these gargantuan project.”

So, is it true that elected officials on the Board can’t amend a plan sent to them by the Redevelopment Agency, whose commissioners are all political appointees of the mayor?

“It’s a yes or no vote, if you will,” a deputy City Attorney told the Guardian, on background, noting that the Board could tell Redevelopment that it doesn’t like the plan and wants the Agency to make some changes and bring it some amendments.

“Ultimately, the Board has the final say, but it has to have gone through the Redevelopment process and its PAC (project area committee) and have seen a plan that has been referred to it by the Planning Commission,” the deputy city attorney continued.“So, they could communicate their dissatisfaction and the agency would have to take their view into account. It’s not that the Board has no authority, but it can’t decide unilaterally.”

The City Attorney’s Office also confirmed that under Redevelopment Law, local jurisdictions can decide how to implement redevelopment plans.

“In a number of jurisdictions, the city council has made itself a Redevelopment entity, just as our Board is also the Transportation Authority in San Francisco,” the deputy said.“And if the same body proposes the plan, it probably will be satisfied.”

The City Attorney’s office noted that if agencies that regulate permits to fill the Bay, as is  required to build a bridge over Yosemite Slough, deny the city those permits, then the city would require amendments to its planning documents, but no further environmental impact review would be required, if the bridge was gone.

With the Board’s July 27 vote around the corner, D. 10 candidate Tony Kelly says he has a bunch of concerns that include, but are not limited to the bridge, starting with the projects financing mechanisms.

Kelly points to the fact that city staff recommended and the Board approved July 13 that “significant blight in the project area cannot be eliminated without the increase in the amount of bonded indebtedness from $221 million to $900 million and the increase in the limitation on the number of dollars to be allocated to the Agency from $881 million to $4.2 billion.”
 

Kelly wants the city to explain to the Board how much tax increment financing money will be left for the Bayview, now that the area’s debt ceiling has been tripled.

“Does this mean that all BVHP property tax revenues for the next 30 years will go towards paying down this debt and nothing else?” Kelly asked. “And what will that mean for the rest of BVHP in terms of service and programs it won’t be able to afford?

Kelly would also like to see the Board request an audit of Lennar’s record on Parcel A. As Kelly points out, the Navy conveyed Parcel to the city in 2004, and the city gave Lennar the green light to develop 1,600 mostly luxury condos on that parcel, in 2006.

“But no one has ever done an audit of Parcel A,” Kelly said. “Given the scrutiny that the Board usually brings to five figure numbers, the supervisors should be demanding this information, since we are dealing with a ten-figure number ($4,220,000,000) in future.”

It would be helpful if the City would also brief the Board as to who it believes will be investing in the project,  including the investment companies’ names,  their board of directors, and whether these companies are based in the US. Rumors are swirling that some project proponents have entered into side-deals that involve limited liability companies that are selling Lennar’s proposed condos to folks in China, and that a $1 million investment in a condo could translate into a work permit for the condo owner or occupant.

Kelly worries that the city and Lennar’s joint redevelopment plan is being allowed to squeak past the Board’s financial review simply on the basis of vague estimates.
“They rely once again on promises that won’t show up,” Kelly said, pointing to a recent report that emerged from the Controller’s Office.

Arc Ecology’s Saul Bloom notes that the Controller used averaged figures in that report, an approach that neatly obscures the fact that many of the project’s alleged and benefits– will not be created or felt for years. Bloom for his part is hoping the Board can introduce a maritime uses amendment. This would allow relatively unskilled jobs to be created at the shipyard in short order, compared to vague promises of  building a green tech office park there, some day.

Last week, Mayor Gavin Newsom’s top economic advisor Michael Cohen suggested that plan amendments would delay project construction.

But Cohen was quick to add that, “702 acres of waterfront land in San Francisco is an irreplaceable asset. It’s not a question of if—but when—it gets developed.”

Others are less sure that Cohen’s much promoted vision will ever translate into reality.

So, here’s hoping the Board will grill Cohen and city staff over the financial details, including the internal rate of return (IRR) that Lennar is demanding, and what will happen to promised community benefits, if the IRR doesn’t pencil out. D. 10 candidates DeWitt Lacy, Chris Jackson and Tony Kelly have suggested that some form of liquidated damages  are needed, but if the City believes these are unnecessary, it should explain why.

And then there are questions about the impact on air quality of the traffic related to an additional 24,500 residents and 10,000 workers into the city’s southeast.

Personally, I was fascinated by an April 2010 report from the Redevelopment Agency in which the agency discussed the challenges of driving piles through contaminated soil, which is what could happen if a bridge is built over the Yosemite Slough. In the past, the city made the argument that the NFL and the 49ers were requiring this bridge.

But last week, in the wake of Santa Clara’s vote in favor of a new stadium for the 49ers near Great America, the city began arguing that the bridge would make the project more attractive to financers, because employers want to get their employees quickly in and out.

This was the first time I ever heard city staff make that particular argument and they made it when it’s still not clear who these employers even are.

 So, let’s flesh out the list of potential employers, so the Board can determine if design decisions are being made in the interest of the local community or out-of-state businesses.

And then there’s the fact that it appears that this proposed $100 million bridge would only save commuters a few minutes, while permanently filling the San Francisco Bay.

Today, the Sierra Club, the Golden Gate Audobon Society, the California Native Plant Society and San Francisco Tomorrow released a report that asserts that the Candlestick Point-Hunters Point Shipyard EIR “misrepresents the need for a bridge.”

“A statistical review demonstrates that a route around Yosemite Slough could be as efficient as a bridge route while being better for the environment,” stated a letter that the Sierra Club-led environmental coalition released today. “It’s time for the Board of Supervisors to reject the bridge alternative and insist that the feasible upland route around Yosemite Slough be seriously considered.”

The letter argues that a regression model result found in the Transportation Study Appendix F of the Candlestick Point-Hunters Point Phase 11 EIR provides “no statistically significant evidence to support the claim that a 5 minute increase in transit travel time would lead to a 15 percent decrease in transit ridership, or, indeed, to any decrease in ridership.”

“Therefore, routing the BRT around Yosemite Slough is as consistent with a transit-first redevelopment goal as a bridge alternative, but without the environmental damage wrought by the bridge,” the Sierra Club-led report states in summary. “The results of the regression analysis used in the EIR and relied upon to support the bridge alternative have been misinterpreted in such a way that even if they were statistically significant they are off by a factor of ten: the decrease in transit ridership associated with 5 extra minutes of transit time would be predicted to be approximately 1.5 percent, not 15 percent,” it concludes.

“When the analysis [presented in the Sierra Club’s letter] is combined with previous analyses by LSA Associates (which estimate the increase in travel time would be approximately 2 minutes, rather than the 5 minutes in the final EIR) and other available information, one must reach the conclusion that the FEIR misrepresents the effect on travel time and ridership that would result from a route around Yosemite Slough. Overall, it poses further questions about the need for a bridge over San Francisco’s largest wetland restoration project.”

The Sierra Club-led report lands two weeks after Board President David Chiu introduced his July 12 package of amendments which seeks to narrow the bridge, not eliminate it, and require the Board to hold hearings before the Navy transfers Parcel E-2 to the city.

It’s a good idea for the Board to require hearings before E-2 is transferred to the city. But does this mean the Board will be able to direct the Navy, when it’s time to decide whether to cap or excavate the contamination in that parcel? The answer appears to be no. All the Board can do is to reject the Navy’s proposed solution.

But how would this work? What would happen then? And Parcel E-2 isn’t the only parcel on the shipyard where seriously nasty stuff has been found and is still be cleaned up.

The good news is that at this point, the project still doesn’t belong to the Board.

The bad news is that, as of tomorrow, it could belong to them, if the supervisors opt to approve Lennar’s plan with a simple up-down vote. And given the rush and the political pressure that the process has been subjected to since 2006, it’s almost certain that some scandal will engulf the project, some time in the future. And this Board of Supervisors’ names will be on it. Even if nothing ever gets built at the shipyard.

“How can the city say nothing will be built for years, because we have promised so much, when they say out of the other side of their mouth, that the only way that we can make these promises to the community, is if the community supports the plan?” Kelly asks. “On what planet do we think this makes sense? I think we are moving out of the solar system with every passing week.”

There’s no crime in members of the Board admitting tomorrow that they have not read the entire plan and don’t understand all the details. As the folks in Alameda humbly admitted last week, when they kicked out developer SunCal, it took them years to understand what was being proposed—including the fact that the project might leave their city in the hole, financially.

But it would be a crime for the San Francisco Board of Supervisors to vote yes on this massive proposal without first having done that homework. Yes, I’ve heard supervisors say in the past they are deferring to Sup. Maxwell, since the project lies in her district. But Maxwell is termed out, and the project will impact all of the city, especially in terms of its ethnic and economic diversity, in future. So, as we’ve said, buyer beware!

 

Public trance-portation

Jesse Hawthorne Ficks
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0
Public trance-portation

arts@sfbg.com

THEATER When caught riding Muni, one way to while away the time and ignore the lunatic seated next to you is to gaze out on the passing scene and its traffic, at the buildings and neighborhoods and detritus of the city, at all the lovers and loners, the shiny things people wear and drive and push and collect, as well as the tattered and forgotten stuff no one loves anymore.

It’s cheerier than remembering you’re stuck on a Muni bus, anyway. It’s a big ready-made rolling show and it’s only $2. True, Antenna Theater’s new ride, The Magic Bus, costs a little more, but then it comes with an added twist: time travel. I was stuck in traffic in 1968 last weekend. How many Muni riders can say that? Maybe only a dozen, tops.

Copresented with Teacher with the Bus (Jens-Peter Jungclaussen’s wheel-bound extracurricular excursion line), The Magic Bus is Antenna Theater’s latest experiential outing. Scooping up audience-passengers in Union Square, the bus — painted in somewhat low-key shades of psychedelia and hosted by a genial “hippie flight attendant” played by either Rana Kangas-Kent or Sarah David — goes tripping through the city and back in time to the 1960s, with all their hoary contradictions, antecedents, and legacies. These include but are by no means limited to monkeys in orbit; astronauts on the moon; wars overseas; civil rights struggles at home; communes off the grid; and sex, drugs, and rock ‘n’ roll seemingly everywhere.

The interior video and sound collage — expertly composed by a collaborative team of artists and Antenna’s artistic director Chris Hardman, who supplies the concept, script, sound design, and onboard 3-D artwork — makes the real-life scene outside the bus something like a palimpsest, only the past, rather than bleeding through to the surface, is cast over the present by video screens that automatically descend over the windows.

If there’s something a bit pat and predictable about such a project from the get-go, it would still be hard to reduce the overall effect of the ride to the admittedly too-familiar narrative it rehearses. That’s partly because you actually are moving, through a real city in real time, and stuff is happening outside those windows. The conversation between past and present is immediate and captivating.

Screens rise momentarily on the Financial District, for instance, where the Transamerica Pyramid building fills out the windows on one side of the bus and the odd pedestrian strolls by in front. Here, the voice-over introduces the pyramid structure, and the pyramid scheme it represents, amid the other soaring money towers that “reach so high as to block out the sun for most of the day.” Deceptively straightforward, the video narrative goes on to satirize, mock, and dissect the corporate ethos and the ideology of success American-style, as we hear Allen Ginsberg howling, “Molloch, whose blood is running money … “

Tried-and-true tropes, of course, and rather easy ones at that. But there’s no denying a certain willingness to embrace them, here at the edge of capitalism’s ever-expanding desert. Moreover, Magic Bus‘s narrative is lively and thoughtful even while limning well-traveled terrain. If “hobbit hippie” consciousness is with us still, in subtler but more widespread patterns of sustainable living, it’s now driven less by “a beautiful vision of the future,” notes the narrator, “than necessity.”

THE MAGIC BUS

Through August 8, $20–$25

Union Square, SF

(415) 332-8867

www.antenna-theater.org

Fantasy island

Jesse Hawthorne Ficks
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3
Fantasy island

johnny@sfbg.com

MUSIC The Aunt Charlie’s in the video for Myles Cooper‘s song “Gonna Find Boyfriends Today” is a massive tree with a vagina dentata doorway where cupcakes, eggs, top-hatted Mr. Peanuts and white-gloved strawberries dance, while Muppets sing a chorus. Nestled in the tenderest spot of the city’s loins, just off Market Street, the Aunt Charlie’s of San Francisco is a different place, but not really. One night a week, it’s the site of High Fantasy, a club hosted by Cooper and Alexis Penney that — as Cooper says — “belongs to the fantasies of those who come and need to imagine and party.”

Aunt Charlie’s is also one nexus of a mini-movement of sorts of truly new gay pop music in 2010. Witty, both ironic and utterly sincere, and catchier than any mega-production you might hear on the radio, Cooper’s bedroom reggaeton — or, to use his phrase, digital dancehall — debut single is one of its anthems. “I made a YouTube video to remember the song when I wrote it,” he explains, when asked about “Gonna Find Boyfriends Today”‘s genesis. “I still have it. I was on Ambien late at night. The writing took like 30 seconds, but coming up with the chord changes and sound was more cognitive. I was listening to ‘Supermodel,’ the Rupaul song, and the first line is ripped off from it.”

Decked out in gonzo cartoon cover art by Skye Thorstenson, who made the song’s video, “Gonna Find Boyfriends Today” has just been released as a 7-inch single by Transparent in England, where the fabled weekly New Musical Express recently placed Cooper ninth on a list of “The 50 Most Fearless People in Music,” one spot below Lady Gaga. Tonight, the fearless man with the brush cut and Mr. Rogers attire is camped out a table at Aunt Charlie’s, where DJ Bus Station John is prepping for his weekly night, Tubesteak Connection. “Bus Station, where is my boyfriend tonight?,” a regular calls out from the bar. “Oh, she’s around,” John answers.

Cooper is about to go on a summer trip to Chicago, then Africa, then Chicago again. Two nights before, at High Fantasy, a chorus of four performers serenaded him with Toto’s “Africa.” “I felt like somebody cared,” he says, with characteristic low-key geniality. Many people travel to Africa, but not many make music videos with close relatives during the trip — that’s Cooper’s goal. “I’m writing a song, an anthem called ‘You’ve Got to Love Your Family’,” he says. “I don’t always get along with my family, and I feel like this is a test. It’ll be funny to do the video with them lip-syncing the song. We’ll be on safari, and it’ll capture my family’s funny interaction with me. My mom never wants to be on camera.”

It’s this kind of true directness and simple originality that likely inspired NME to deem Cooper one of the 10 most fearless musicians on the globe. His surface appearance of intense normalcy is paired with wild creativity. “I got these shoes because they kind of remind me of a Noe Valley 50-year-old in a way that’s sexy to me,” he says, pointing down to his feet. “My fashion choices are perverse and I like to be in costume.” At High Fantasy, that costume might include a glitter-encrusted Bart Simpson T-shirt with Tupac tattooed on Bart’s stomach. At a Lilith Fair-inspired drag night he once put on at The Stud, his look included “a flannel skirt and a dolphin airbrushed on my ankle and and really ugly Doc Marten sandals and a tie-dyed shirt and gross curly wig.”

Cooper’s look and outlook has some connections to a recent day gig working with boys and girls aged 5 and 6. There might be moments where he wishes some kids’ face were an iPad so he can create or communicate on the job, but there’s an honest and committed through-line between his daytime life and nightlife. A recent show by his group Myles Cooper USA included giant acid house yellow smiley faces that were painted by the kids. He says he recently gave them a fashion poll: which label is better, Ed Hardy or Baby Phat? Baby Phat won by one vote, cast by him (“I like the cat on the logo”).

Cooper used to play in the Passionistas, a three-piece that put out one excellent pop-punk album in 2007 before disbanding. Going solo allows him to edit himself while giving his imagination free rein. That means he can incorporate his visits to Chicago (and greater journey to and from the Windy City and Africa) into the music he’s making today; the city is where he filmed the video for his next single, “Hair,” a many-voiced delight that places him alongside Morrissey and Jens Lekman in the hairdo-song hall of fame. “House music has always been a mysterious thing to me, because I’ve always thought of it as this perfected music that wasn’t made by people,” he says, when asked about the sound of Chicago. “I don’t think that anymore, I see how human it is. Even if the people I see are just playing records, I want to see what tempo they are, what key they’re in, what people are doing as they hear the music, and what they’re looking like when they do it.”

 

BIG LOVE

“I had a crush on Myles for a while, I thought he was so hot and the perfect boyfriend for me,” Alexis Penney says at Aunt Charlie’s. It’s a few weeks later, and Penney is prepping the bar for another night of High Fantasy. We’ve met at the apartment she shares with Dade Elderon of Party Effects, where she puts Band-Aids in a pair of high-heeled shoes before we head out, a little move that seems especially necessary less than half an hour later, when she’s scaling — quickly and faultlessly — a wooden ladder-like staircase to find and gather decorations. “The trick to having a club is that you have to go out a lot, so people know you,” Penney declares, gathering and arranging a train of white tulle that’s just long enough for the Bride of Godzilla.

Thing is, Penney — who grew High Fantasy out of Thing, a night she put on with Seth Bogart of Hunx and His Punx — shouldn’t necessarily need to go out to be known. Her first recording, “Lonely Sea,” produced by Nick Weiss of Teengirl Fantasy, could be the number one hit of 2010 for anyone who ever had a heart. Like Cooper’s “Gonna Find Boyfriends Today,” it takes touchstones of gay pop past — in this case, the churchy keyboard sounds and insistent crossover house beat of songs like “Supermodel” and Crystal Waters’ “Gypsy Woman” — and adds some plaintive MIDI saxophone sounds at just the right moment, while wedding it to a beautifully frank and completely modern vocal about a broken relationship.

Penney is a busy girl. She edits, writes and photographs for SORE, an online magazine that captures San Francisco gay nightlife. SORE was born in Kansas City, where Penney is from, when she and a friend named Roy and Cody Critcheloe from the group SSION decided they wanted “a sort of punk answer” to the popular lifestyle magazine BUTT. “I photograph things because I think they look funny, I don’t do it because it’s nightlife photography,” Penney says, bunching a ball of electric blue tulle into a ball against the back wall of the bar. “My ultimate fantasy for SORE, which will never happen, would be for it to be a print magazine. None of this ‘We talk about sex, but we make $100,000 a year’ material. Real gay life.”

Penney’s gay life, buoyed by friends like Monistat, is realer than most. “I wander around in my T-shirt and jeans a lot in the daytime, that’s normal,” she says. “But I needed to challenge myself with fashion. And [cross-dressing] went in line with the fact that I was dating someone [Bogart] who owned a vintage store. We were constantly thrifting and I had so much clothing at my disposal. I decided I’d just wear a bra, because you just don’t see a guy wearing a bra. Or I’d wear a bra and a lift, or a really slutty cocktail dress. I dress in women’s clothes interchangeably. I don’t trip about it. As much as people in SF say they’re trans-friendly, people really trip about gender. A lot of drag queens, they’re in or they’re out. I don’t even care.”

True. Except in Penney’s case, not caring is actually caring more than most people have the guts to in a society where every micro-subculture seems to breed conformity. It’s this directness, different from Cooper’s, or Bogart’s flirty and radically seductive candor, that distinguishes the music that Penney has made so far with Weiss. “I instantly felt a musical connection with Alexis, and the shine of her confident aura,” Weiss writes, when asked about first meeting Penney and the making of “Lonely Sea.” “My celebratory buoyant house beat mixed with Alexis’ love-lost lyrics so instantly I knew we had a hit.”

Both Penney and Bogart (as H.U.N.X.) have been recording with Weiss, and the results are everything from moving (“Lonely Sea”) and slinky and ebulliently powerful (Penney’s “Like the Devil”, the sun to “Lonely Sea”‘s elemental moon, and every bit its equal) to sexy in an existentially lonely way (H.U.N.X.’s “Can A Man Hear Me”) and hilarious (H.U.N.X.’s vampire cruising track “I Vant to Suck Your Cock”). For the prodigious Weiss, the connection to Penney might go back to a shared childhood love of Annie Lennox, particularly her 1992 album Diva. “Seth and Alexis are both really hyper-specific about what they’re going for,” he says, breaking down the collaborations. “Seth likes to work really fast and doesn’t usually go over two takes on a song. Alexis likes to throw out tons of reference points while we’re writing: ‘Give me something a little more trip hop-acid-tropical-wave-current please! And could you make it a little more world?'”

“Myles [Cooper] and I nerd out over music and songwriting over text message. He’s totally a visionary,” Weiss goes on to enthuse. In the separate but connected sounds of Cooper, Penney, H.U.N.X. and Teengirl Fantasy, all the wonderful gender-blur and sexuality of 1992 — when Lennox went solo and Boy George burst back into the limelight via The Crying Game — are remade anew, at a time when lifestyles feels like strait-jackets. There is inspiration to be taken from these artists’ love and support for one another on a daily and a big-picture basis. It’s the kind of force that can make changes within a broader culture, at least on small, rippling levels. This is gay pop in 2010: not striking mannered classic gay or rock poses, but instead allowing fabulous and tricky versions of one’s self to manifest and bloom.

“I could talk for days about nothing,” Penney says at one point, just before another night of High Fantasy begins. But really, she has something to say: “My relationship with music is that if I can’t connect emotionally with it, I just don’t like it.” And another thing: “I get really messy and really wasted but I always know where I’m at and who I am.” And another: “I always respect the person who you remember from the party. I want to be irreverent and confident enough to look like a freak.” And another: “Everyone wants to be something, but not everyone admits it to themselves.” And yet another: “I’m 23, I’ve tried every drug, I’ve never said no to sex, and here I am — I’m totally crazy.”

And — what the hell — one more thing: “I’ve got a lot to give. I’ve got a big heart, and a big boner.”

www.mylescooper.com
www.myspace.com/alexispenneymusic
www.myspace.com/gayestmusicever
www.myspace.com/mylescooper

Appetite: Paging through M.F.K. Fisher’s kitchen

Jesse Hawthorne Ficks
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0
Appetite: Paging through M.F.K. Fisher’s kitchen

Like any self-respecting food lover (and writer), I’m well aware that, hands down, M.F.K. Fisher (Mary Frances) is our greatest food writer, and I’ve been pursuing the pleasurable endeavor of working my way through her entire catalog over the years.

As with my literature preferences, I find myself more often drawn to the classics, or, in this case, first flush of food writers who set the tone mid-20th century, like A.J. Liebling (read “Between Meals: An Appetite for Paris”) and Angelo Pellegrini (read “The Unprejudiced Palate”), though none have the impact on me that Fisher does.

She writes of food, travel, life but most importantly, she writes… drawing you in, enveloping you first and foremost with her person, heart, and poetic style.

There have been numerous books written about her over the years but one that landed on my desk was a 2008 UC Press edition of M.F.K. Fisher Among the Pots & Pans by Joan Reardon.


The book is a straightforward biography summarizing key points in Mary Frances’ (I love that Reardon calls her by the name she preferred to be called) life and complicated relationships, but through the intriguing slant of the many homes she lived in, particularly the kitchens she cooked in, from California to France.

Irish illustrator Avram Dumitrescu paints warm vignettes of her kitchens, imparting a friendly glow to the book, and complimenting photos of Mary Frances. Whether it be the cover illustration of her kitchen in Hemet, CA, or those in her St. Helena and Glen Ellen homes, one gets a glimpse into Mary Frances, the cook, though she was first and foremost a writer.

As her birthday recently came and went on July 3rd (she would have been 102), it’s as good a time as any to read and reflect on one of our most gifted writers, who just also happened to love food.

Hotel Fairness Initiative qualifies for fall ballot

Sasha Cuttler
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10
Hotel Fairness Initiative qualifies for fall ballot

By Brittany Baguio

The Department of Elections has announced that the Hotel Fairness Initiative was approved for the November ballot. Labor and community groups last week turned in 10,544 signatures, a little more than the required 7,168 signatures needed to put an initiative on the ballot. The Department of Elections did a sample of 500 signatures to check the validity and reported that 478 of the 500 signatures sampled were valid, resulting in a 95.6 percent accuracy rate.

The Hotel Fairness Initiative would increase revenue by imposing a 2 percent hotel tax on San Francisco hotel rooms temporarily for 4 years, with an average surcharge of $3 per hotel room per night, and close loopholes that let some visitors avoid paying the hotel tax. The hotel tax is currently 14 percent. According to the Controller’s Office, if the Hotel Fairness Initiative passes, it is expected to raise $25 million a year in revenue.

The hotel tax is one of five measures proposed to help close the budget deficit, which we discuss in more detail in this week’s paper. Mayor Gavin Newsom has also placed a measure of the ballot to also close the loopholes that lets airline employees and those who book hotels online avoid paying hotel taxes, as the Hotel Fairness Initiative would also do, but it includes a provision that would invalidate the hotel tax if his measure gets more votes.

Supporters of the Hotel Fairness Initiative claim that online booking companies and airline companies have been using corporate loopholes that have cost the city about $6 million per year. In total, online booking companies have escaped paying $70 million in hotel taxes through its loophole of taking the hotel tax out of a portion of the money the hotel receives, rather than the total amount the customer pays.

For example, Internet booking companies would charge customers $200 for a room and then pay the hotel $170. Internet booking companies argue that the hotel tax comes from a portion of $170, instead of $200. Similarly, airlines have avoided paying hotel taxes by renting blocks of rooms for its flight crews and claiming that airline companies are protected by the Permanent Resident Exclusion law. This law was originally intended to help the homeless and states that individuals who occupy a room for at least 30 days are tax exempted. However, airlines have been taking advantage of this law by moving different flight crews in and out of their hotel rooms rather than an individual person occupying the room for 30 consecutive days that is implied by the law.

Opponents of the Hotel Fairness Initiative, such as the San Francisco Chamber of Commerce and the Hotel Council, contend that the hotel tax would hurt tourism to San Francisco as well as cause job cuts. In a press release, Steve Falk, President & CEO of the San Francisco Chamber of Commerce said, “This misguided effort will discourage travel to San Francisco, hurt our city’s largest industry, and eliminate many of the union jobs the Labor Council seeks to protect. Raising city revenue at the expense of hotels and hospitality workers is not the answer to the city’s fiscal problems.”

A Hotel Council press release states that “the Hotel Fairness Initiative will lead to 7.3 jobs lost for every million dollars in revenue gained.” If this is true, about 182 jobs could be lost as a result of this initiative, offset by the city being able to save many public sector jobs and services with the revenue. The hotel industry already fluctuates in the number of positions available as a result of the market. According to California Labor Market Info’s latest data, the average amount of hotel jobs lost per month in 2009 was 143 jobs.

Although the Hotel Council and the Chamber of Commerce claim that the initiative would eliminate jobs, one of the biggest supporters of the hotel tax is UNITE HERE LOCAL 2, a union of hotel workers. UNITE HERE representative Ian Lewis emphasized that opponents of the issue are conveniently ignoring the lack of fairness in current hotel booking practices. “Hotel workers live in San Francisco,” Lewis told the Guardian, “We’re taxpayers like everyone else. We are in a severe budget crisis and everyone needs to carry their fair share.”

Community groups, retirees, and hospital workers all volunteered their time to collect signatures supporting the Hotel Fairness Initiative. Community groups such as UNITE HERE collected 1700 signatures, Keep the Arboretum Free collected 1000, and a collection of nonprofit groups collected more than 4000. With the efforts of these community groups, the coalition was able to collect an estimated 15,000 signatures.

Family health advocate for the Tenderloin Housing Clinic, Bobbi Lopez, said she found that those who signed the petition saw the hotel tax as a necessary step in closing the budget deficit, “They understood that the necessity of fighting the cuts, particularly the cuts to MUNI, to parks, and to hospitals,” Lopez told us, “I think that they were getting the idea that in desperate budget times, we need a temporary solution and long term solution and that’s exactly what the Hotel Fairness Initiative is.”

Community groups remain optimistic that this grass roots effort will pass. Brenda Barrows, a health care provider at San Francisco General Hospital, told the Guardian, “My hope is that in November it passes and the city’s financial situation gets better so that people who live in the city don’t have to suffer and also people who work for the city don’t have to suffer.”

Lopez told us she thinks that the initiative will pass if there is an ongoing effort on the issue. “We want to remind folks that this is just the beginning and now we have to embark on a long term campaign,” Lopez told us, “so it’s really about sustaining the energy that we had on June 1 when we kicked off and reminding folks that its going to necessitate all the same volunteers to work together and make it reality.”

 

Bad faith

Jesse Hawthorne Ficks
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3
Bad faith

steve@sfbg.com

Mayor Gavin Newsom and his business allies are actively trying to sabotage the various revenue measures that have been put forth by the labor movement and progressive members of the Board of Supervisors, employing deceptive rhetoric, sneaky tactics, and a refusal to bargain in good faith.

In fact, Newsom — the Democratic nominee for lieutenant governor — is so averse to supporting anything that could be called a “tax” that he rejected a hard-won compromise measure created by powerful developers, affordable housing advocates, a pro-business think tank, the building trades, and his own directors of housing and economic development.

Just as that story was breaking in the New York Times (produced by Bay Citizen) on July 9, members of the Board of Supervisors Budget and Finance Committee discovered that Newsom’s proposed ballot measure to close loopholes in the city’s hotel tax that favored airline employees and online travel companies — a widely supported change, but one worth just $6 million per year — contains language that would nullify any increases in the hotel tax. Earlier in the week, labor unions turned in signatures on an initiative to increase the hotel tax by 2 percent, which would bring in more than $30 million per year.

“This poison pill is an intentionally deceptive, underhanded move,” Gabriel Haaland, an organizer with Service Employees International Union Local 1021, which sponsored the hotel tax, told us. “It’s so frustrating. It’s not even a good faith fight. He’s trying to create confusion and fool the voters. If our measure passes fair and square, it should be implemented.”

Meanwhile, Newsom and business groups have been attacking a reform measure by Board President David Chiu that would make the currently flat payroll tax more progressive, exempt more small businesses from paying it, and create a commercial rent tax to spread the tax burden more widely than the 10 percent of businesses who now pay tax to the city.

Critics complained that the measure would hurt local businesses — but that’s just not true. The city’s Office of Economic Analysis concluded that Chiu’s original proposal would have no effect on private sector jobs and would generate $34 million annually for the city, preserving some government jobs and spending.

Then Chiu amended the measure to spare even more small businesses. Now the OEA says that the measure would actually create private sector jobs — and still bring $28 million in to the city. Yet Newsom and the business community are still withholding their support.

This trio of Machiavellian moves comes just a week after Newsom pulled out of budget negotiations with board progressives concerning about $40 million in board add-backs to programs that Newsom proposed to cut after they wouldn’t agree to his precondition that they withdraw unrelated measures proposed for the November ballot, such as splitting appointments to the Rent, Recreation and Park, and Municipal Transportation Agency boards and requiring police officers to do foot patrols.

The series of events has led many progressives to say that conservative ideological blinders — a knee-jerk opposition to anything that saves government jobs and services or that Republicans might criticize — is the only logical explanation for the intransigent stance adopted downtown and by Newsom.

“It’s ideological. It’s not economic, and it’s not even political,” said Calvin Welch, the affordable housing activist who helped negotiate the transfer tax compromise with developer Oz Erickson, San Francisco Planning Urban Research Association director Gabriel Metcalf, Mayor’s Office of Housing Director Doug Shoemaker, and others.

That measure would have created a transfer tax on sales of properties over $875,000 and generated approximately $50 million annually for affordable housing (funds that were drastically reduced in Newsom’s proposed 2010-11 budget) while cutting in half the current requirements and fees on market-rate developers to create below-market-rate units. The plan would have stimulated both types of housing and created desperately needed construction work — an approach those involved called an elegant solution to several problems.

“To me, this was a win-win, solving two problems that are each a big deal,” Metcalf told us. “I don’t know what his reasons were for not supporting it. I was surprised.”

But Welch said, “It collapsed straight up because the mayor didn’t want to support a tax.” Although Newsom told the Times it was because there wasn’t broad enough consensus yet, “the mayor’s reason is whole-cloth bullshit,” Welch said, noting the role of the Mayor’s Office in brokering the deal. “The mayor walks away from it because everyone wasn’t in the room? Well, it’s your room, motherfucker. Show some leadership.”

Newsom Press Secretary Tony Winnicker refused to discuss these issues by phone, responding to our written inquires by noting that Newsom opposes taxes and thinks the best way to address budget deficits are privatizing city services and pension reform (although he opposes Public Defender Jeff Adachi’s initiative, the only pension reform measure on the fall ballot).

“The mayor is opposed to the Board of Supervisors’ proposals to increase taxes because they’re not needed to balance the budget and they will strangle our still young economic recovery,” Winnicker wrote, refusing to answer follow-up questions or support a statement about Chiu’s measure that the OEA concludes is not accurate.

Like many political observers of all stripes, those from downtown and progressive circles, Welch criticized Newsom for his lack of engagement with city business and its long-term fiscal outlook, contrasting him with former Mayor Willie Brown, who met regularly with former Board of Supervisors President Tom Ammiano even as the two ran a bitter campaign for mayor against one another in 1999. “They dealt with the city’s business like two adults who cared about the city,” he said.

Welch acknowledged that there was still work to be done building political support for the transfer tax measure. He and other progressives would have had to win over city employee unions who wouldn’t like the budget set-aside aspect, and Erickson and Metcalf would need to placate some of their downtown allies who oppose taxes on ideological grounds. But given how downtown groups are behaving right now, that might not have been an easy sell.

“There are members of the small business community that are averse to any taxes,” said Regina Dick-Endrizzi, director of the city’s Office of Small Business and staffer to the Small Business Commission, which was withholding a recommendation on the Chiu measure but planned to meet again to consider it July 12 (look for an update on the sfbg.com Politics blog). She said the small business community is having tough times and “they are just not sensitive to keeping city workers employed.”

Larger commercial interests are being even more forceful in opposing the revenue measures. While a parade of workers, social service providers, and progressive activists testifying at the July 9 Budget Committee hearing implored supervisors to place all the proposed revenue measures on the ballot, representatives from the Building Owners and Managers Association (BOMA) and San Francisco Chamber of Commerce were the only two speakers urging supervisors to drop the measures and focus instead on creating private sector jobs.

“You’re trying to create a little revenue here and it’s not going to work,” said Ken Cleaveland, director of BOMA SF, arguing that big banks and financial services companies — entities exempt from the payroll tax that Chiu is hoping to target with the commercial rent tax — will buy their buildings to avoid paying the tax. “They aren’t going to create more jobs and they really aren’t going to create more revenue.”

Yet Chiu noted that it was the business community and fiscal conservatives who pushed to create the Office of Economic Analysis, whose work they have regularly used to attack progressive legislation. Now that the office has concluded that a piece of progressive legislation is good for the local economy, Chiu told Cleaveland and the Chamber spokesperson Rob Black at the hearing, “I ask you to respect the work this office has done.”

Black said the Chamber board will consider Chiu’s amended legislation, but said businesses are in no mood to help the city. “How many times have you gone to your neighborhood merchant and had them say, ‘Gee, my rent’s too cheap’?<0x2009>” he said during his testimony.

Yet Chiu said landlords of small tenants (those paying less than $65,000 in rent per year) are exempt from the rent tax and only 26 percent of SF businesses would pay any city business tax under his plan. “I hope the mayor will support this proposal and the business community will give it a good look,” Chiu said as the hearing ended.

At the beginning of the hearing, Chiu framed the dire situation facing San Francisco, citing Controller’s Office figures showing this year’s $500 million budget deficit (out of a $6 billion total budget) will be followed by a $700 million deficit next year and a $800 million gap the following budget cycle as a result of a deep structural budget imbalance.

“We have budget deficits as far as the eye can see,” Chiu said at the hearing. “We have to consider measures that will provide more stable sources of revenue.”

He also noted that city employee unions have agreed to give back about $250 million in salary and had their ranks reduced by about 2,000 workers in the last two years. So he and the other progressive supervisors say it’s time for the rest of San Francisco to help address the problem.

“We, as a city, should not be trying to balance this budget simply through cutting,” Sup. David Campos said.

Sup. John Avalos, the committee chair, amended his transfer tax measure in the wake of Newsom’s rejection of the deal by making it a simple 2 percent tax on properties that sell for more than $5 million, and 2.5 percent tax on properties over $10 million. He estimates it will bring in about $25 million per year from the city’s wealthiest corporations and landlords.

“That’s who we’re socking it to,” Avalos told us, saying he was disappointed the compromise fell through. “The amendment is going to be more progressive than what was originally planned.”

Even Sup. Sean Elsbernd, a strong fiscal conservative who announced early in the hearing, “You want to do that [balance future budgets] by adding taxes, but I want to do it through ongoing service cuts,” later told the Guardian that he was intrigued by the amendments Avalos and Chiu made to their measures and has not yet taken a position on them.

Sup. Ross Mirkarimi is also sponsoring a measure to increase the city’s tax on parking lot operators from 25 percent to 35 percent, the first change to that tax in 30 years, and will include valet parking for the first time. The measure would bring in up to $24 million per year, and OEA analysis shows it would decrease the number of cars trips by 1.3 percent, another benefit.

SFMTA supports the measure, with board member Cameron Beach testifying that the money will be used to subsidize Muni and “it links the use of private automobiles and is consistent with the city’s transit-first policy.” Mirkarimi, who chairs the Transportation Authority, also has proposed a $10 local vehicle license fee surcharge that would bring in another $5 million per year for Muni.

All the revenue measures require six votes by the full Board of Supervisors, which is scheduled to consider them July 20, after which they would need a simple majority approval by voters in November to take effect.

The mayor has the authority to directly place measures on the ballot, so the committee hearing on his hotel tax loophole measure and a $39 million general obligation bond that he’s proposing to create a revolving loan fund for private sector seismic improvements were mere formalities, so supervisors criticized aspects of each but were unable to make changes.

Avalos even grudgingly acknowledged the hotel tax poison pill was an effective way to kill that revenue source, saying at the hearing, “This is very smart. I don’t agree with it, but it’s very smart.”

Haaland was less charitable, criticizing a provision designed to confuse voters. “This kind of move means both measures won’t pass because now we have to oppose [Newsom’s measure],” he said, criticizing the mayor for running away from the hard decisions facing the city. “He won’t be around next year, when we have an even bigger structural budget deficit, to clean up this mess. Absent new revenue sources, this city starts to fall apart.”

Whitman criticized for opposing high-speed rail

Sasha Cuttler
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10
Whitman criticized for opposing high-speed rail

By Brittany Baguio

Although Republican gubernatorial Meg Whitman claims job creation is one of her top priorities, she recently stated that she opposes the plan to build a high-speed rail system in California – a project that is being eagerly anticipated in San Francisco, its northern terminus.

Whitman says the state does not have enough money to fund the project because of the state’s current budget deficit, but labor, environmental, and other groups say it will be a boon to the state’s economy and environment. Voters approved Proposition 1A in November 2008, supporting the construction of a high-speed rail system with an initial investment of $9.95 billion in bond money.

Proponents say the project will alleviate freeway and airport congestion and provide a green transportation option that has both short- and long-term economic benefits. According to the California High-Speed Authority website, the project would create 160,000 constructed-related jobs as well as 450,000 more jobs by 2035. The construction of the rail system would also improve the movement of people, goods, and services throughout California and ultimately raise more than $1 billion in surplus revenue a year.

“We are eager to thoroughly brief whoever the next governor is on this project and work with him or her to make California’s high-speed rail system a reality,” California High-Speed Rail Authority representative Rachel Wall told the Guardian.

Supporters of the bullet train disagree with Whitman’s analysis and contend that the construction of a bullet train would create revenue and jobs. In a press release, California Labor Federation Executive Secretary-Treasurer Art Pulaski said, “In her glossy TV ads, Whitman says she understands the daily hardships facing our state’s unemployed, but it’s clear that’s just more campaign rhetoric. In opposing high-speed rail, she’s shown her true colors on jobs. It’s shocking that a candidate for Governor could be so detached from the economic hardships facing our state’s families. With one in eight Californians out of work, how can we afford not to invest in the creation of hundreds of thousands of permanent, good new jobs?”

Communications director of the California Labor Federation, Steve Smith, believed that Whitman’s opposition exhibited her political inexperience and uninformed decisions. “She’s out there talking a big game about job creation, but no specifics about how she would create jobs,” Smith told us. “Her proposals would be devastating to California and would lead to higher unemployment in California. She says that California can’t afford the project, but what we can’t afford is not to take advantage of improving our economy and environment.”

Whitman isn’t the only one opposing the project. Bay Area cities of Menlo Park, Palo Alto, Burlingame, Belmont, and Atherton have all voiced concerns about the project and the impact of trains move rapidly through those communities, filing a lawsuit seeking to halt the project.

The bullet train project was awarded $2.25 billion from the American Recovery and Reinvestment Act last January and is currently undergoing supplemental environmental reviews. Construction is scheduled to begin in 2012, with improvements such as rail electrification expected to improve rail service on the San Francisco peninsula even before the high-speed trains start running around 2020.

Assuming the public-private project isn’t derailed politically and can raise the estimated $40 billion total cost, the trains will travel at speeds of up to 220 mph and take passengers from the LA Union Station to San Francisco’s Transbay Terminal in less than 2 hours and 40 minutes.

Film listings

David Talbot
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0

Film listings are edited by Cheryl Eddy. Reviewers are Kimberly Chun, Michelle Devereaux, Max Goldberg, Dennis Harvey, Johnny Ray Huston, Erik Morse, Louis Peitzman, Lynn Rapoport, Ben Richardson, and Matt Sussman. For rep house showtimes, see Rep Clock. For first-run showtimes, see Movie Guide.

ANOTHER HOLE IN THE HEAD

The seventh Another Hole in the Head Film Festival runs July 8-29 at the Roxie, 3117 16th St, SF; and Viz Cinema, New People, 1746 Post, SF. For tickets (most shows $11) and schedule, visit www.sfindie.com.

OPENING

Inception Christopher Nolan takes a break from the Bat-Director’s Chair to helm this Leonardo DiCaprio thriller about futuristic mind crimes. (2:30) Marina, Presidio.

*Let It Rain Well-known feminist author Agathe Villanova (writer-director Agnès Jaoui) is taking a rare break from her busy Paris life, visiting her hometown to see family, vacation with boyfriend Antoine (Frédéric Pierrot), and do a little stumping for her nascent political career. But despite the ever-picturesque French countryside as background, all is not harmonious. Antoine complains Agathe’s workaholism (among other things) is killing their relationship, particularly once she agrees to be time-consumingly interviewed for film about "successful women" by shambling documentarian Michel (coscenarist Jean-Pierre Bacri) and local Karim (Jamel Debbouze). Her married-with-children sister Florence (Pascale Arbillot) is having a secret affair with Michel, but seems more focused on old resentments springing from Agathe being their late mother’s favorite. Karim — son of the family’s longtime housekeeper (Mimouna Hadji) — bears his own grudge against the clan and brusque, officious Agathe in particular. Being happily wed, he’s further bothered at his hotel day job by his attraction to co-worker Aurélie (Florence Loiret-Caille). These various conflicts simmer, then boil over as the documentary shooting goes from bumbling to disastrous. In 2004, Jaoui delivered a pretty near perfect Gallic ensemble seriocomedy in Look at Me. This isn’t quite that good. Still, her seemingly effortless skill at managing complex character dynamics, eliciting expert performances (including her own), and weaving it all together with insouciant panache makes this a real pleasure. The problem with Agnès Jaoui: she’s so good it chafes that (acting-only gigs aside) she’s made just three films in ten years. Pick it up, girl! (1:39) Opera Plaza. (Harvey)

*[Rec] 2 See "666-ZOMB." (1:24) Lumiere.

The Sorcerer’s Apprentice Socially awkward science nerd Dave (Jay Baruchel) toils away on his suspiciously elaborate NYU physics project, unaware that he’s about to have a Harry Potter-style moment of awakening. Enter Balthazar (Nicolas Cage), a centuries-old, steampunky sorcerer who believes Dave to be "the Prime Merlinian" — i.e., the greatest conjurer since Merlin himself. (Literally) rising from ashes to provide conflict are fellow sorcerers Horvath (Alfred Molina) and Morgana (Alice Krige); signing on for romantic-interest purposes are Monica Bellucci and newcomer Teresa Palmer. The Sorcerer’s Apprentice spins off Disney classic Fantasia (1940) in only the loosest sense, though there is a scene of dancing brooms. The bland Baruchel’s rise to fame continues to mystify, but at least Cage and Molina seem to be having a blast exchanging insults and zapping each other around. (1:43) (Eddy)

South of the Border After a prolific career of dramatic films steeped in political commentary, Oliver Stone drops the pretext. South of the Border is his Michael Moore moment, a chance for the filmmaker to make a direct and focused documentary in which his bias is readily apparent. Stone travels to South American nations and meets with their political leaders, men and women — including Hugo Chávez, Evo Morales, and Rafael Correa — who have long been considered enemies of the United States. His goal is to show that they are not ruthless dictators but rather democratically elected representatives of their country, cast in a negative light by a mainstream media with ulterior motives. Stone’s rapport with these politicians is intimate: at one point, he plays soccer with Morales. Even if you’re skeptical of his assertions, you can at least appreciate the unique perspective South of the Border offers. As a film, it’s somewhat slipshod, not nearly as glossy as a Moore production. But provided you’re willing to fill in the blanks, it’s a captivating and well-intentioned endeavor. (1:18) (Peitzman)

Spring Fever Shot surreptitiously and chock full of gay sex, Chinese director Lou Ye’s latest film isn’t likely to earn him any additional slack from Chinese government censors (his 2006 film, Summer Palace, got him banned from filmmaking for five years after he failed to preview it before it screened at Cannes). Using hand-held cameras, public settings, and natural lighting, Lou follows Wang Ping (Wu Wei), who’s been having a passionate, messy affair with travel agent Jiang Cheng (Qin Hao). Things get more complicated when the snoop Wang’s wife hires to follow her closeted husband winds up pursuing the two men in ways he never imagined. What Spring Fever lacks in continuity and psychological depth, it makes up for with sexual candor and a genuine frisson of risk, given the secretive conditions under which it was made. That thrill doesn’t quite last through the film’s duration, but as a document of defiance Spring Fever is commendable. (1:56) Four Star. (Sussman)

Standing Ovation Atlantic City teens form a song-and-dance troupe in this High School Musical-style family film. (1:48)

ONGOING

Beetle Queen Conquers Tokyo Opening with the humid buzz of crickets and the probings of bug aficionados in the thick of a forest, first-time documentarian Jessica Oreck puts Japan’s fascination with insects under the microscope. Preferring to let the images and interview subjects speak for themselves, she turns a lens to young children who clamor to buy sleek, shiny, obsidian beetles, as well as the giant big city gatherings of insect collectors — events that likely are less than familiar to western audiences. Oreck’s intent is to get at the ineffable attraction behind such astonishing sales as that of a single beetle for $90,000 not so long ago, and to that end, she weaves in looks at insect literature and art, visits to Buddhist temples, and historical factoids about, for instance, the first cricket-selling business in the early 1800s. (1:30) Sundance Kabuki. (Chun)

*City Island The Rizzo family of City Island, N.Y. — a tiny atoll associated historically with fishing and jurisdictionally with the Bronx — have reached a state where their primary interactions consist of sniping, yelling, and storming out of rooms. These storm clouds operate as cover for the secrets they’re all busy keeping from one another. Correctional officer Vince (Andy Garcia) pretends he’s got frequent poker nights so he can skulk off to his true shameful indulgence: a Manhattan acting class. Perpetually fuming spouse Joyce (Julianna Margulies) assumes he’s having an affair. Daughter Vivian (Dominik García-Lorido) has dropped out of school to work at a strip joint, while the world class-sarcasms of teenager Vinnie (Ezra Miller) deflect attention from his own hidden life as an aspiring chubby chaser. All this (plus everyone’s sneaky cigarette habit) is nothing, however, compared to Vince’s really big secret: he conceived and abandoned a "love child" before marrying, and said guilty issue has just turned up as a 24-year-old car thief on his cell block. Writer-director Raymond De Felitta made a couple other features in the last 15 years, none widely seen; if this latest is typical, we need more of him, more often. Perfectly cast, City Island is farcical without being cartoonish, howl-inducing without lowering your brain-cell count. It’s arguably a better, less self-conscious slice of dysfunctional family absurdism than Little Miss Sunshine (2006) — complete with an Alan Arkin more inspired in his one big scene here than in all of that film’s Oscar-winning performance. (1:40) Four Star. (Harvey)

Cyrus It’s tempting to label Mark and Jay Duplass’ Cyrus as "mumblecore goes mainstream." Yes, the mumblecore elements are all there: plentiful moments of awkward humiliation, characters fumbling verbally and sometimes physically in desperate attempts to establish emotional connections, and a meandering, character-driven plot, in the sense that the characters themselves possess precious little drive. The addition of bona fide indie movie stars John C. Reilly, Catherine Keener, and Marisa Tomei — not to mention Hollywood’s chubby-funny guy du jour, Jonah Hill — could lead some to believe that the DIY-loving Duplass brothers (2005’s The Puffy Chair, 2008’s Baghead) have gone from slacker disciples of John Cassavetes (informally known as "Slackavetes") to worshippers at the slickly profane (with a heart) altar of Judd Apatow. But despite the presence of Apatow protégé Hill (2007’s Superbad) in the title role, Cyrus steers clear of crowd-pleasing bombast, instead favoring small, relatively naturalistic moments. That is to say, not much actually happens. Mumblecore? More or less. Mainstream? Not exactly. Despite playing a character with some serious psychological issues, Hill comes off as likeable. Unfortunately the movie is neither as broadly comic nor as emotionally poignant as it needs to be — the two opposing forces seem to cancel each other out like acids and bases. (1:32) Empire, Sundance Kabuki. (Devereaux)

Despicable Me Judging from the adorable, booty-shaking, highly merchandisable charm of its sunny-yellow Percocet-like minions, Despicable Me‘s makers have more than a few fond memories of the California Raisins. That gives you an idea of the 30-second attention-span level at work here. Thanks to Pixar and company, our expectations for animated features are high, but despite the single lob at Lehman Brothers aimed toward the grown-ups, the humor here is pitched straight at the eight and younger crowd: from the mugging, child-like minions to the all-in-good-fun, slightly quease-inducing 3-D roller-coaster ride. Gru (Steve Carell) is Despicable‘s also-ran supervillain — a bit too old and too unoriginal for a game that’s been rigged in the favor of the youthful, annoyingly perky Vector (Jason Segel), who’s managed to swipe the Giza Pyramids and become the world’s number one bad dude. When Vector steals away the crucial shrink ray needed for Gru’s plot to thieve the moon, the latter pulls out the big guns: three adorable orphans who have managed to penetrate Vector’s defenses with their fund-raising cookie sales. It turns out kids have their own insidiously heart-warming way of wrecking havoc on one’s well-laid plans. Filmmakers Pierre Coffin and Chris Renaud do their best to exploit the 3-D medium, but Avatar (2009) this is not. Nor will many adults be able to withstand the onslaught of cute undertaken by all those raisins, I mean, minions. (1:35) 1000 Van Ness, Presidio, SF Center. (Chun)

*Exit Through the Gift Shop Exit Through the Gift Shop is not a film about the elusive graffiti-cum-conceptual artist and merry prankster known as Banksy, even though he takes up a good chunk of this sly and by-no-means impartial documentary and is listed as its director. Rather, as he informs us — voice electronically altered, face hidden in shadow — in the film’s opening minutes, the film’s real subject is one Thierry Guetta, a French expat living in LA whose hangdog eyes, squat stature, and propensity for mutton chops and polyester could pass him off as Ron Jeremy’s long lost twin. Unlike Jeremy, Guetta is not blessed with any prodigious natural talent to propel him to stardom, save for a compulsion to videotape every waking minute of his life (roughly 80 percent of the footage in Exit is Guetta’s) and a knack for being in the right place at the right time. When Guetta is introduced by his tagger cousin to a pre-Obamatized Shepard Fairey in 2007, he realizes his true calling: to make a documentary about the street art scene that was then only starting to get mainstream attention. Enter Banksy, who, at first, is Guetta’s ultimate quarry. Eventually, the two become chummy, with Guetta acting as lookout and documenter for the artist just as the art market starts clambering for its piece of, "the Scarlet Pimpernel of street art," as one headline dubs him. When, at about three quarters of the way in, Guetta, following Banksy’s casual suggestion, drops his camcorder and tries his hand at making street art, Exit becomes a very different beast. Guetta’s flashy debut as Mr. Brainwash is as obscenely successful as his "art" is terribly unimaginative — much to the chagrin of his former documentary subjects. But Guetta is no Eve Harrington and Banksy, who has the last laugh here, gives him plenty of rope with which to truss himself. Is Mr. Brainwash really the ridiculous and inevitable terminus of street art’s runaway mainstream success (which, it must be said, Banksy has handsomely profited from)? That question begs another: with friends like Banksy, who needs enemies? (1:27) Lumiere. (Sussman)

Get Him to the Greek At this point movie execs can throw producer Judd Apatow’s name on the marquee of a film and it’s a guaranteed blockbuster. It’s hard to say whether this Forgetting Sarah Marshall (2008) spin-off benefits from the Apatow sign of approval or if it would be better off standing on its own, but it definitely doesn’t benefit from comparisons to its predecessor. Russell Brand returns as the British rock star Aldous Snow, and Jonah Hill, playing a different character this time, is given the task of chaperoning the uncooperative Snow from London to LA in 48 hours. Despite a great cast, including a surprisingly animated P. Diddy, the story is pretty bland and can’t match the blend of drama and comedy that Marshall achieved. Of course, none of that matters because the movie execs are right: if you like Apatow’s brand of humor, you’re going to have a good time anyway. (1:49) Four Star, 1000 Van Ness, Presidio. (Peter Galvin)

*The Girl Who Played With Fire Lisbeth Salander is cooler than you are. The heroine of Stieg Larsson’s bestselling book series is fierce, mysterious, and utterly captivating: in the movie adaptations, she’s perfectly realized by Noomi Rapace, who has the power to transform Lisbeth from literary hero to film icon. Rapace first impressed audiences in The Girl With the Dragon Tattoo (2009), a faithful adaptation of Larsson’s premiere novel, and she returns as Lisbeth in The Girl Who Played With Fire. The sequel, as is often the case, isn’t quite on par with the original, but it’s still a page-to-screen success. And while the first film spent equal time on journalist Mikael Blomkvist (Michael Nyqvist), The Girl Who Played With Fire is almost entirely Lisbeth’s story. Sure, there’s more to the movie than the hacker-turned-sleuth — and the actor who plays her — but she carries the film. Rapace is Lisbeth; Lisbeth is Rapace. I’d watch both in anything. (2:09) Embarcadero, Smith Rafael. (Peitzman)

*The Girl With the Dragon Tattoo By the time the first of Stieg Larsson’s so-called "Millennium" books had been published anywhere, the series already had an unhappy ending: he died (in 2004). The following year, The Girl With the Dragon Tattoo became a Swedish, then eventually international sensation, its sequels following suit. The books are addicting, to say the least; despite their essential crime-mystery-thriller nature, they don’t require putting your ear for writing of some literary value on sleep mode. Now the first of three adaptive features shot back-to-back has reached U.S. screens. (Sorry to say, yes, a Hollywood remake is already in the works — but let’s hope that’s years away.) Even at two-and-a-half hours, this Girl With the Dragon Tattoo by necessity must do some major truncating to pack in the essentials of a very long, very plotty novel. Still, all but the nitpickingest fans will be fairly satisfied, while virgins will have the benefit of not knowing what’s going to happen and getting scared accordingly. Soon facing jail after losing a libel suit brought against him by a shady corporate tycoon, leftie journalist Mikael Blomkvist (Michael Nyqvist) gets a curious private offer to probe the disappearance 40 years earlier of a teenage girl. This entangles him with an eccentric wealthy family and their many closet skeletons (including Nazi sympathies) — as well as dragon-tattooed Lisbeth Salander (Noomi Rapace), androgynous loner, 24-year-old court ward, investigative researcher, and skillful hacker. Director Niels Arden Oplev and his scenarists do a workmanlike job — one more organizational than interpretive, a faithful transcription without much style or personality all its own. Nonetheless, Larsson’s narrative engine kicks in early and hauls you right along to the depot. (2:32) Four Star, Lumiere, Smith Rafael. (Harvey)

Grown Ups In order of star power, Grown Ups casts Adam Sandler, Kevin James, Chris Rock, Rob Schneider, and David Spade as five fortysomething friends who reunite to attend the funeral of their high school basketball coach, and play catch-up over a long weekend together at a cabin by the lake. If you’re expecting five of America’s biggest comedy stars to form like Voltron and make the most hilarious movie of the year, you’ve got a sad day coming. Grown Ups is never the sum of its parts, it’s about on par with Sandler’s other producing/starring affairs, and probably features a lot of the same jokes. People fall in poop and little kids say cute things designed to make audiences awww, but history has shown that’s exactly what a popcorn viewer is looking for. By these standards, Grown Ups is a perfectly summer-y movie. (1:42) 1000 Van Ness. (Galvin)

*I Am Love I Am Love opens in a chilly, Christmastime Milan and deliberately warms in tandem with its characters. Members of the blue-blood Recchi family are content hosting lavish parties and gossiping about one another, none more than the matriarch Emma (Tilda Swinton). But when prodigal son Edoardo befriends a local chef, Emma finds herself taken by both the chef’s food and his everyman personality, and is reminded of her poor Soviet upbringing. The courtship that follows is familiar on paper, but director Luca Guadagnino lenses with a strong style and small scenes acquire a distinct energy through careful editing and John Adams’ unpredictable score. Swinton portrays Emma’s unraveling with the same gritty gusto she brought to Julia (2008), and her commitment to the role recognizes few boundaries. You’ve probably seen this story before, but it has rarely been this powerful. (2:00) Embarcadero, Sundance Kabuki. (Galvin)

*Joan Rivers: A Piece of Work Whether you’re a fan of its subject or not, Ricki Stern and Annie Sundberg’s documentary is an absorbing look at the business of entertainment, a demanding treadmill that fame doesn’t really make any easier. At 75, comedian Rivers has four decades in the spotlight behind her. Yet despite a high Q rating she finds it difficult to get the top-ranked gigs, no matter that as a workaholic who’ll take anything she could scarcely be more available. Funny onstage (and a lot ruder than on TV), she’s very, very focused off-, dismissive of being called a "trailblazer" when she’s still actively competing with those whose women comics trail she blazed for today’s hot TV guest spot or whatever. Anyone seeking a thorough career overview will have to look elsewhere; this vérité year-in-the-life portrait is, like the lady herself, entertainingly and quite fiercely focused on the here-and-now. (1:24) Embarcadero. (Harvey)

John Rabe John Rabe (Ulrich Tukur) was the Oskar Schindler of Nanking: A man who, under discreetly opportunist pretenses, attempted to keep the Chinese in a safety zone from the Japanese in the late 30s. Steve Buscemi plays Robert Wilson, a surly American doctor. He’s to Tukur as Ben Kingsley was to Liam Neeson in 1993’s Schindler’s List, but without the nuance or iconic chemistry. Tukur is understated, bordering on uninteresting, and Buscemi is just over-the-top. Unlike Spielberg’s film, John Rabe grants us little access to the stories of civilians. The film is so preoccupied with people of power and those like Rabe, couched in a world of privilege, that the film lacks an emotional, human center. It’s impossible to feel much of anything because we’re never asked to feel, nor are we ever asked to endure any especially difficult scenes. Even the occasional rain of hellfire isn’t as wallop-packing as it ought to be. (2:14) Four Star, Presidio. (Ryan Lattanzio)

The Karate Kid The most baffling thing about The Karate Kid is its title: little Dre Parker (Jaden Smith) never actually learns karate. He practices kung-fu, an entirely different form of martial arts — you know, from a different country. There’s something obnoxious and absurd about the misnomer: the film seems to suggest that if you’ve seen one Asian culture, you’ve seen them all. That aside, it’s not a bad movie. Smith is mostly pretty likeable, and there’s a definite satisfaction to seeing him grow from bullied weakling to kung-fu star. And Jackie Chan gets to exercise his dramatic chops — he even gets a crying scene! But Karate Kid is a "reboot," the preferred term for the endless stream of unnecessary remakes Hollywood keeps churning out. You can’t help but think about the superior 1984 version. Jaden Smith is no Ralph Macchio, Jackie Chan is no Pat Morita, and kung-fu is no karate. Don’t even get me started on the "jacket on, jacket off" crap. Which, if you say it quickly, sounds a little adult for a PG movie. (2:20) 1000 Van Ness, SF Center. (Peitzman)

*The Kids Are All Right In many ways, The Kids Are All Right is a straightforward family dramedy: it’s about parents trying to do what’s best for their children and struggling to keep their relationship together. But it’s also a film in which Jules (Julianne Moore) goes down on Nic (Annette Bening) while they’re watching gay porn. Director Lisa Cholodenko (1998’s High Art) co-wrote the script (with Stuart Blumberg), and the film’s blend between mainstream and queer is part of what makes Kids such an important — not to mention enjoyable — film. Despite presenting issues that might be contentious to large portions of the country, the movie maintains an approachability that’s often lacking in queer cinema. Of course, being in the gay mecca of the Bay Area skews things significantly — most locals wouldn’t bat an eye at Kids, which has Nic and Jules’ children inviting their biological father ("the sperm donor," played by Mark Ruffalo) into their lives. But for those outside the liberal bubble, the idea of a nontraditional family might be more eye-opening. It’s not a message movie, but Kids may still change minds. And even if it doesn’t, the film is a success that works chiefly because it isn’t heavy-handed. It refuses to take itself too seriously. At its best, Kids is laugh-out-loud funny, handling the heaviest of issues with grace and humor. (1:47) Bridge, SF Center. (Peitzman)

*Knight and Day A Bourne-again Vanilla Sky (2001)? Considerably better than that embarrassingly silly stateside remake, though not quite as fulfilling as director James Mangold’s 3:10 to Yuma (2007) rework, this action caper played for yuks still isn’t the most original article in the cineplex. But coasting on the dazzling Cheshire grins of its stars, Tom Cruise and Cameron Diaz, reunited for the first time since Sky, you can just make out the birth of a beautiful new franchise. Everygirl June Havens (Diaz) is on her way to her sister’s wedding when she collides-cute at the airport with Roy Miller (Cruise). After killing the passengers and pilots on their plane, he literally sweeps her off her feet — thanks to some potent drugs. Picture a would-be Bond girl dragged against a spy-vs.-spy thriller semi-against-her-will — grappling with the subtextual anxiety rushing beneath all brief romantic encounters as well as some very justifiable survival fears. Can June overcome her trust issues? Is Roy the man of her dreams — or nightmares? Mangold and company miss a few opportunities to have more fun with those barely teased out ideas, and the polished, adult-yet-far-from-knowing charisma of the leads doesn’t quite live up to sophisticated interplay of Cary Grant and Grace Kelly, or even the down-home fun of Burt Reynolds and Sally Field, but it’s substantial enough for Knight and Day to coast on, for about 90 minutes tops. (2:10) 1000 Van Ness. (Chun)

The Last Airbender There must be some M. Night Shyamalan fans out there. How else does one explain the fact that he keeps making movies? And yet, most of his post-Sixth Sense (1999) work has ranged from forgettable to downright reviled. His latest disaster is sure to fall into the latter category: in The Last Airbender, he takes a much-loved Nickelodeon cartoon and transforms it into an awkwardly paced, poorly acted mess. Woefully miscast Noah Ringer stars as Aang, the avatar with the power to end the Fire Nation’s dominion. Along with his friends, siblings Sokka (Jackson Rathbone) and Katara (Nicola Peltz), Aang must — oh, just watch the damn show. For newcomers, the film is as confusing as Shyamalan’s equally self-indulgent Lady in the Water (2006). For fans of the TV show, The Last Airbender is nearly unbearable, condensing the entire first season into one film by removing the humor, the heart, and the complexity of the characters. There’s no twist here — we expect Shyamalan to disappoint, and he does. (1:34) 1000 Van Ness, SF Center, Sundance Kabuki. (Peitzman)

Micmacs An urge to baby-talk at the screen underlines what is wrong with Jean-Pierre Jeunet’s new film: it is like a precocious child all too aware how to work a room, reprising adorable past behaviors with pushy determination and no remaining spontaneity whatsoever. There will be cooing. There will be clucking. But there will also a few viewers rolling their eyes, thinking "This kid rides my last nerve." It’s easy to understand why Jeunet’s movies (including 2001’s Amélie) are so beloved, doubtless by many previously allergic to subtitles. (Of course, few filmmakers need dialogue less.) They are eye-candy, and brain-candy too: fantastical, hyper, exotic, appealing to the child within but with dark streaks, byzantine of plot yet requiring no close narrative attention at all. The artistry and craftsmanship are unmissable, no ingenious design or whimsical detail left unemphasized. In Micmacs, hero Bazil (Dany Boon) is a lovable misfit who lost his father to an Algerian landmine, then loses his own job and home when he’s brain-injured by a stray bullet. He falls in with a crazy coterie of lovable misfits who live underground, make wacky contraptions from junk, and each have their own special, not-quite-super "power." They help him wreak elaborate, fanciful revenge on the greedy arms manufacturers (André Dussollier, Nicolas Marié) behind his misfortunes, as well as various human rights-y global ones. So there’s a message here, couched in fun. But the effect is rather like a birthday clown begging funds for Darfur — or Robert Benigni’s dreaded Life is Beautiful (1997), good intentions coming off a bit hubristic, even distasteful. (1:44) Opera Plaza. (Harvey)

Predators Anyone who claims to be disappointed by Predators has clearly never seen parts one and two in the series; all three are straight B-movie affairs (though 1990’s Predator 2 takes everything oh-so-slightly over the top. Gary Busey’ll do that). And if you’ve seen either of the recent Predator-versus-Alien flicks, Predators should feel like a masterpiece. Nimród Antal directs under the banner of Robert Rodriguez’s production company, which explains the presence of Danny "Machete" Trejo in the cast. Adrien Brody stashes his Oscar in a safe place to star as Royce, a well-armed mercenary who awakes to find himself in free fall, plummeting into a strange jungle along with other elite-forces types (including Brazilian Alice Braga, playing an Israeli soldier). It doesn’t take long before Royce realizes that "this is a game preserve, and we’re the game." I wish Predators had allowed itself to have a little more fun with its uniquely skilled characters (the yakuza guy does have a nice, if culturally-stereotyped, swordplay scene); there’s also an underdeveloped "plot twist" involving the presence of the decidedly un-badass Topher Grace among the human prey. But all is forgiven when Laurence Fishburne turns up as Crazy Old Dude Who’s Been Hiding Out With Predators a Little Too Long. Fishburne’s presence also adds to the heart-of-darkness vibe the movie seems vaguely interested in conveying. (1:51) 1000 Van Ness. (Eddy)

*Restrepo Starting mid-’07, journalists-filmmakers Tim Hetherington and Sebastian Junger spent some 15 months off and on embedded with a U.S. Army platoon in Afghanistan’s Korengal Valley, a Taliban stronghold with steep, mountainous terrain that could hardly be more advantageous for snipers. Particularly once a second, even more isolated outpost is built, the soldiers’ days are fraught with tension, whether they’re ordered out into the open on a mission or staying put under frequent fire. Strictly vérité, with no political commentary overt or otherwise, the documentary could be (and has been) faulted for not having enough of a "narrative arc" — as if life often does, particularly under such extreme circumstances. But it’s harrowingly immediate (the filmmakers themselves often have to dive for cover) and revelatory as a glimpse not just of active warfare, but of the near-impossible challenges particular to foreign armed forces trying to make any kind of "progress" in Afghanistan. (1:33) Clay. (Harvey)

The Secret in Their Eyes (2:07) Opera Plaza, Red Vic.

*Stonewall Uprising On the night of June 28, 1969, police embarked on what they thought would be a routine raid on a gay bar in New York’s Greenwich Village, the sleazy, Mafia-run Stonewall Inn. The ensuing three days of rioting — during which mostly young men and drag queens accustomed to being marginalized and hauled off to jail stood their ground and fought back — became what historian Lillian Faderman has called "the shot heard round the world" for LGBT activism: a spontaneous expression of street-level outrage that fueled the birth of a movement. Kate Davis and David Heilbroner’s solid documentary Stonewall Uprising takes a "just the facts, ma’am" approach to this historic flashpoint that makes for an information-packed, if at times dry, 80 minutes. Working around the paucity of photographic documentation of the actual riots (itself a testament to the marginalization of homosexuality in the late 1960s), Davis and Heilbroner make extensive use of period news footage and photography, reenactments, and most important, the first-person testimonies of who those who witnessed and participated in what one interviewee terms "our Rosa Parks moment." The filmmakers’ contextual groundwork is as impressive for its archival research as it is repetitive in its message: pre-Stonewall life was hell. The documentary becomes more nuanced as it zeros in on reconstructing the first night of rioting via eyewitness accounts. (1:22) Lumiere. (Sussman)

Touching Home Hometown boys (Logan and Noah Miller) make good in this based-on-a-true-story tale of identical twins who must divide their time at home between training for major league baseball and looking after their alcoholic father. The brothers, who also wrote and directed the film, aim for David Gordon Green by way of Marin, but fall short of mastering that director’s knack for natural dialogue. Ed Harris is, unsurprisingly, compelling as the alcoholic father, but the actors in the film who are not named Ed Harris tend to contribute to the script’s distracting histrionics. Touching Home has some amazing NorCal cinematography, and I could see how family audiences might enjoy its "feel bad, then feel good" style of melodrama. But while it’s awkward to say that someone’s real-life experiences come off as trite, there are moments here that feel as clichéd as a Lifetime movie. (1:48) Smith Rafael. (Galvin)

*Toy Story 3 You’ve got a friend in Pixar. We all do. The animation studio just can’t seem to make a bad movie — even at its relative worst, a Pixar film is still worlds better than most of what Hollywood churns out. Luckily, Toy Story 3 is far from the worst: it’s actually one of Pixar’s most enjoyable and poignant films yet. Waiting 11 years after the release of Toy Story 2 was, in fact, a stroke of genius, in that it amplifies the nostalgia that runs through so many of the studio’s releases. The kids who were raised on Toy Story and its first sequel have now grown up, gone to college, and, presumably, abandoned their toys. For these twentysomethings, myself included, Toy Story 3 is a uniquely satisfying and heartbreaking experience. While the film itself may not be the instant classic that WALL-E (2008) was, it’s near flawless regardless of a viewer’s age. Warm, funny, and emotionally devastating—it’s Pixar as it should be. (1:49) Empire, Marina, 1000 Van Ness, Sundance Kabuki. (Peitzman)

The Twilight Saga: Eclipse The only person more bored by the Twilight franchise than I am is Kristen Stewart. In Eclipse, the third installment of the film series, she mopes her way through further adventures with creepily obsessive vampire Edward (Robert Pattinson). Look, you’re either sold on this star-crossed love story or you’re not, and it’s clear which camp I fall into. Besides, Eclipse is at least better than New Moon, the dreadful Twilight film that preceded it last year. But the story is still ponderous and predictable — Eclipse sets up a conflict and then quickly resolves it, just so it can spend more time on the Bella-Edward-Jacob love triangle. (As if we don’t know how that ends.) Then there’s the unfortunate anti-sex subtext: carnal relations are cast as dirty, wrong, and soul-destroying. I’m not saying we should be encouraging all teenagers to have sex, but that doesn’t mean we should make them feel ashamed of their desires. And what parent would approve of Eclipse‘s conclusion? Marrying your first boyfriend at 18 — not always the best move. (2:04) Empire, 1000 Van Ness, Sundance Kabuki. (Peitzman)

*Wild Grass The premise of Wild Grass, Alain Resnais’ loopy new film, could have come straight from Nancy Meyers: an older married man finds a single, middle-aged woman’s wallet. He returns it but can’t stop thinking about her. She, in turn, is intrigued by his attentions. Both are surprised by the connection they feel growing between them, one which they nevertheless have difficulty articulating. When they finally meet, sparks fly. That purloined wallet, along with the romcom set-up, aren’t the only MacGuffins in Resnais’ Wild ride, which uses Christian Gailly’s novel L’ Incindent as a rough guide for its careening tour of the irrational courses that desire can lead us down. The man and woman in question are Georges, an embittered writer with a possibly dark past, and flame-haired Marguerite, a dentist and part-time aviatrix, both played to neurotic perfection by longtime Resnais regulars André Dussollier and Sabine Azéma. Resnais’ attempt to translate what he has called the "musicality" of Gailly’s prose has resulted in a frenetic everything-but-the-kitchen-sink approach that tries to visually approximate Georges and Marguerites’ every internal monologue, fantasy, and increasingly risky instance of impulsive behavior, throwing in some knowing winks to classic Hollywood cinema for good measure. It’s a mess, to be sure (there are even two endings!). But like Mr. Magoo, the 87-year-old Resnais, as if by some unseen hand, steers clear of complete disaster. There hasn’t been a Gallic car crash this delightful to watch since Godard’s famous pile-up in 1967’s Week End. (1:44) Opera Plaza, Shattuck. (Sussman)

*Winter’s Bone Winter’s Bone has already won awards at the Berlin International Film Festival and the Sundance Film Festival, but it’s the kind of downbeat, low-key, quiet film that may elude larger audiences (and, as these things go, Oscar voters). Like Andrea Arnold’s recent Fish Tank, it tells the story of a teenage girl who draws on unlikely reserves of toughness to navigate an unstable family life amid less-than-ideal economic circumstances. And it’s also directed by a woman: Debra Granik, whose previous feature, 2004’s Down to the Bone, starred Vera Farmiga (2009’s Up in the Air) as a checkout clerk trying to balance two kids and a secret coke habit.

Drugs also figure into the plot of the harrowing Winter’s Bone, though its protagonist, Ree Dolly (Jennifer Lawrence), is faced with a different set of circumstances: her meth head father has jumped bail, leaving the family’s humble mountain home as collateral; the two kids at stake are her younger siblings. With no resources other than her own tenacity, Ree strikes out into her rural Missouri community, seeking information from relatives who clearly know where her father is — but ain’t sayin’ a word. It’s a journey fraught with menace, shot with an eye for near-documentary realism and an appreciation for slow-burn suspense; Lawrence anchors a solid cast with her own powerful performance. Who says American independent film is dead? (1:40) Embarcadero. (Eddy)

REP PICKS

*Beyond the Doors and Bigfoot This double bill in the middle of the Vortex Room’s conspiracy-focused schedule of Thursday screenings offers musings on some favorite 1970s subjects for paranoid speculation. "Our assignment: neutralize the three Pied Pipers of rock n’ roll music," recalls a government operative near the beginning of Larry Buchanan’s Beyond the Doors. Upset at Vietnam protests and drug culture, President Nixon hits on the logical solution: Jimi, Janis and Jim (Morrison) must die. Made in 1984, this late effort by Southern cheesebagger Buchanan followed three decades of such titles as Naughty Dallas (1964), Zontar: The Thing from Venus (1966), Mars Needs Women (1967), and The Loch Ness Horror (1981). Having achieved modest box-office success with his tabloid-tenored 1976 take on Marilyn Monroe, Goodbye Norma Jean, Buchanan applied the same delicate brushstrokes to this dramatized imagining of what really happened to acid rock’s martyred holy trinity. Actor "discoveries" Gregory Allen Chatman (Hendrix), Riba Meryl (Joplin), and Bryan Wolf (Morrison) were, not entirely surprisingly heard from again, though the various approximations of those musicians’ sounds could be worse. In the second half of the Vortex Room bill, John Carradine helps helps various bikers, rednecks, and cops investigate the abduction of underdressed white-meat babes which Bigfoot (or rather, several Bigfoots … or is that Bigfeet?) kidnaps to chain up in a cave so that they might squirm and scream in their bikini briefs. (The original ad line was "Breeds with anything.") Leading victim is 1950s starlet Joi Lansing, a Mormon-raised Monroe wannabe whose prior career highlights were a brief run on The Beverly Hillbillies, bits in studio features and leads in Z-grade films like the glorified ’67 country-music concert compendium Hillbillies in a Haunted House. This being a 1970 drive-in feature (by Robert F. Slatzer, who’d made the rather stupendously bad 1967 Hellcats), naturally a biker club rides to the eventual rescue, pitting one group of hairy primitives against another. Add Faster, Pussycat! Kill! Kill! (1965) star Haji, Elvis bodyguard Del "Sonny" West, some hoary Hollywood veterans, and lesser Mitchum family members, and you’ve got one weird time capsule. Thurs/15, 8 p.m., $5, Vortex Room, 1082 Howard, SF; www.myspace.com/thevortexroom. (Harvey)

First-person shooter

Jesse Hawthorne Ficks
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First-person shooter

Extra Lives: Why Video Games Matter

Tom Bissell

(Pantheon Books/Random House, 218 pages, $22.95)

In the fifth chapter of his essay collection Extra Lives: Why Video Games Matter, author Tom Bissell meets “Al,” a staffer at the 2009 DICE convention, an annual game industry event held in Las Vegas. “By 2020,” gushes Al, “there is a very good chance that the president will be someone who played Super Mario Bros. on the NES.”

There exists an entire generation who grew up alongside video games, and while it might well include a future president or two, it also contains a handful of talented writers eager to vivisect their childhood obsessions. Bissell is a model for this new breed of video game journo — schooled in the discourse of academic criticism, tempered in the crucible of high-stakes, highbrow publishing, and possessed of an unapologetic love for the medium — and Extra Lives is an important, relentlessly perceptive book.

Bissell began as a travel writer, and his background gives him a gift for evocative descriptions of video game vignettes that sketch the aesthetic and technical particulars in deft, efficient strokes. Each of the nine essays in the collection is roughly centered around a single game; the limited corpus, chosen with conviction and care, skews toward recent games like Bethesda’s Fallout 3 and Bioware’s Mass Effect.

This modern focus is a reaction to a game design sea change, one that privileges story and artistic ambition over technical achievement and mindless action. But games have a long way to go, and Bissell is determined to unpack their puerility, along with his unblinking acceptance of it: “If I were reading a book or watching a film that, every 10 minutes, had me gulping a gallon of aesthetic Pepto, I would stop reading or watching,” he opines. “Games, for some reason, do not have this problem. Or rather, their problem is not having this problem. I routinely tolerate in games crudities I would never tolerate in any other form of art or entertainment.”

Veering constantly from the personal to the theoretical, Bissell proves that it’s possible to ruminate on the past, present, and future of video games in a way that is both intellectually rigorous and consistently entertaining. The book’s only flaw is its relative brevity, especially considering that two essays (“The Grammar of Fun” and “Grand Thefts”) already have appeared in print in an abridged form. Nevertheless, games and gamers should count themselves lucky to have Extra Lives on their side.

Appetite: More intriguing June openings

Jesse Hawthorne Ficks
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Appetite: More intriguing June openings

It’s been an exhausting, thrilling whirl of new openings this month (check out last week’s Appetite). As usual, I hit most new SF openings right away, then continue to revisit as they settle in (if they are worth revisiting, which is often the case). Here’s an initial take on more recent openings. For further details, check out my upcoming July 1st issue of The Perfect Spot)

SKOOL – On a sunny, Potrero Hill afternoon during Skool’s (soft) opening week, June 21, I wandered over to this new fish haven run by husband and wife duos, Toshihoro and Hiroko Nagano (of my beloved Bushi Tei) and Andy and Olia Mirabell (of Blowfish Sushi to Die For). The Zen-peace of the patio, enclosed in gorgeous Japanese foliage, is brightened by orange Aperol umbrellas. Inside it’s sleek, Japanese minimalism in the form of warm, brown woods and gentle lighting. I’m already plotting another visit this week and anticipating their addition of dinner once they get their liquor license (lunch only at the moment). They make good sans alcohol with fine teas, Illy coffee and virgin drinks like Teacher’s Pet ($4): apple juice, honey water, topped with ginger foam and a basil leaf. I almost don’t miss a cocktail.There’s hefty “lunch box” sandwiches, like Dungeness crab ($13) tossed in a light mayo with yuzu whole grain mustard, topped with avocado, butter lettuce, tomato, and a poached free range egg; or a Washugyu Sandwich ($15) with coffee-marinated washu-beef, mozzarella and Parmesan cheese, caramelized onion, pepper cress and wasabi aioli. Dessert offers a seductively jiggly Lavender Panna Cotta ($6), surprisingly light, delicately drizzled with a honey vanilla bean sauce. I definitely see a Bushi Tei freshness and creativity at work here. And how can you not fall in love with that patio?

1725 Alameda, SF
(415) 255-8800
www.skoolsf.com

SPICE KIT — Just opened June 28, this airy, high-ceilinged take-out spot with a few tables inside and out on a patio in the shadow of SoMa high-rises, Spice Kit keeps its menu simple. Choose a ssam (stuffed Korean rice paper wrap), Vietnamese banh mi or salad with five-spice chicken, beef shortrib, roasted pork or seared/braised organic tofu. Sides are simple (crispy lotus chips, grilled pork belly buns), as are drinks (Calamansi Limeade, Vietnamese iced coffee), and prices happily under $8. Spice Kit may not exactly be Momofuku West, but it does have hints of that ethos, opened by two self-proclaimed French-trained Asian guys who cooked at restaurants you may have heard of: The French Laundry and Per Se? I wouldn’t say travel across town for it, but if you work nearby, it’ll most likely be added to your lunch rotation.

405 Howard, SF.
(415) 882-4581
www.spicekit.com

 

ROAM ARTISAN BURGERS — I’ve tasted through all four burgers at Cow Hollow’s new burger joint, which opened on June 21: grass-fed beef, bison (lean, meaty), turkey, and veggie. All come with various topping choices, whether fried egg or Southwestern veggies, but the veggie burger especially impressed. Veggie burgers never taste like (or replace) meat burgers for me, but this is a unique, veggie sandwich with patties made primarily of quinoa and beets, loaded with avocado. Straus Creamery (http://www.strausfamilycreamery.com) shakes are lush in flavors like Salted Caramel and Matcha Green Tea. Kombucha on tap is refreshingly smooth. But Sweet Potato Fries cooked in maple syrup may have been my favorite item at this casually chic burger lounge.
 

1785 Union Street
(415) 440-7626
www.roamburgers.com

Quick Lit: June 23-June 29

David Talbot
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Quick Lit: June 23-June 29

Literary readings, book tours, and talks this week

The Cheesemonger, William Dalrymple, Tim Wise, skating on the margin of error, the Golden Age of Chinese nightclubs, and more.


Wednesday, June 23

Cheesemonger: My Life on the Wedge
Former punk rock activist turned cheese connoisseur Gordon Edgar will pass around some cheese and discuss his new book about the amazing world of artisan cheeses that he discovered while working at Rainbow grocery.
7 p.m., free
Get Lost Travel Books
1885 Market, SF
(415) 437-0529

Nine Lives: In Search of the Sacred in Modern India
British historian and travel writer William Dalrymple explores how modernity is changing India’s oldest traditions and the human pursuit of the divine.
6 p.m., $12
Mechanics’ Institute
57 Post, SF
(415) 393-0100
www.milibrary.org 

This is Where We Live
New York Times, Vogue, and Elle journalist Janelle Brown discusses her new novel.
7:30 p.m., free
Books Inc. Marina
2251 Chestnut, SF
(415) 931-3633

Tim Wise
Prominent antiracist essayist, educator, and activist Tim Wise will discuss his new book, Colorblind: The Rise of Post Racial Politics and the Retreat From Racial Equity.
7 p.m., free
City Lights Bookstore
261 Columbus, SF
(415) 362-8193‎

Thursday, June 24

Being Wrong: Adventures in the Margins of Error
Journalist Kathryn Schulz explores why we find it so gratifying to be right and so maddening to be mistaken, and how this attitude toward error corrodes our relationships.
7 p.m., free
Modern Times Bookstore
888 Valencia, SF
www.mtbs.com

Ex-GayNo Way
Jallen Rix discusses this new novel tackling the topic of “Reparative Therapy” and the after-effects this cult movement has on it’s victims.
7:30 p.m., free
Books Inc. Castro
2275 Market, SF
(415) 864-6777

Forbidden City: The Golden Age of Chinese Nightclubs
Author Trina Robbins reads from her new book which uses interviews, photos, momentos, and Art Deco posters to tell tales of the dancers and singers of Chinatown nightlife from the 1930’s to the 1960’s.
6:30 p.m., free with $15 museum admission
Asian Art Museum
200 Larkin, SF
(415) 581-3500
www.asianart.org

Hand Bookbinders Anniversary Exhibition
The 38th Annual Hand Bookbinders of California exhibition features the work of professional, amateur, and student bookbinders that range from the traditional to the very contemporary. Enjoy a special tour of the show led by members of the Hand Bookbinders of California on every other Thursday through August 12.
11 a.m., free
San Francisco Public Library Main Branch
100 Larkin, SF
(415) 557-4277

Hitch 22
Author and journalist Christopher Hitchens discusses his new book, which draws on his experience as a U.S. and U.K. citizen, as a socialist opposed to the war in Vietnam, and as a supporter of the U.S. war against Islamic extremism in Iraq.
7 p.m., free
Borders
400 Post, SF
(415) 399-1633

No Cartoon Left Behind: The Best of Rob Rogers
Political cartoonist Rob Rogers offers an interactive combination of live drawing and a cartoon slide presentation that takes the audience behind his creative process. His new book features cartoons documenting five presidencies, the end of the Cold War, 9/11, 25 years of health care, and economic and political scandals of every shape and size.
7 p.m., $5
Cartoon Art Museum
655 Mission, SF
(415) CAR-TOON

The Particular Sadness of Lemon Cake
Author Aimee Bender discusses her new novel about a girl whose magical gift is really a devastating curse.
7:30 p.m., free
Books Inc. Marina
2251 Chestnut, SF
(415) 931-3633

Right Here on Our Stage Tonight!: Ed Sullivan’s America
Author Gerald Nachman, joined in conversation by SF Chronicle columnist Leah Garchik, discusses his novel that traces the history of the 23 year run of the Ed Sullivan Show, that introduced America to a diverse array of performers.
6 p.m., $12
Mechanics’ Institute
57 Post, SF
(415) 393-0100
www.milibrary.org 

“The Shallows: What the Internet is Doing to Our Brains”
Hear journalist and author Nicholas Carr discuss how the internet is rewiring our synapses and dangerously upending our cultural priorities and other mental and social transformations that are being created by our new electronic environment.
7:30 p.m., $12
Berkeley Hillside Club
2286 Cedar, Berk.
(510) 848-6767

Saturday, June 26

Gene Yang
Award-winning comics artist Gene Yang, author of American Born Chinese, Gordon Yamamoto and The King of the Geeks, discusses his creative process and his love for the comic medium. Yang will also share his personal history as a Chinese-American, the inspiration for many of his books.
Sat. and Sun. Noon, free with $15 museum admission
Asian Art Museum
200 Larkin, SF
(415) 581-3500
www.asianart.org

Monday, June 28

Penguin Books 75th Anniversary
Celebrate a quarter of a century of Penguin publishing at this event hosted by Micheal Pollan, featuring Penguin’s collection of 75th anniversary favorites.
7 p.m., free
Books Inc. Berkeley
1760 4th St., Berk.
(510)525-7777

Summer Poetry Festival
All poets, painters, musicians, and arts and crafts people are invited to participate in this two-day, day-long festival in North Beach. Registration at 11 a.m.
Mon.-Tues. 11 a.m.-6 p.m., free
Rouge Ales Public House
673 Union, SF
hackett.philip@gmail.com

Tortured: When Good Soldiers Do Bad Things
Journalist and author Justine Sharrock brings us an eyewitness account of what it feels like to torture based on interviews with young, low-ranking soldiers who worked at Abu Ghraib and Guantanamo.
12:30 p.m., free
Alexander Book Company
50 2nd. St., SF
(415) 495-2992
www.alexanderbook.com

 
Tuesday, June 29

Understanding the Crash
Graphic artist Seth Tobocman and journalist and writer Eric Laursen offer progressive account of how bad mortgages turned into a financial meltdown and how we can get out of this mess.
7 p.m., free
Modern Times Bookstore
888 Valencia, SF
www.mtbs.com

Imported cheese

Jesse Hawthorne Ficks
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Imported cheese

CINE DE CULTO It’s impossible to undersell the extent to which everyone was space travel crazy from the 1950s through the early ’70s. Even nations not actively involved in the Cold War race for space “supremacy” shared the giddy thrill as U.S.S.R., then U.S. efforts successfully launched projectiles toward the cosmos. Those technological leaps and Cold War-fueled fears that the bomb could end life as we know it turned science fiction from an infrequent cinematic genre into a popular, prolific one.

Different nations put their own spin on this celluloid space race, the Soviets for instance treating it as territory of soberly scientific national pride. On the other end of the spectrum, Mexico did sci-fi wackier, cheaper, and often with more inspiration than its neighbor up north. These movies often ended up cut, retitled, and badly dubbed for U.S. consumption at kiddie matinees and on late-night creature feature shows, where they inevitably provoked howls of laughter.

Some camp value definitely remains, but next week’s Pacific Film Archive series “El Futuro Está Aqui: Sci-Fi Classics From Mexico” offers a rare chance to see several choice nuggets in their original-language form and in pristine prints. As a result, they seem more conspicuously well-crafted (on par with major studio Hollywood B movies of the ’50s), even — dare we say — dignified, than you’d expect. Which is not to say they aren’t frequently nuts as well.

Nothing says Mexploitation more succinctly than Santo vs. the Martian Invasion, a 1966 adventure that was one of the immortal masked wrestling hero’s last in B&W. Aliens in flying hubcaps — I mean flying saucers — seek to invade Earth by making people disappear with their ray-guns and interfering with TV transmissions. They also wear silver Mylar pants without shirts (dudes) or low-cut onesies (chicks). These Martians are hot. But they insist on world peace, so of course they must be stopped.

What could be more terrifying? Civilizations ruled by women, of course! In the prior year’s Planet of the Female Invaders, abducted Earthlings find themselves on Sibila, where that terrible reversal of the natural order has come to pass. But fear not: as lost visitors from the normal world soon discover, the women secretly long to be fussed over and told what to do by he-men.

Also in the PFA series are 1959’s lunatic The Ship of Monsters, which manages to encompass singing cowboys, Venusians in taped-on J-Lo dresses, vampires, and more. As for 1957’s The Aztec Mummy vs. the Human Robot, it involves … well, you figure it out. (Dennis Harvey)

EL FUTURO ESTÁ AQUI: SCI-FI CLASSICS FROM MEXICO

June 24–27, $5.50–$9.50

Pacific Film Archive

2575 Bancroft, Berk.

(510) 642-5249

www.bampfa.berkeley.edu

 

Our Weekly Picks: June 16-22, 2010

Jesse Hawthorne Ficks
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WEDNESDAY 16

THEATER/DANCE

The Tosca Project

American Conservatory Theater artistic director Carey Perloff and San Francisco Ballet choreographer Val Caniparoli have teamed up with an all-star cast of ACT actors and San Francisco Ballet principal dancers (Lorena Feijoo, Pascal Molat, and Sabina Allemann) to bring theater and dance to one stage. Tracing the history of SF’s famous Tosca Café, The Tosca Project at ACT journeys through the love, loss, and popular dances of the past century to a soundtrack (featuring everything from Stravinsky to Hendrix) as diverse as the café’s ever-changing clientele. (Katie Gaydos)

Through June 27

Tues.–Sat., 8 p.m. (also Wed. and Sat., 2 p.m.); Sun, 2 p.m., $15–$85

American Conservatory Theater

415 Geary, SF

(415) 749-2228

www.act-sf.org/0910/tosca/index

THURSDAY 17

PERFORMANCE

Fresh Meat Festival

It’s that time again when Sean Dorsey brings tranny and queer performers for a love feast of dance, humor, music theater, and just about any other form of performance you could want. Most remarkable perhaps is how the Fresh Meat Festival — a tiny, local event only a few years ago — has grown into a national forum for often very polished performers who stick their necks out in every direction. Part of the festival’s fun is people-watching; some audience members’ get-ups nearly rival what’s seen on stage. Highlights from the lineup include world premieres of Dorsey’s take on Craigslist’s Missed Connections, Annie Danger’s media-style life coaching session, and SoliRose’s music-theater reflections about life in the Middle East. (Rita Felciano)

Thurs/17-Sat/19, 8 p.m.; Sun/20, 7 p.m., $17–$20

Z Space @ Theater Artaud

450 Florida, SF

www.brownpapertickets.com

MUSIC

U.S. Bombs

Boasting one of the most unpredictable, energetic, and enthralling bandleader of any punk band ever to set foot in front of an audience, U.S. Bombs has cultivated an incendiary reputation thanks to singer, legendary skateboarder, and all-around “master of disaster,” Duane Peters. Combining sounds culled from old school influences like the Clash and mixing them with the raw, adrenaline-pumping attitude needed while attacking a half-pipe, the band’s lineup has gone through several variations. But no matter which members of punk rock royalty he has behind him, Peters is guaranteed to steal the spotlight and make for a show you won’t likely soon forget. (Sean McCourt)

With the Forgotten, Druglords of the Avenues, and Cunt Sparrer

8 p.m., $14

Slim’s

333 11th St., SF

(415) 255-0333

www.slims-sf.com

EVENT

Decomposition reading

It’s sometimes said that, like pop songs, all good poems are ultimately about either love or death. Instinctively, I think most of us know this to be incorrect. Sometimes, though, we need a little reminder, which is where events like this one come in handy. Decomposition is an anthology of fungi-themed poetry from throughout the ages — apparently, many of America’s most seminal wordsmiths, including Sylvia Plath and Emily Dickinson, drew tremendous inspiration from the lowly mushroom (and no, not like that). Leading this tour of verse’s dark, dewy reaches will be editor Kelly Chadwick and poet Charlotte Innes. (Zach Ritter)

7–9 p.m., free

Ecology Center Store

2530 San Pablo, Berk.

(510) 548-3402

www.ecologycenter.org

FRIDAY 18

DANCE

Great Integration: A Chamber Hip-Hop Opera

By calling Great Integration — an allegory about the end of times — a hip-hop opera, choreographer Raissa Simpson and composer-pianist JooWan Kim may be on to something. Hip-hop is music, it’s dance, it’s poetry, and above all it’s a way of being. It means living on the edge, on unstable ground and embracing the subversive. Longtime East Bay activist and Integration contributor MC Kirby Dominant can attest to that. As far as the opera part is concerned, the Chinese and the Italians discovered centuries ago that opera is a messy, all-encompassing form of theater splendidly suited for big topics. Sounds just about right for all aspects of Integration. On opening night, jazz vocalist Christopher Nicholas joins Kim’s Ensemble Mik Nawooj and Simpson’s Push Dance Company. (Felciano)

Fri/18–Sat/19, 8 p.m., $15–$25

ODC Commons

351 Shotwell, SF

(415) 863-9834

www.brownpapertickets.com/event/104653

MUSIC

QM

Do you like hip-hop? Do you like cheap booze? Get your ass down to Hotel Utah for a stiff double dose of both and party like your parents are outta town. Local rapper QM of the Rec-League, self-described as “your favorite rapper’s favorite rapper to drink with,” is finally releasing his latest album, Happy Hour, and is throwing his own happy hour to celebrate. QM’s clever punch lines and West Coast sound may not change your political views, but they just might leave you hung over. Throw in $1 PBRs and Happy Hour grab bags filled with the album, a beer koozie, and other surprises, and Hotel Utah’s guaranteed to get wild. Be prepared for a drunken good time, and keep some aspirin and water ready for the morning after. (Ben Hopfer)

With Rec-League, Adverse, and Parable Paul

9 p.m., $10

Hotel Utah

500 Fourth St., SF

(415) 546-6300

www.routinefly.com

EVENT

“Cultural Encounters: Friday Nights at the de Young”

If you’re one of those people for whom a croissant is a “kwah-sahn,” then this week’s Friday Soirée at the de Young Museum, presented in partnership with the Alliance Française, should cater to your Francophiliac tastes. Though not French himself, Rich Kuhns accompanies the “Birth of Impressionism” exhibit as a strolling accordionist. The Bay Area monsieur of musette hearkens back to traditional French sounds — he plays Jacques Brel and Edith Piaf, of course — while also adding some contemporary flair to the fête. Following his performance, Dr. Alexandra Amati-Camperi lectures on the Fête de la Musique, French singer-songwriter Eric John Kaiser performs, and you can make your own found object instrument with Kim Erickson, described as an “art diva” by the de Young website. It’s no coincidence that the word “cliché” is French,” but zut alors, clichés never sounded so good. (Ryan Lattanzio)

5–8:45 p.m., free

de Young Museum

50 Hagiwara Tea Garden Drive, SF

(415) 750-3600

www.deyoung.famsf.org

FILM

Top of the Food Chain

Bluntly retitled Invasion! for its American release, Canadian filmmaker John Paizs’ homage to 1950s sci-fi films, Top of the Food Chain (1999), is the second of his films to screen at Artists’ Television Access in as many months. Previously, the auteur worked on beloved Canadian comedy series Kids in the Hall, but his films have a miniscule presence on the Internet — a few blog reviews here and there, and only two relevant YouTube clips. However, both of those clips are of hilariously non sequitur musical numbers, so that’s a promising sign. Indeed, Paizs’ fetishization of a seemingly outdated genre should be right at home alongside ATA’s usual assemblage of experimental video art. (Sam Stander)

8 p.m., $6

Artists’ Television Access

992 Valencia, SF

(415) 824-3890

www.atasite.org

PERFORMANCE

Miriam’s Well

This cultural and artistic mashup tells the stories of Mary, Maryam, and Miriam from the Christian, Muslim, and Jewish traditions connecting across time and distance at an ancient water well, the source of life and strife in a world that has yet to come to terms with how we can come together around our most basic shared needs. The performance involves dance, live music, poetry, and readings of sacred texts by a variety of acclaimed artists, from creator and dancer Miriam Peretz to musicians the Qadim Ensemble and master percussionist Pezhham Ackavass to spoken word artist Lana Nasser. It’s a story of visionary women leading all us past our historical and still-growing divisions and toward the realization that “without peace the well will soon run dry.” (Steven T. Jones)

8 p.m., $20

Grace Cathedral

1100 California, SF

(415) 749-6355

www.brownpapertickets.com/event/97354

SATURDAY 19

EVENT/PERFORMANCE

Birthfest and The Dynamite Show

FouFouHa!, San Francisco’s uniquely zany clown dance troupe, wants to take you on a strange journey all the way from a woman’s womb to a glitzy reality show set in Hollywood. That may seem like a long road to travel, but with troupe founder and performance director/choreographer Maya Culbertson-Lane, a.k.a. MamaFou, behind the wheel, it’s sure to be a fun ride. The play, which runs at Brava June 17-26, follows the Fous as they audition to be humiliated on television, exploring the role of the fool in society. But this show is preceded by a film festival on midwifery, with proceeds benefiting the Foundation for the Advancement of Midwifery, which recently helped MamaFou deliver her second child. What’s the connection? As she explains, it’s about power, “the power to not give into social fears created by a system run by money — in this case Hollywood and insurance companies.” With live music by the Gomorrans Social Aide and Pleasure Club and a photo exhibit by Eric Gillet. (Jones)

Birthfest, noon-6 p.m.; The Dynamite Show, 8 p.m., $20–$40

Brava Theater

2781 24th St., SF

www.foufouha.com

www.birthfest.com

EVENT

StreetSmARTS Community Extravaganza

It’s afternoon in the Tenderloin, and muralist Jet Martinez has been sponsored by the SF Arts Commission to paint traditional Oaxacan embroidery flowers in Cedar Alley. His audience: a man who has been yelling “I’m gonna kill you!” to no one in particular all day. The guy starts to approach him, and when he gets close enough says this to Jet in a low, articulate voice: “We really appreciate what you’re doing for the community.” Don’t ever let them tell you art doesn’t matter. Celebrate the beautiful walls created through StreetSmARTS with b-boys, DJs, and a midnight unveiling of “The Elements of Hip Hop,” a indoor gallery of works by the muralists themselves. (Caitlin Donohue)

Sat/19, 6 p.m., free

African American Art and Culture Complex

762 Fulton, SF

(415) 252-2598

www.sfartscommission.org

MONDAY 21

MUSIC

Brian Jonestown Massacre

Who Killed Sgt. Pepper? the Brian Jonestown Massacre asks in the title of its latest album. It’s possible bandleader Anton Newcombe did, if you recall how insane he was in Ondi Timoner’s documentary Dig! (2004). The San Francisco-bred band returns to the Fillmore in conjunction with its new release — a rather disquieting listen with plenty of dissonant space noise and expletives to make for a psychedelic headbanger’s wet dream. Newcombe, steeped in notoriety since Dig! and its frenetic portrait of the artist as a disturbed man, has been honing his sound since 1990. If you can separate art and artist (or don’t even bother — it makes things more interesting), BJM is one of today’s only bands that should be allowed to remain as prolific as it is. (Lattanzio)

9 p.m., $22.50

Fillmore

1805 Geary, SF

(415) 346-6000

www.livenation.com The Guardian listings deadline is two weeks prior to our Wednesday publication date. To submit an item for consideration, please include the title of the event, a brief description of the event, date and time, venue name, street address (listing cross streets only isn’t sufficient), city, telephone number readers can call for more information, telephone number for media, and admission costs. Send information to Listings, the Guardian Building, 135 Mississippi St., SF, CA 94107; fax to (415) 487-2506; or e-mail (paste press release into e-mail body — no text attachments, please) to listings@sfbg.com. We cannot guarantee the return of photos, but enclosing an SASE helps. Digital photos may be submitted in jpeg format; the image must be at least 240 dpi and four inches by six inches in size. We regret we cannot accept listings over the phone.

Love stories, politics, yodeling, and more: Frameline 34 short takes

Sue Vaughan
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Love stories, politics, yodeling, and more: Frameline 34 short takes

The Secret Diaries of Miss Anne Lister (James Kent, UK, 2010) A BBC production set in the northern English countryside of the early 19th century, James Kent’s The Secret Diaries of Miss Anne Lister depicts the amatory adventures of a gentlewoman landowner (Maxine Peake) in search of a “female companion” with whom to live out her days. The narrative is somewhat breathless, the seductions equally so and yet a bit anemic, and our strong-willed, fearless heroine is admirable without being entirely engaging. Still, besides tapping into the Jane Austen slash fiction demographic, this tale of pre-Victorian bodice ripping and skirt lifting among the female gentry offers the considerable thrill of being adapted from the actual secret diaries of the titular Miss Lister, decoded by a biographer 150 years after her death. A documentary in the festival, Matthew Hill’s The Real Anne Lister, offers a complementary version of her story. Thurs/17, 7 p.m., Castro. (Lynn Rapoport)

I Killed My Mother (Xavier Dolan, Canada, 2009) The title I Killed My Mother suggests a different kind of movie from what it actually is. But that’s OK: though not a crime thriller, the film is still a tightly wound, high stakes drama. Writer-director Xavier Dolan stars as Hubert, the angsty son of the titular mother. When you consider that Dolan’s script is autobiographical — and that he was only 20 when the film was made — his performance becomes all the more impressive. As the mother, Chantale, Anne Dorval is also a force to be reckoned with. Despite its presence as part of a queer film festival, I Killed My Mother is not all that “gay” in the traditional “gay movie” sense. Hubert’s relationship with Antonin (François Arnaud) is secondary — what’s important is how his refusal to share it with his mother affects her. That helps make the movie a refreshing alternative to many more mainstream offerings. Sat/19, 6:45 p.m., Castro. (Louis Peitzman)

The Owls (Cheryl Dunye, USA, 2010) Expectations are high for The Owls: writer-director Cheryl Dunye again collaborates with Guinevere Turner, V.S. Brodie, and other notable queer performers — you can’t not think of classics like Go Fish (1994) and The Watermelon Woman (1996). The Owls isn’t quite at that level, but it’s a fairly thought-provoking piece. Four middle-aged lesbians — played by Dunye, Turner, Brodie, and Lisa Gornick — accidentally kill a younger lesbian and try to cover up the murder. Their ages are central: the fear of getting older is a major thematic concern. So, too, ideas of gender identity, with the introduction of androgynous Skye (Skyler Cooper). But Dunye breaks the fourth wall, staging her film as a pseudo-mockumentary with both the characters and the actors offering commentary. At just over an hour, The Owls can’t sustain all the back-and-forth, and too many intriguing ideas are left unfinished. Fri/18, 7 p.m., Castro. (Peitzman)

The Topp Twins: Untouchable Girls (Leanne Pooley, New Zealand, 2009) It’s hard to name an American equivalent of New Zealand’s Topp Twins — a folk-singing, comedy-slinging, cross-dressing duo who’re the biggest Kiwi stars you’ve never heard of (but may be just as beloved as, say, Peter Jackson in their homeland). Recent inductees in the New Zealand Music Hall of Fame, the fiftysomething Jools and Lynda, both lesbians, sing country-tinged tunes that slide easily from broad and goofy (with an array of costumed personas) to extremely political, sounding off on LGBT and Maori rights, among other topics. Even if you’re not a fan of their musical style, it’s undeniable that their identical voices make for some stirring harmonies, and their optimism, even when a serious illness strikes, is inspiring. This doc — which combines interviews, home movies, and performance footage — will surely earn them scores of new stateside fans. Sun/20, 3:45 p.m., Castro. (Cheryl Eddy)

Out of the Blue (Alain Tasma, France, 2007) Wearily preparing for a dinner party on a day they’ve both forgotten is their anniversary, Marion (Mireille Perrier) suddenly realizes her 22-year-marriage to Paul (Robin Renucci) is dead. Her decision to end it, however, comes as an infuriating surprise to him and a destabilizing one to their teenage daughter Justine (Chloé Coulloud). They all get quite a surprise when Marion’s new friendship with younger, flamenco-dancing female antiques dealer Claude (Rachida Brakni) turns into something more. This latest in a long line of very good French made-for-TV dramas at Frameline typically handles its complex load of familial and sexual issues with grace and intelligence, if with an occasional excess of high dramatics. Sun/20, 9:30 p.m., Roxie. (Dennis Harvey)

The Consul of Sodom (Sigfrid Monleón, Spain, 2009) Late Spanish poet Jaime Gil de Biedma was many things: an intellectual, aesthete, hedonist, bohemian, discotheque owner, Communist sympathizer (though the Party wouldn’t have him), publisher, more-or-less out gay man, and an occasional lover of flamboyant women like Bel (played by pop singer Bimba Bose). Sheltered by wealth and privilege — to the extent possible in Franco’s Spain — he dabbled in ghetto flesh, sometimes on trips abroad for his family’s tobacco family. As portrayed by actor Jordi Mollá and director Sigfrid Monleon, he’s a mixture of arrogance,
compassion, self-destruction, and shark-like perpetual motion. Seldom missing a chance to drop some full-frontal nudity or a kitschy period song (from 1950s to 80s), this biographical drama — which has been decried as overly sensationalized by some Spanish cultural watchdogs, including a few of the subject’s surviving cronies — is a shamelessly flamboyant and entertaining portrait of a life lived large. Sun/20, 9:30 p.m., Castro. (Harvey)

Dzi Croquettes (Tatiana Issa and Raphael Alvarez, Brazil, 2009) Whatever magic fairy dust fuelled the Cockettes’ glitter-covered hippy drag must’ve drifted down south to Brazil to inspire the similarly named Dzi Croquettes. Of course, that’s not the real origin of the equally colorful cabaret troupe, whose fantastic story is told in Raphael Alvarez and Tatiana Issa’s riveting and rollicking documentary. Blending Ziegfeld Follies-style glamour with agitprop, Dzi Croquettes were more polished and more overtly political than their North American sisters; something which frequently landed the group in hot water with José Sarney’s dictatorship. Finding an unlikely and unexpected advocate in Liza Minnelli, Dzi Croquettes fled their homeland in the mid 70s, becoming the unexpected toast of Europe until AIDS began to take its toll. Filled with delightful archival footage and insightful interviews with alumni, Dzi Croquettes is a joyful affirmation of the power of art (and a feathered boa or two) to effect positive change. Mon/21, 11 a.m., Castro. (Matt Sussman)

Brotherhood (Nicolo Donato, Denmark, 2009) It’s hard to feel much sympathy for neo-Nazis. Perhaps that goes without saying, but Danish film Brotherhood asks us to do just that: Lars (Thure Lindhardt) and Jimmy (David Dencik) meet in the service of Hitler’s ideals, then find themselves drawn to each other. As they struggle to come to terms with their attraction, we’re supposed to care. Fat chance. Although Lars initially disproves of the neo-Nazis, he becomes quickly (read: unrealistically) interested in their cause. Soon, he’s writing his own anti-Pakistani propaganda. And Jimmy is devoted to the movement from the get-go, even condemning “faggots” despite his own same-sex attraction. Maybe I’d feel differently if either Lars showed any sign of internal conflict. Neither displays a sense of regret over being a racist, xenophobic, anti-semitic asshole. They’re down with the gay but only in relation to each other. Who gives a crap if these two make it work? Mon/21, 9:30 p.m., Castro. (Peitzman)

Plan B (Marco Berger, Argentina, 2009) It’s the oldest story in the book: boy meets girl, boy loses girl, boy seduces girl’s new boyfriend. OK, maybe not, but the set-up isn’t entirely unheard of either. It’s a credit to Plan B’s sharp aesthetic and strong performances that it still feels fresh. The Argentinean export stars Manuel Vignau as Bruno. When his girlfriend Laura (Mercedes Quinteros) breaks up with him, he decides to get revenge by making his move on Laura’s supposedly bisexual boyfriend Pablo (Lucas Ferraro). If you’ve seen any romantic comedy ever, you know that what begins as a game for Bruno becomes true love. But Plan B doesn’t go the comedy route, and instead offers a compelling, somewhat subtle drama. The love affair is slow but well-paced, so that the inevitable conclusion feels earned and completely satisfying. Mon/21, 9:30 p.m., Elmwood; June 24, 6:30 p.m., Victoria. (Peitzman)

Undertow (Javier Fuentes-León, Peru, 2009) This sexy and delicate drama is a bisexual triangle that continues beyond the grave. In a Peruvian coastal hamlet, fisherman Miguel (Cristian Mercado) loves his pregnant wife and fellow church leader Mariela (Tatiana Astengo). But he’s also having a secret, passionate affair with Santiago (Manolo Cardona), an urbanite who moved there to paint the land- and seascapes, and who chafes at the restrictions Miguel places on their relationship. At a certain point one character dies, and writer-director Javier Fuentes-León seamlessly handles Undertow’s transition to magical realism. The leisurely story doesn’t go where one expects, ending on a perfect grace note of bittersweet acceptance. Tues/22, 7 p.m., Castro. (Harvey)

Children of God (Kareem J. Mortimer, Bahamas, 2009) Likely the first gay-themed film not just shot in but produced by the Bahamas, Kareem J. Mortimer’s first feature is an occasionally heavy-handed but consistently engrossing mix of romance, religion, and homophobia. Johnny (Johnny Ferro) is a withdrawn Nassau art student who’s a target of gay taunts and bashers. A teacher who says his paintings lack emotion gives him keys to her cottage on the “ultimate landscape” of isle Eleuthera, where he promptly meets the aggressively friendly and inquisitive Romeo (Stephen Tyrone Williams). Also headed here is Lena (Margaret Laurena Kemp), righteous wife of pastor Ralph (Ralph Ford), with whom she shares a strong penchant to publicly denounce the moral threat of “the gays.” She has, however, just left her husband after he furiously denied giving her VD — to confess might reveal that he is, in fact, playing around on the downlow. That’s just the starting point for a complicated, perhaps over-ambitious but sometimes powerfully sensual and poignant film that is definitely amongst this year’s Frameline highlights. June 23, 9:30 p.m., Castro. (Harvey)

Spring Fever (Lou Ye, China, 2009) Shot surreptitiously and chock full of gay sex, Chinese director Lou Ye’s latest film isn’t likely to earn him any additional slack from Chinese government censors (his 2006 film, Summer Palace, got him banned from filmmaking for five years after he failed to preview it before it screened at Cannes). Using hand-held cameras, public settings, and natural lighting, Lou follows Wang Ping (Wu Wei), who’s been having a passionate, messy affair with travel agent Jiang Cheng (Qin Hao). Things get more complicated when the snoop Wang’s wife hires to follow her closeted husband winds up pursuing the two men in ways he never imagined. What Spring Fever lacks in continuity and psychological depth, it makes up for with sexual candor and a genuine frisson of risk, given the secretive conditions under which it was made. That thrill doesn’t quite last through the film’s duration, but as a document of defiance Spring Fever is commendable. June 24, 9:30 p.m., Castro. (Sussman)

The String (Medhi Ben Attia, France/Belgium, 2010) The cross-cultural coming out drama is a perennial at LGBT film festivals, but Medhi Ben Attia’s assured debut feature presents a familiar tale in new surroundings with flashes of charm. Handsome architect Malik (Antonin Stahly) returns to his posh, Tunisian homestead from France to lay his father to rest, fully intent on coming out to his overly doting, oblivious mother (former Fellini muse Claudia Cardinale). But when he falls for hunky house-boy Bilal (Salim Kechiouche), he finds that the truth has a way of outing itself. Although Attia unspools his film’s titular metaphor rather quickly (having hid his true feelings for so long, Malik feels continuously “tied-up” by a piece of imaginary string), he deserves credit for his nuanced portrayal of gay life in the Maghreb and his inspired casting of Cardinale, who can’t help but radiate an Auntie Mame-ish joie de vivre even when the script calls for “disappointed” over “daffy.” June 25, 7 p.m., Victoria. (Sussman)

Hideaway (Francois Ozon, France, 2009) The very French insouciance with which Francois Ozon usually treats his characters and narratives sometimes makes a film seem perilously slight — yet more often than not he manages to pull off a surprising climactic resonance. Which is the case with this latest. When they both overdose on heroin, Mousse (Isabelle Carré) wakes up pregnant in the hospital — but her boyfriend doesn’t wake at all. Declining his mother’s offer to pay for an abortion, she retreats to a friend’s empty seaside chateau. There she gets an unexpected visitor in Raul (Louis-Ronan Choisy), her late lover’s surviving sibling. Their prickly interplay (and his affair with a local handyman) sometimes seems to be drifting pleasantly nowhere in particular — yet it does end up somewhere, rather poignantly. June 25, 9:30 p.m., Castro. (Harvey)

From Beginning to End (Aluízio Abranches, Brazil/Argentina/Spain, 2009) Just about the definition of upscale gay male softcore, this “big brother” fantasy has nothing to do with George Orwell. Its protagonists are inseparable Brazilian half-brothers (played as adults by Joao Gabriel Vasconcellos and Rafael Cardoso) whose bond caves in to the physical once parental boundaries are removed by mom’s death. This over-the-top kinship is tested when the younger bro is invited to train as a swimmer in the Olympics … in Russia. Near-plotless and borderline senseless, this shamelessly sexy tale from The Three Marias (2002) director Aluízio Abranches succeeds as a guilty pleasure on the sheer, convincing ardor he and his actors bring to their “taboo” love story. June 26, 6 p.m., Castro. (Harvey)

Howl (Rob Epstein and Jeffrey Friedman, USA, 2010) Beatniks get the Mad Men treatment — with a cast that includes that AMC hit’s Jon Hamm, playing the lawyer who defended the publisher of Allen Ginsberg’s quintessential rebel yell, Lawrence Ferlinghetti, against obscenity charges in San Francisco’s most celebrated trial of the 1950s. It’s fun to see that anally nostalgic aesthetic translated to ramshackle North Beach apartments and sophomoric, filthy-mouthed literary heroes. Not so much fun: the overly literal animation chosen by the directors (famed documentarians Rob Epstein and Jeffrey Friedman). Yes, parts of “Howl,” the poem, are animated — unfortunately in a style that calls to mind bad 1980s French Canadian pseudo-spiritual arthouse schlock. Still, this brief slice of beats is juicy, confined to the trial and the tale of Ginsberg’s poetic and sexual awakening. James Franco is wonderful as the young, self-obsessed, epically needy yet still irresistible crank. It was the first time I found myself wishing to see more of Ginsberg naked. June 27, 7:30 p.m., Castro. (Marke B.)

Frameline34: San Francisco International LGBT Film Festival
June 17-27, most shows $8-15
Castro, 429 Castro, SF; Roxie, 3117 16th St, SF; Victoria, 2961 16th St, SF; Rialto Cinemas Elmwood, 2966 College, Berk
www.frameline.org

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