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"content": "\u003cp>When you’ve played Austin Powers, Shrek, The Cat in the Hat and the title dweeb in \u003cem>Wayne’s World\u003c/em>, what do you do for an encore? If you’re comedian Mike Myers, the next logical step, evidently, is to direct a documentary about your agent. And damned if it doesn’t turn out to be a decent career move — as smart, and sometimes even as funny, as anything Myers has done recently.\u003c/p>\n\u003cp>Not that \u003cem>Supermensch: The Legend of Shep Gordon\u003c/em> is likely to do the kind of business most Myers movies do (might do as well as \u003cem>The \u003c/em>\u003cem>Love Guru\u003c/em>, I suppose), but it’s competent enough to suggest the filmmaker has more arrows in his quiver than “yeah, baby.”\u003c/p>\n\u003cp>He starts the film with five minutes of celebrity testimonials telling you why you should care about this guy you’ve never heard of — Willie Nelson calling Gordon the “proverbial canary in the marijuana mine,” chef Emeril Lagasse saying Gordon invented the concept of celebrity chef, a parade of film stars testifying to his libido (Michael Douglas remembers a T-shirt emblazoned with “No Head, No Backstage Pass”).\u003c/p>\n\u003cp>http://youtu.be/Zd0VOkPOrV0\u003c/p>\n\u003cp>And then, an obviously hero-worshipping Mike Myers lets the man himself take over — Gordon recounting how in 1968, he arrived in a Los Angeles motel, fresh out of college, with no money, no job, having just dropped some acid, utterly at peace with the world, and got slugged by a gal who later identified herself as Janis Joplin. She introduced him to Jim Morrison and Jimi Hendrix, who suggested that, since he was Jewish, he should become a manager.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Who should I manage?” wondered Gordon.\u003c/p>\n\u003cp>“Alice Cooper,” came the reply.\u003c/p>\n\u003cp>At which point, Alice Cooper picks up the story, chortling about the 43 years they’ve worked together without ever signing a contract, and the schemes they’ve hatched to turn Cooper into a rock ghoul — the coat made of dead rats, the live chicken tossed into the audience, the clear plastic clothes that made it look like the star was performing naked. Also the hotel bills skipped out on (that Gordon went back and paid, once they were solvent).\u003c/p>\n\u003cp>Gordon didn’t just hang out with rockers. He also became buds with the Dalai Lama, helped rescue Groucho Marx from poverty, shaped movie careers galore, and almost more intriguing than all of that, was never especially enamored of fame. Having seen it close-up — engineered it close-up, in fact — he found it so centrally unhealthy that he introduced a warning ritual into the signing of new artists, saying, “If I do my job right, I’ll probably kill you.” Fame, the great equalizer.\u003c/p>\n\u003cp>As a documentary director, Myers has the comic timing to make the celebrity anecdotes click along nicely. He isn’t quite as sharp at narrative, so a bit of the oomph goes out of the film when the star wattage dims and he tries to shape the legend of this guy who spends so much time on everyone else, he’s not really taking care of himself.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Any slack, though, is picked up by Shep Gordon, who seems every inch the “supermensch” of the title — splendid company, a sterling storyteller, and yeah, a real mensch. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Mike+Myers+Steps+Behind+The+Camera+With+%27Supermensch%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Who should I manage?” wondered Gordon.\u003c/p>\n\u003cp>“Alice Cooper,” came the reply.\u003c/p>\n\u003cp>At which point, Alice Cooper picks up the story, chortling about the 43 years they’ve worked together without ever signing a contract, and the schemes they’ve hatched to turn Cooper into a rock ghoul — the coat made of dead rats, the live chicken tossed into the audience, the clear plastic clothes that made it look like the star was performing naked. Also the hotel bills skipped out on (that Gordon went back and paid, once they were solvent).\u003c/p>\n\u003cp>Gordon didn’t just hang out with rockers. He also became buds with the Dalai Lama, helped rescue Groucho Marx from poverty, shaped movie careers galore, and almost more intriguing than all of that, was never especially enamored of fame. Having seen it close-up — engineered it close-up, in fact — he found it so centrally unhealthy that he introduced a warning ritual into the signing of new artists, saying, “If I do my job right, I’ll probably kill you.” Fame, the great equalizer.\u003c/p>\n\u003cp>As a documentary director, Myers has the comic timing to make the celebrity anecdotes click along nicely. He isn’t quite as sharp at narrative, so a bit of the oomph goes out of the film when the star wattage dims and he tries to shape the legend of this guy who spends so much time on everyone else, he’s not really taking care of himself.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Any slack, though, is picked up by Shep Gordon, who seems every inch the “supermensch” of the title — splendid company, a sterling storyteller, and yeah, a real mensch. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Mike+Myers+Steps+Behind+The+Camera+With+%27Supermensch%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If there’s any doubt that \u003cem>22 Jump Street\u003c/em> is a cartoon dressed in live-action clothing, it should disappear completely when Channing Tatum’s lovably lunkheaded Detective Jenko is puzzling over an obvious set of connected clues when – DING! – the answer suddenly comes to him. That “Ding” is literal – the sound is just an office noise from somewhere in the formerly abandoned Vietnamese church where his investigative unit is based. But it might as well be accompanied by a light bulb flickering to life above his head, before he begins running excitedly around the office like Yosemite Sam with the seat of his pants on fire, excited beyond measure that for once a thought has survived the leap between synapses.\u003c/p>\n\u003cp>“Cartoonish” isn’t a criticism here any more than it would be in reference to a classic Looney Tunes short. It just means that directors Phil Lord and Christopher Miller feel no need to maintain any tether to reality or plausibility in service of a good gag. And these two are never at a loss for good, self-aware gags – like the red herring tattoo emblazoned on a character who is exactly that.\u003c/p>\n\u003cp>http://youtu.be/qP755JkDxyM#aid=P8-L-CioG3Q\u003c/p>\n\u003cp>What worked last time, in Miller and Lord’s unexpectedly successful 2012 adaptation of the ’80s cop drama, \u003cem>21 Jump Street\u003c/em>, also works here. That’s part of the joke. Just as that movie made fun of its own existence by calling attention to the ridiculousness of rebooting an already kind of ridiculous TV show about adult cops posing as high school students, \u003cem>22 Jump Street\u003c/em> recognizes its perceived status as a cash grabbing action sequel. Then it mercilessly mocks the tradition it’s becoming part of.\u003c/p>\n\u003cp>Acknowledging the fact that they’re essentially ripping themselves off allows Miller and Lord the freedom of not having to try to hide it. The setup isn’t just similar, it’s identical: demonstrate that Jenko and his partner Schmidt (Jonah Hill) are screw-ups, send them to the angry Chief’s (Nick Offerman) office for a dressing-down, and then on to their captain (Ice Cube), who continues berating them before sending them undercover to infiltrate a drug ring selling a new designer drug to students. The only difference is that the students that the pair have to pose as this time are in college instead of high school this time around.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Miller and Lord have become so successful because they’re able to make dumb ideas into brilliant comedy simply by acknowledging that audiences aren’t as dumb as the industry often seems to think they are. In any other hands, their \u003cem>Lego Movie\u003c/em> could have just been a two-hour toy commercial, big business exploiting children’s creative love of Lego for their own ends. Miller and Lord flipped it into a hilarious critique of exactly that idea.\u003c/p>\n\u003cp>\u003cem>22 Jump Street\u003c/em> plays on expectations – specifically, lowered ones — of sequels just as effectively. That Vietnamese church is right across the street from the Korean church at 21 Jump Street that was the site of the investigation’s headquarters in the previous movie. Next to that site, at 23 Jump Street, there are construction crews already at work on a new building. With the recent announcement that Marvel already has their movie sequels mapped out until 2028, the implication couldn’t be more timely.\u003c/p>\n\u003cp>Inside the new HQ, everything is glass and computers and ostentatious spending – Iron Man gets name-checked, along with another sequel-heavy franchise, James Bond. The Captain isn’t any more subtle about calling attention to the unit’s (and the sequel’s) newly increased budget than he is about telling Jenko and Schmidt that the assignment is exactly the same.\u003c/p>\n\u003cp>The plot becomes incidental to the jokes, only existing in service of them. Again, that’s not a bad thing; how many substantively different plots did Looney Tunes or Tom & Jerry ever really have?\u003c/p>\n\u003cp>The “breakup” of Jenko and Schmidt’s formerly solid dude-bond is the central conflict here, as they migrate to different cliques in their new college setting. But that’s really only an opportunity for Miller and Lord to take pot shots at bromance as a genre trend as well as making the subtext of buddy cop movies into text with overt romantic comedy parallels.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If it’s not quite as funny as its predecessor, that’s only because it’s not quite as unexpected. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If there’s any doubt that \u003cem>22 Jump Street\u003c/em> is a cartoon dressed in live-action clothing, it should disappear completely when Channing Tatum’s lovably lunkheaded Detective Jenko is puzzling over an obvious set of connected clues when – DING! – the answer suddenly comes to him. That “Ding” is literal – the sound is just an office noise from somewhere in the formerly abandoned Vietnamese church where his investigative unit is based. But it might as well be accompanied by a light bulb flickering to life above his head, before he begins running excitedly around the office like Yosemite Sam with the seat of his pants on fire, excited beyond measure that for once a thought has survived the leap between synapses.\u003c/p>\n\u003cp>“Cartoonish” isn’t a criticism here any more than it would be in reference to a classic Looney Tunes short. It just means that directors Phil Lord and Christopher Miller feel no need to maintain any tether to reality or plausibility in service of a good gag. And these two are never at a loss for good, self-aware gags – like the red herring tattoo emblazoned on a character who is exactly that.\u003c/p>\n\u003cp>http://youtu.be/qP755JkDxyM#aid=P8-L-CioG3Q\u003c/p>\n\u003cp>What worked last time, in Miller and Lord’s unexpectedly successful 2012 adaptation of the ’80s cop drama, \u003cem>21 Jump Street\u003c/em>, also works here. That’s part of the joke. Just as that movie made fun of its own existence by calling attention to the ridiculousness of rebooting an already kind of ridiculous TV show about adult cops posing as high school students, \u003cem>22 Jump Street\u003c/em> recognizes its perceived status as a cash grabbing action sequel. Then it mercilessly mocks the tradition it’s becoming part of.\u003c/p>\n\u003cp>Acknowledging the fact that they’re essentially ripping themselves off allows Miller and Lord the freedom of not having to try to hide it. The setup isn’t just similar, it’s identical: demonstrate that Jenko and his partner Schmidt (Jonah Hill) are screw-ups, send them to the angry Chief’s (Nick Offerman) office for a dressing-down, and then on to their captain (Ice Cube), who continues berating them before sending them undercover to infiltrate a drug ring selling a new designer drug to students. The only difference is that the students that the pair have to pose as this time are in college instead of high school this time around.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "8 Must-See Movies at Frameline Film Festival 2014",
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"content": "\u003cfigure id=\"attachment_12418\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/06/12/8-must-see-movies-at-frameline-film-festival-2014/frameline-38/\" rel=\"attachment wp-att-12418\">\u003cimg class=\"wp-image-12418 size-full\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/06/frameline-38.jpg\" alt=\"Photo: Frameline\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/06/frameline-38.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2014/06/frameline-38-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Program guides of yore. Photo: \u003ca href=\"http://www.frameline.org/\">Frameline\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>If the ubiquitous rainbow flags didn't tip you off, it's officially the month of the gays! And with that comes Frameline, San Francisco's 38th annual international LGBT film festival. For 11 whole days, gay people become more than just sassy sidekicks or crude caricatures and take center stage as human beings with their own stories to tell.\u003c/p>\n\u003cp>Film festivals can be daunting with their countless offerings so I've compiled a festival guide to make it easier to find what you're looking for.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>APPROPRIATE BEHAVIOR\u003c/strong>\u003c/p>\n\u003cp>http://youtu.be/BmHtrSE94uQ\u003c/p>\n\u003cp>\u003cstrong>MUST SEE:\u003c/strong> You're going to want to see \u003cem>Appropriate Behavior\u003c/em> so that, a year from now when director/writer/actress Desiree Akhavan blows up, you can insufferably say, \"Well, I saw her first movie when it was on the festival circuit.\" Or you're just going to want to see it because it's brilliant. The semi-autobiographical movie tells the story of a bisexual Iranian woman coming to terms with a recent breakup and her traditional family.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Since Akhavan got Sundance buzzing earlier this year, there's been a lot of talk about similarities to Lena Dunham (\u003ca href=\"http://images.bidnessetc.com/content/uploads/images/source/7.%5B2%5D.gif\">sigh\u003c/a>), but this movie owes more to Woody Allen's \u003cem>Annie Hall\u003c/em> than anything else. It's smart, unusual, and memorable -- the perfect combination. Set some time aside after the movie for reading all \u003ca href=\"https://twitter.com/DesiMakesMovies\">her tweets\u003c/a>, watching \u003ca href=\"http://theslopeshow.com/episodes/\">her entire web series\u003c/a>, and imagining what it would be like if you two were best friends. \u003cem>Friday June 27, 7pm at the Castro\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>HELICOPTER MOM\u003c/strong>\u003c/p>\n\u003cp>http://youtu.be/NUAyEPeHXow\u003c/p>\n\u003cp>\u003cstrong>COOL MOMS GONE WILD:\u003c/strong> Imagine if Amy Poehler's \"\u003ca href=\"http://cdn.buzznet.com/assets/imgx/2/0/9/6/3/4/3/5/orig-20963435.jpg\">I'm a cool mom\u003c/a>\" character from \u003cem>Mean Girls\u003c/em> got her own feature length movie, and you get \u003cem>Helicopter Mom\u003c/em>. Nia Vardalos of \u003cem>My Big Fat Greek Wedding\u003c/em> fame stars as a meddling mother who really wants the best for her gay son. She outs him to his entire school, applies for an out and proud scholarship and sets him up on gay dating sites. The only problem is that her son isn't exactly gay. If that's not enough to interest you, Lisa Loeb is in it and one character utters this line: \"My son is not gay; he doesn't like pesto.\" \u003cem>Saturday June 21, 7pm at the Castro\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>FIRST PERIOD\u003c/strong>\u003c/p>\n\u003cp>http://youtu.be/dER1G36ZSds\u003c/p>\n\u003cp>\u003cstrong>JERRI BLANK IN DRAG:\u003c/strong> Written by and starring Brandon Alexander III, \u003cem>First Period\u003c/em> is described as \"\u003cem>Sixteen Candles\u003c/em> meets \u003cem>Hairspray\u003c/em>, with a dash of \u003cem>Strangers with Candy\u003c/em>\" and the main character, Cassie, lives up to that description; she can put on lipstick with no hands like Molly Ringwald, craves fame as hard as Tracy Turnblad, and exhibits nymphomaniac tendencies that would make Jerri Blank proud. Brand new to school, she has five days to become popular in time for her 16th birthday. Drag hijinks ensue, including an homage to \u003ca href=\"http://youtu.be/_a5Mvw0j1rY\">the rap battle in \u003cem>Teen Witch\u003c/em>\u003c/a>. That one scene is worth a ticket. \u003cem>Saturday June 28, 6:45pm at the Victoria\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>AROUND THE BLOCK\u003c/strong>\u003c/p>\n\u003cp>http://youtu.be/2h8TMsnOY2g\u003c/p>\n\u003cp>\u003cstrong>DANGEROUS MINDS REUNION:\u003c/strong> \u003cem>Around the Block\u003c/em> tells the story of an American teacher, played by Christina Ricci, who lands a job in a tough Australian neighborhood and tries to inspire her underprivileged students to care about something. If the premise sounds familiar, it's because \u003cem>Dangerous Minds\u003c/em> and \u003cem>Sister Act II: Back in the Habit\u003c/em> have already been there, done that. But this film still deserves a look. It has heart, a Tupac singalong, and the ability to make you cry. Bring a tissue. \u003cem>Tuesday June 24, 9:30pm at the Castro\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>TO BE TAKEI\u003c/strong>\u003c/p>\n\u003cp>http://youtu.be/yZpN8KLM0S4\u003c/p>\n\u003cp>\u003cstrong>SCI-FI & MEME LEGEND:\u003c/strong> Whether you know him as \u003cem>Star Trek\u003c/em>'s Hikaru Sulu or just from his viral social media presence (\u003cem>Wired\u003c/em> called him the most important person on Facebook), George Takei is much more than that. \u003cem>To Be Takei\u003c/em> takes a deeper look into what has made him who he's become, from his family's history in internment camps during World War II to the racism he experienced throughout his career to his renewed relevance. It's an awesome glimpse into the life of this activist funny man. \u003cem>Tuesday June 24, 6:30pm at the Castro\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>I FEEL LIKE DISCO\u003c/strong>\u003c/p>\n\u003cp>http://youtu.be/QwrEXp4FVgk\u003c/p>\n\u003cp>\u003cstrong>PANIC AT THE DISCO:\u003c/strong> Anyone who was awkward, unpopular, and took refuge in the healing, comforting distraction of music as a teen will recognize a bit of themselves in Flori, the main character of the German film, \u003cem>I Feel Like Disco\u003c/em>. An overweight only child with braces, he doesn't quite fit society's or his father's expectations of him, but his mother supports him and indulges his obsession with German disco king Christian Steiffen (who plays himself in hallucinations throughout the movie). After tragedy strikes, Flori is left to figure out how to stand on his own and how to deal with mixed signals from a Romanian diver. Another bring the tissues flick. \u003cem>Sunday June 29, 7pm at the Castro\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>BLACKBIRD\u003c/strong>\u003c/p>\n\u003cp>http://youtu.be/EAKDgue9BG4\u003c/p>\n\u003cp>\u003cstrong>SOUTHERN BAPTIST REALNESS:\u003c/strong> If you've seen \u003cem>Precious\u003c/em>, you know what a mighty presence Mo'Nique can be on the screen. And she doesn't disappoint in \u003cem>Blackbird\u003c/em>, the story of a high school choirboy who must reconcile his sexuality with his Southern Baptist upbringing. Isaiah Washington also stars as the boy's estranged father (perhaps as a mea culpa for that whole homophobic mess over at \u003cem>Grey's Anatomy\u003c/em> years ago?). Adapted from Larry Duplechan's beloved novel, this film will surely delight book worms and beyond. \u003cem>Sunday June 22, 6:30pm at the Castro\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>THE CASE AGAINST 8\u003c/strong>\u003c/p>\n\u003cp>http://youtu.be/_l8rFk1cte0\u003c/p>\n\u003cp>\u003cstrong>WHAT DO WE WANT? A TOUCHING DOCUMENTARY! WHEN DO WE WANT IT? NOW!:\u003c/strong> We all love a good courtroom drama, and the five year battle over Proposition 8 had all the makings of a blockbuster. In this pivotal benchmark in the civil rights struggle of our generation, old rivals ( Ted Olson and David Boies of Bush v. Gore fame) came together to fight a common enemy, a witness essentially said \"nevermind\" on the stand, the four fearless plaintiffs faced years of scrutiny and threats, and so much more. \u003cem>The Case Against 8\u003c/em> captures all the twists and turns that led to the final verdict. Spoiler alert: there are weddings at the end! \u003cem>Thursday June 19, 7pm at the Castro\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>This list is in no way comprehensive. \u003ca href=\"http://ticketing.frameline.org/festival/index.aspx\">Check out the full offerings\u003c/a> and leave the films you're most excited about in the comments! Frameline runs from June 19 - 29, 2014 all around the city.\u003c/p>\n\n",
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"excerpt": "Frameline kicks off in one week. Here's a handy cheat sheet to help you navigate all the festival has to offer.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_12418\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/06/12/8-must-see-movies-at-frameline-film-festival-2014/frameline-38/\" rel=\"attachment wp-att-12418\">\u003cimg class=\"wp-image-12418 size-full\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/06/frameline-38.jpg\" alt=\"Photo: Frameline\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/06/frameline-38.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2014/06/frameline-38-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Program guides of yore. Photo: \u003ca href=\"http://www.frameline.org/\">Frameline\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>If the ubiquitous rainbow flags didn't tip you off, it's officially the month of the gays! And with that comes Frameline, San Francisco's 38th annual international LGBT film festival. For 11 whole days, gay people become more than just sassy sidekicks or crude caricatures and take center stage as human beings with their own stories to tell.\u003c/p>\n\u003cp>Film festivals can be daunting with their countless offerings so I've compiled a festival guide to make it easier to find what you're looking for.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>APPROPRIATE BEHAVIOR\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/BmHtrSE94uQ'\n title='//www.youtube.com/embed/BmHtrSE94uQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>MUST SEE:\u003c/strong> You're going to want to see \u003cem>Appropriate Behavior\u003c/em> so that, a year from now when director/writer/actress Desiree Akhavan blows up, you can insufferably say, \"Well, I saw her first movie when it was on the festival circuit.\" Or you're just going to want to see it because it's brilliant. The semi-autobiographical movie tells the story of a bisexual Iranian woman coming to terms with a recent breakup and her traditional family.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Since Akhavan got Sundance buzzing earlier this year, there's been a lot of talk about similarities to Lena Dunham (\u003ca href=\"http://images.bidnessetc.com/content/uploads/images/source/7.%5B2%5D.gif\">sigh\u003c/a>), but this movie owes more to Woody Allen's \u003cem>Annie Hall\u003c/em> than anything else. It's smart, unusual, and memorable -- the perfect combination. Set some time aside after the movie for reading all \u003ca href=\"https://twitter.com/DesiMakesMovies\">her tweets\u003c/a>, watching \u003ca href=\"http://theslopeshow.com/episodes/\">her entire web series\u003c/a>, and imagining what it would be like if you two were best friends. \u003cem>Friday June 27, 7pm at the Castro\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>HELICOPTER MOM\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/NUAyEPeHXow'\n title='//www.youtube.com/embed/NUAyEPeHXow'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>COOL MOMS GONE WILD:\u003c/strong> Imagine if Amy Poehler's \"\u003ca href=\"http://cdn.buzznet.com/assets/imgx/2/0/9/6/3/4/3/5/orig-20963435.jpg\">I'm a cool mom\u003c/a>\" character from \u003cem>Mean Girls\u003c/em> got her own feature length movie, and you get \u003cem>Helicopter Mom\u003c/em>. Nia Vardalos of \u003cem>My Big Fat Greek Wedding\u003c/em> fame stars as a meddling mother who really wants the best for her gay son. She outs him to his entire school, applies for an out and proud scholarship and sets him up on gay dating sites. The only problem is that her son isn't exactly gay. If that's not enough to interest you, Lisa Loeb is in it and one character utters this line: \"My son is not gay; he doesn't like pesto.\" \u003cem>Saturday June 21, 7pm at the Castro\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>FIRST PERIOD\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/dER1G36ZSds'\n title='//www.youtube.com/embed/dER1G36ZSds'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>JERRI BLANK IN DRAG:\u003c/strong> Written by and starring Brandon Alexander III, \u003cem>First Period\u003c/em> is described as \"\u003cem>Sixteen Candles\u003c/em> meets \u003cem>Hairspray\u003c/em>, with a dash of \u003cem>Strangers with Candy\u003c/em>\" and the main character, Cassie, lives up to that description; she can put on lipstick with no hands like Molly Ringwald, craves fame as hard as Tracy Turnblad, and exhibits nymphomaniac tendencies that would make Jerri Blank proud. Brand new to school, she has five days to become popular in time for her 16th birthday. Drag hijinks ensue, including an homage to \u003ca href=\"http://youtu.be/_a5Mvw0j1rY\">the rap battle in \u003cem>Teen Witch\u003c/em>\u003c/a>. That one scene is worth a ticket. \u003cem>Saturday June 28, 6:45pm at the Victoria\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>AROUND THE BLOCK\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/2h8TMsnOY2g'\n title='//www.youtube.com/embed/2h8TMsnOY2g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>DANGEROUS MINDS REUNION:\u003c/strong> \u003cem>Around the Block\u003c/em> tells the story of an American teacher, played by Christina Ricci, who lands a job in a tough Australian neighborhood and tries to inspire her underprivileged students to care about something. If the premise sounds familiar, it's because \u003cem>Dangerous Minds\u003c/em> and \u003cem>Sister Act II: Back in the Habit\u003c/em> have already been there, done that. But this film still deserves a look. It has heart, a Tupac singalong, and the ability to make you cry. Bring a tissue. \u003cem>Tuesday June 24, 9:30pm at the Castro\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>TO BE TAKEI\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/yZpN8KLM0S4'\n title='//www.youtube.com/embed/yZpN8KLM0S4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>SCI-FI & MEME LEGEND:\u003c/strong> Whether you know him as \u003cem>Star Trek\u003c/em>'s Hikaru Sulu or just from his viral social media presence (\u003cem>Wired\u003c/em> called him the most important person on Facebook), George Takei is much more than that. \u003cem>To Be Takei\u003c/em> takes a deeper look into what has made him who he's become, from his family's history in internment camps during World War II to the racism he experienced throughout his career to his renewed relevance. It's an awesome glimpse into the life of this activist funny man. \u003cem>Tuesday June 24, 6:30pm at the Castro\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>I FEEL LIKE DISCO\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/QwrEXp4FVgk'\n title='//www.youtube.com/embed/QwrEXp4FVgk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>PANIC AT THE DISCO:\u003c/strong> Anyone who was awkward, unpopular, and took refuge in the healing, comforting distraction of music as a teen will recognize a bit of themselves in Flori, the main character of the German film, \u003cem>I Feel Like Disco\u003c/em>. An overweight only child with braces, he doesn't quite fit society's or his father's expectations of him, but his mother supports him and indulges his obsession with German disco king Christian Steiffen (who plays himself in hallucinations throughout the movie). After tragedy strikes, Flori is left to figure out how to stand on his own and how to deal with mixed signals from a Romanian diver. Another bring the tissues flick. \u003cem>Sunday June 29, 7pm at the Castro\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>BLACKBIRD\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/EAKDgue9BG4'\n title='//www.youtube.com/embed/EAKDgue9BG4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>SOUTHERN BAPTIST REALNESS:\u003c/strong> If you've seen \u003cem>Precious\u003c/em>, you know what a mighty presence Mo'Nique can be on the screen. And she doesn't disappoint in \u003cem>Blackbird\u003c/em>, the story of a high school choirboy who must reconcile his sexuality with his Southern Baptist upbringing. Isaiah Washington also stars as the boy's estranged father (perhaps as a mea culpa for that whole homophobic mess over at \u003cem>Grey's Anatomy\u003c/em> years ago?). Adapted from Larry Duplechan's beloved novel, this film will surely delight book worms and beyond. \u003cem>Sunday June 22, 6:30pm at the Castro\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>THE CASE AGAINST 8\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/_l8rFk1cte0'\n title='//www.youtube.com/embed/_l8rFk1cte0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>WHAT DO WE WANT? A TOUCHING DOCUMENTARY! WHEN DO WE WANT IT? NOW!:\u003c/strong> We all love a good courtroom drama, and the five year battle over Proposition 8 had all the makings of a blockbuster. In this pivotal benchmark in the civil rights struggle of our generation, old rivals ( Ted Olson and David Boies of Bush v. Gore fame) came together to fight a common enemy, a witness essentially said \"nevermind\" on the stand, the four fearless plaintiffs faced years of scrutiny and threats, and so much more. \u003cem>The Case Against 8\u003c/em> captures all the twists and turns that led to the final verdict. Spoiler alert: there are weddings at the end! \u003cem>Thursday June 19, 7pm at the Castro\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This list is in no way comprehensive. \u003ca href=\"http://ticketing.frameline.org/festival/index.aspx\">Check out the full offerings\u003c/a> and leave the films you're most excited about in the comments! Frameline runs from June 19 - 29, 2014 all around the city.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Reliving the Glory Days of the Bay Bridge Through Hollywood Movies",
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"content": "\u003cp>Shoddy bolts, bad welds, dangerous rust, frayed cables. With \u003cem>even more\u003c/em> reports of problems on the new eastern span of the Bay Bridge, we — like everyone in the Bay Area — are suffering from bad news fatigue.\u003c/p>\n\u003cp>We thought we’d remedy this by basking in the glory of the old San Francisco-Oakland Bay Bridge, relived through decades of Hollywood movies.\u003c/p>\n\u003cp>When the Bay Bridge opened to the public in November 1936, it was seen as a technological marvel, an engineering feat that exemplified mankind’s ability. Since then, the bridge has made numerous notable film appearances over the years.\u003c/p>\n\u003caside class=\"aligncenter\">[vimeo 97857852 w=640 h=360]\u003c/aside>\n\u003cp>Unsurprisingly, all the clips we scrounged up show the still-functioning, towered suspension span of the bridge west of Yerba Buena Island, overlooking the more modest beauty of the cantilevered eastern stretch that is disappearing piece-by-piece in front of our eyes.\u003c/p>\n\u003cp>With sometimes glaring anachronistic errors, relive the 75-year history of the Bay Bridge in stunning Technicolor (and less-stunning black and white).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.imdb.com/title/tt0034172/\" target=\"_blank\">\"Shadow of the Thin Man\"\u003c/a>\u003c/strong> (1941) (0:00-1:15) (\u003ca href=\"https://www.youtube.com/watch?v=T6cvDVgz_OE\" target=\"_blank\">Trailer\u003c/a>)\u003c/p>\n\u003cfigure id=\"attachment_138711\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/shadow-still.jpg\">\u003cimg class=\"size-full wp-image-138711\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/shadow-still.jpg\" alt=\"\" width=\"640\" height=\"482\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Still from \"Shadow of the Thin Man\" (1941), directed by W.S. Van Dyke.\u003c/figcaption>\u003c/figure>\n\u003cp>Myrna Loy and the mustachioed William Powell are pulled over for speeding on the upper deck of the bridge. The outdoor scene on the bridge, with Coit Tower and Telegraph Hill visible in the background, includes an impressive tracking shot amid three lanes of traffic. In what will become a bit of a trend, the plot has the two characters traveling eastbound (the next shots include the MacArthur Maze and later, Golden Gate Fields) despite heading west toward the city. \u003cem>(*the clip has been edited from the original).\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.imdb.com/title/tt0037366/?ref_=nv_sr_1\" target=\"_blank\">\"Thirty Seconds Over Tokyo\"\u003c/a>\u003c/strong> (1944) (\u003ca href=\"https://www.youtube.com/watch?v=eaLgSlbS1lk\" target=\"_blank\">1:15-2:05\u003c/a>)\u003c/p>\n\u003cfigure id=\"attachment_138713\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/thirty-seconds-still.jpg\">\u003cimg class=\"size-full wp-image-138713\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/thirty-seconds-still.jpg\" alt=\"\" width=\"640\" height=\"468\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Still from \"Thirty Seconds Over Tokyo\" (1944), directed by Mervyn LeRoy.\u003c/figcaption>\u003c/figure>\n\u003cp>It's easy to forget the still-new \"superstructure\" was still awe-inspiring nearly 10 years after it was completed. Also impressive, the terrific shot of a B-25 bomber flying under the Bay Bridge. Such shots led to the film, starring Spencer Tracy as Lt. Col. James Doolittle of \"Doolittle Raid\" fame, winning an Oscar for Best Special Effects.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.imdb.com/title/tt0061722/?ref_=fn_al_tt_1\" target=\"_blank\">\"The Graduate\"\u003c/a>\u003c/strong> (1967) (2:04-2:40)(\u003ca href=\"https://www.youtube.com/watch?v=hsdvhJTqLak\" target=\"_blank\">Trailer\u003c/a>)\u003c/p>\n\u003cfigure id=\"attachment_138718\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/graduate-still2.jpg\">\u003cimg class=\"size-full wp-image-138718\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/graduate-still2.jpg\" alt=\"\" width=\"640\" height=\"350\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Still from \"The Graduate\" (1967), directed by Mike Nichols.\u003c/figcaption>\u003c/figure>\n\u003cp>The dulcet tones of Simon & Garfunkel and vivid Technicolor bring us to the most recognizable Bay Bridge clip. Dustin Hoffman's character, Ben Braddock, inconceivably travels westbound ... to Berkeley?! An anachronism that's hard to ignore, bested only by the beauty of the single, slow-moving 35-second tracking shot revealing the towered suspension span.\u003c/p>\n\u003cp>\u003ca href=\"http://www.imdb.com/title/tt0085809/?ref_=nv_sr_2\" target=\"_blank\">\u003cstrong>\"Koyaanisqatsi\"\u003c/strong>\u003c/a> (1982) (2:40-2:50)(\u003ca href=\"https://www.youtube.com/watch?v=PirH8PADDgQ\" target=\"_blank\">Trailer\u003c/a>)\u003c/p>\n\u003cfigure id=\"attachment_138703\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/bay-bridge-still-koyaanisqatsi.jpg\">\u003cimg class=\"size-full wp-image-138703\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/bay-bridge-still-koyaanisqatsi.jpg\" alt=\"\" width=\"640\" height=\"352\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Still from \"Koyaanisqatsi\" (1982), directed by Godfrey Reggio.\u003c/figcaption>\u003c/figure>\n\u003cp>Blink and you'll miss it. The Godfrey Reggio-directed visual documentary, accompanied by the rhythmic chaos of Philip Glass' score, features two incredibly brief POV shots driving through the Yerba Buena Island tunnel into the sunlight of the western span. But strangely, in typical anachronistic mystery, those shots are cut out-of-order.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.imdb.com/title/tt0119190/?ref_=nv_sr_1\" target=\"_blank\">\"George of the Jungle\"\u003c/a>\u003c/strong> (1997) (\u003ca href=\"https://www.youtube.com/watch?v=0WtqtD--OiE\" target=\"_blank\">2:50-5:25\u003c/a>)\u003c/p>\n\u003cfigure id=\"attachment_138715\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/george-still.jpg\">\u003cimg class=\"size-full wp-image-138715\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/george-still.jpg\" alt=\"\" width=\"640\" height=\"471\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Still from \"George of the Jungle\" (1997), directed by Sam Weisman.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Hunky, 1990s Brendan Fraser swings on \"the biggest rope bridge he had ever seen.\" Complete with stranded parachutist, sweeping aerial shots and the poetic line, \"To swing, or not to swing?\" (yes, really), the \"George of the Jungle\" action sequence is perhaps the climax of the Bay Bridge's cinematic history. \"Watch out for that ...\" straight-to-video sequel, \"George of the Jungle 2\" (2003).\u003cem> (*the clip has been edited from the original)\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Shoddy bolts, bad welds, dangerous rust, frayed cables. With \u003cem>even more\u003c/em> reports of problems on the new eastern span of the Bay Bridge, we — like everyone in the Bay Area — are suffering from bad news fatigue.\u003c/p>\n\u003cp>We thought we’d remedy this by basking in the glory of the old San Francisco-Oakland Bay Bridge, relived through decades of Hollywood movies.\u003c/p>\n\u003cp>When the Bay Bridge opened to the public in November 1936, it was seen as a technological marvel, an engineering feat that exemplified mankind’s ability. Since then, the bridge has made numerous notable film appearances over the years.\u003c/p>\n\u003caside class=\"aligncenter\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cp>Unsurprisingly, all the clips we scrounged up show the still-functioning, towered suspension span of the bridge west of Yerba Buena Island, overlooking the more modest beauty of the cantilevered eastern stretch that is disappearing piece-by-piece in front of our eyes.\u003c/p>\n\u003cp>With sometimes glaring anachronistic errors, relive the 75-year history of the Bay Bridge in stunning Technicolor (and less-stunning black and white).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.imdb.com/title/tt0034172/\" target=\"_blank\">\"Shadow of the Thin Man\"\u003c/a>\u003c/strong> (1941) (0:00-1:15) (\u003ca href=\"https://www.youtube.com/watch?v=T6cvDVgz_OE\" target=\"_blank\">Trailer\u003c/a>)\u003c/p>\n\u003cfigure id=\"attachment_138711\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/shadow-still.jpg\">\u003cimg class=\"size-full wp-image-138711\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/shadow-still.jpg\" alt=\"\" width=\"640\" height=\"482\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Still from \"Shadow of the Thin Man\" (1941), directed by W.S. Van Dyke.\u003c/figcaption>\u003c/figure>\n\u003cp>Myrna Loy and the mustachioed William Powell are pulled over for speeding on the upper deck of the bridge. The outdoor scene on the bridge, with Coit Tower and Telegraph Hill visible in the background, includes an impressive tracking shot amid three lanes of traffic. In what will become a bit of a trend, the plot has the two characters traveling eastbound (the next shots include the MacArthur Maze and later, Golden Gate Fields) despite heading west toward the city. \u003cem>(*the clip has been edited from the original).\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.imdb.com/title/tt0037366/?ref_=nv_sr_1\" target=\"_blank\">\"Thirty Seconds Over Tokyo\"\u003c/a>\u003c/strong> (1944) (\u003ca href=\"https://www.youtube.com/watch?v=eaLgSlbS1lk\" target=\"_blank\">1:15-2:05\u003c/a>)\u003c/p>\n\u003cfigure id=\"attachment_138713\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/thirty-seconds-still.jpg\">\u003cimg class=\"size-full wp-image-138713\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/thirty-seconds-still.jpg\" alt=\"\" width=\"640\" height=\"468\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Still from \"Thirty Seconds Over Tokyo\" (1944), directed by Mervyn LeRoy.\u003c/figcaption>\u003c/figure>\n\u003cp>It's easy to forget the still-new \"superstructure\" was still awe-inspiring nearly 10 years after it was completed. Also impressive, the terrific shot of a B-25 bomber flying under the Bay Bridge. Such shots led to the film, starring Spencer Tracy as Lt. Col. James Doolittle of \"Doolittle Raid\" fame, winning an Oscar for Best Special Effects.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.imdb.com/title/tt0061722/?ref_=fn_al_tt_1\" target=\"_blank\">\"The Graduate\"\u003c/a>\u003c/strong> (1967) (2:04-2:40)(\u003ca href=\"https://www.youtube.com/watch?v=hsdvhJTqLak\" target=\"_blank\">Trailer\u003c/a>)\u003c/p>\n\u003cfigure id=\"attachment_138718\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/graduate-still2.jpg\">\u003cimg class=\"size-full wp-image-138718\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/graduate-still2.jpg\" alt=\"\" width=\"640\" height=\"350\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Still from \"The Graduate\" (1967), directed by Mike Nichols.\u003c/figcaption>\u003c/figure>\n\u003cp>The dulcet tones of Simon & Garfunkel and vivid Technicolor bring us to the most recognizable Bay Bridge clip. Dustin Hoffman's character, Ben Braddock, inconceivably travels westbound ... to Berkeley?! An anachronism that's hard to ignore, bested only by the beauty of the single, slow-moving 35-second tracking shot revealing the towered suspension span.\u003c/p>\n\u003cp>\u003ca href=\"http://www.imdb.com/title/tt0085809/?ref_=nv_sr_2\" target=\"_blank\">\u003cstrong>\"Koyaanisqatsi\"\u003c/strong>\u003c/a> (1982) (2:40-2:50)(\u003ca href=\"https://www.youtube.com/watch?v=PirH8PADDgQ\" target=\"_blank\">Trailer\u003c/a>)\u003c/p>\n\u003cfigure id=\"attachment_138703\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/bay-bridge-still-koyaanisqatsi.jpg\">\u003cimg class=\"size-full wp-image-138703\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/bay-bridge-still-koyaanisqatsi.jpg\" alt=\"\" width=\"640\" height=\"352\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Still from \"Koyaanisqatsi\" (1982), directed by Godfrey Reggio.\u003c/figcaption>\u003c/figure>\n\u003cp>Blink and you'll miss it. The Godfrey Reggio-directed visual documentary, accompanied by the rhythmic chaos of Philip Glass' score, features two incredibly brief POV shots driving through the Yerba Buena Island tunnel into the sunlight of the western span. But strangely, in typical anachronistic mystery, those shots are cut out-of-order.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.imdb.com/title/tt0119190/?ref_=nv_sr_1\" target=\"_blank\">\"George of the Jungle\"\u003c/a>\u003c/strong> (1997) (\u003ca href=\"https://www.youtube.com/watch?v=0WtqtD--OiE\" target=\"_blank\">2:50-5:25\u003c/a>)\u003c/p>\n\u003cfigure id=\"attachment_138715\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/george-still.jpg\">\u003cimg class=\"size-full wp-image-138715\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/george-still.jpg\" alt=\"\" width=\"640\" height=\"471\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Still from \"George of the Jungle\" (1997), directed by Sam Weisman.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Hunky, 1990s Brendan Fraser swings on \"the biggest rope bridge he had ever seen.\" Complete with stranded parachutist, sweeping aerial shots and the poetic line, \"To swing, or not to swing?\" (yes, really), the \"George of the Jungle\" action sequence is perhaps the climax of the Bay Bridge's cinematic history. \"Watch out for that ...\" straight-to-video sequel, \"George of the Jungle 2\" (2003).\u003cem> (*the clip has been edited from the original)\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In their \u003ca href=\"http://www.nytimes.com/2014/06/06/movies/the-fault-in-our-stars-sets-out-to-make-you-cry.html\">review\u003c/a> of the \u003ci>The Fault in Our Stars\u003c/i>, the \u003ci>New York Times\u003c/i> said, “The film sets out to make you weep — not just sniffle or choke up a little, but sob until your nose runs and your face turns blotchy. It succeeds.”\u003c/p>\n\u003cp>And they’re right, but \u003ci>The Fault in Our Stars\u003c/i> is a tearjerker like Buzzfeed is click bait, sure there’s some substance there, but only if you don’t look too hard. \u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/okayokay.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/okayokay.jpg\" alt=\"okay? okay\" width=\"400\" height=\"615\" class=\"alignright size-full wp-image-10137362\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/okayokay.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/okayokay-195x300.jpg 195w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>The theater was packed with a special kind of giddy anticipation that only fans, in this case \u003ca href=\"http://nerdfighters.ning.com/\">Nerdfighters\u003c/a> in “Okay? Okay” and \u003ca href=\"http://effyeahnerdfighters.com/faq\">French the Llama\u003c/a> t-shirts, can muster. And why shouldn’t they be excited? They are about to watch a movie based on a book written by YouTube/Tumblr/Internet-famous nice-guy John Green. A book inspired by the life and death of a fellow Nerdfighter. This is a big deal. We hush as the lights dim.\u003c/p>\n\u003cp>The movie starts with a promise. This is not like other tragic love stories, the voiceover assures you. This is not like other cancer tales. This is not a beautiful tale of the beautiful deaths of beautiful people; this is the truth. That’s when the problems begin. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>http://youtu.be/9ItBvH5J6ss \u003c/p>\n\u003cp>I had no preconception that this story would magically emerge from the engine of popular filmmaking a rough, blistering tale of teenage death, pocked with both the acne and seeping chest wounds of young people with cancer. But this?! This beautiful, precisely acted, and emphatically casual movie, full of expertly calculated music meant to render the theater blubbery at just the right moments? It worked. Congratulations. It achieved its most modest goals: getting people to cry before they had a chance to think. I was surrounded on all sides by weeping people of all denominations. Tissues were passed; loud sobs were heard; people cried. \u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/TFiOS2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/TFiOS2.jpg\" alt=\"the fault in our stars\" width=\"640\" height=\"360\" class=\"alignright size-full wp-image-10137366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/TFiOS2.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/TFiOS2-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/TFiOS2-300x168.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>But strip away the flood of tears and take a look at the rest of the movie and it’s just beauty — bland, featureless beauty. It was the beautiful, charming, heartbreaking love of teenagers with no future who will never have to fight over money or bear the pains and complications of adult life. They die, not from a texting miscommunication, or the classic posing of one dagger for the other, star-crossed love stuff, but from cancer. It’s death by the oversuccess of your own cells, which is deep — and metaphorical and stuff. And that’s the problem with beautiful movies, they are polished, perfect distractions. They presume thoughtful meaning. All the ugliness in the book, all the pain and the coma and infection laced through the characters’ lives, all of that fear is reduced to one coughing fit and the tragic heroism of climbing some stairs.\u003c/p>\n\u003cp>Oh man, the stairs scene is the worst. It’s hard to call foul on a movie in which both the main characters are disabled. I want disabled people to have our stories told. We are hardly well represented, so I should be grateful for any screen time we get right? Speaking as a girl with a complicated relationship to stairs, if a bunch of strangers clapped because I managed to drag myself up a few flights in the Anne Frank house and then kiss my boyfriend, I might punch someone. \u003c/p>\n\u003cp>There’s no use pretending I’m an unbiased reviewer. I have a point of view. I’m disabled and a YouTuber and I read the book first and I see the movie in the context of the fan base that has wholeheartedly supported the Green brothers since their early start online. I understand that this review, or frankly any review, will do nothing to divert the bullet train that is #TFIOS popularity online. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I just want people to see beyond the waterworks and decide if the movie delivered what it promised. If you’re in the mood to cry at something pretty, go for it. Just don’t expect your recreational sadness to come with any interesting ugly complexity and don’t conflate tears with truth. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In their \u003ca href=\"http://www.nytimes.com/2014/06/06/movies/the-fault-in-our-stars-sets-out-to-make-you-cry.html\">review\u003c/a> of the \u003ci>The Fault in Our Stars\u003c/i>, the \u003ci>New York Times\u003c/i> said, “The film sets out to make you weep — not just sniffle or choke up a little, but sob until your nose runs and your face turns blotchy. It succeeds.”\u003c/p>\n\u003cp>And they’re right, but \u003ci>The Fault in Our Stars\u003c/i> is a tearjerker like Buzzfeed is click bait, sure there’s some substance there, but only if you don’t look too hard. \u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/okayokay.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/okayokay.jpg\" alt=\"okay? okay\" width=\"400\" height=\"615\" class=\"alignright size-full wp-image-10137362\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/okayokay.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/okayokay-195x300.jpg 195w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>The theater was packed with a special kind of giddy anticipation that only fans, in this case \u003ca href=\"http://nerdfighters.ning.com/\">Nerdfighters\u003c/a> in “Okay? Okay” and \u003ca href=\"http://effyeahnerdfighters.com/faq\">French the Llama\u003c/a> t-shirts, can muster. And why shouldn’t they be excited? They are about to watch a movie based on a book written by YouTube/Tumblr/Internet-famous nice-guy John Green. A book inspired by the life and death of a fellow Nerdfighter. This is a big deal. We hush as the lights dim.\u003c/p>\n\u003cp>The movie starts with a promise. This is not like other tragic love stories, the voiceover assures you. This is not like other cancer tales. This is not a beautiful tale of the beautiful deaths of beautiful people; this is the truth. That’s when the problems begin. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>http://youtu.be/9ItBvH5J6ss \u003c/p>\n\u003cp>I had no preconception that this story would magically emerge from the engine of popular filmmaking a rough, blistering tale of teenage death, pocked with both the acne and seeping chest wounds of young people with cancer. But this?! This beautiful, precisely acted, and emphatically casual movie, full of expertly calculated music meant to render the theater blubbery at just the right moments? It worked. Congratulations. It achieved its most modest goals: getting people to cry before they had a chance to think. I was surrounded on all sides by weeping people of all denominations. Tissues were passed; loud sobs were heard; people cried. \u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/TFiOS2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/TFiOS2.jpg\" alt=\"the fault in our stars\" width=\"640\" height=\"360\" class=\"alignright size-full wp-image-10137366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/TFiOS2.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/TFiOS2-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/TFiOS2-300x168.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>But strip away the flood of tears and take a look at the rest of the movie and it’s just beauty — bland, featureless beauty. It was the beautiful, charming, heartbreaking love of teenagers with no future who will never have to fight over money or bear the pains and complications of adult life. They die, not from a texting miscommunication, or the classic posing of one dagger for the other, star-crossed love stuff, but from cancer. It’s death by the oversuccess of your own cells, which is deep — and metaphorical and stuff. And that’s the problem with beautiful movies, they are polished, perfect distractions. They presume thoughtful meaning. All the ugliness in the book, all the pain and the coma and infection laced through the characters’ lives, all of that fear is reduced to one coughing fit and the tragic heroism of climbing some stairs.\u003c/p>\n\u003cp>Oh man, the stairs scene is the worst. It’s hard to call foul on a movie in which both the main characters are disabled. I want disabled people to have our stories told. We are hardly well represented, so I should be grateful for any screen time we get right? Speaking as a girl with a complicated relationship to stairs, if a bunch of strangers clapped because I managed to drag myself up a few flights in the Anne Frank house and then kiss my boyfriend, I might punch someone. \u003c/p>\n\u003cp>There’s no use pretending I’m an unbiased reviewer. I have a point of view. I’m disabled and a YouTuber and I read the book first and I see the movie in the context of the fan base that has wholeheartedly supported the Green brothers since their early start online. I understand that this review, or frankly any review, will do nothing to divert the bullet train that is #TFIOS popularity online. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I just want people to see beyond the waterworks and decide if the movie delivered what it promised. If you’re in the mood to cry at something pretty, go for it. Just don’t expect your recreational sadness to come with any interesting ugly complexity and don’t conflate tears with truth. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Somewhere in liberal-minded but boring Sweden, two teenage girls begin a rebellion. If the premise of Lukas Moodysson’s \u003cem>We Are the Best!\u003c/em> sounds familiar, that’s because it’s roughly identical to that of the writer-director’s charming 1998 debut, \u003cem>Show Me Love\u003c/em>.\u003c/p>\n\u003cp>As well as being something of a retread, \u003cem>We Are the Best!\u003c/em> is a thematic retreat from its predecessor, \u003cem>Mammoth\u003c/em>, a well-meaning if contrived globalization parable. Artistically, however, the new film is a rebirth. Lightly plotted but abundantly felt, it embodies the youthful high spirits of its protagonists.\u003c/p>\n\u003cp>Stockholm 7th-graders and natural born dissidents, boyish Bobo (Mira Barkhammar) and Mohawk-haired Klara (Mira Grosin) are drawn to punk rock — even though Klara’s older brother insists the movement is dead. (It’s 1982, and he now listens to Joy Division and Echo and the Bunnymen.) The girls decide to start a band on a whim, simply to aggravate the patronizing older boys whose heavy-metal group monopolizes the rehearsal room at the local youth center.\u003c/p>\n\u003cp>http://youtu.be/Xtd5A9hnjaU\u003c/p>\n\u003cp>The facility has a drum kit and an electric bass; Klara appoints herself singer-bassist, leaving Bobo the drums. Klara just wrote a song that expands from the girls’ hatred of gym class to encompass such downers as nuclear power. But neither of them has any musical skill or knowledge.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This lack causes them to reevaluate Hedvig (Liv LeMoyne), an 8th-grader who’s just as much the outsider as they are, but for a very different reason: She’s a staid churchgoer. Hedvig is also a skilled classical guitarist, and Bobo and Klara figure they can remake her with a haircut and exposure to an anti-God song by their favorite Swedish punk group.\u003c/p>\n\u003cp>Hedvig’s reeducation doesn’t work out exactly as planned, but she does join the band, and her skills prove useful. She answers Klara’s elementary musical questions (“So what are chords?”). More importantly, she shames the middle-aged hipsters who run the youth center when they smugly assume that none of the girls can play.\u003c/p>\n\u003cp>If Moodysson had chosen a negative rather than positive title, the movie might be called \u003cem>Adults Are the Worst\u003c/em>. In addition to the youth-center guys, the girls must suffer such fools as Bobo’s divorced mother, who always seems to have a new boyfriend, and Klara’s father, who tries to jam with them on clarinet. Seen through 13-year-old eyes, most of the parents are hopelessly juvenile.\u003c/p>\n\u003cp>Yet a clash with Hedvig’s mother over her daughter’s hacked-off tresses demonstrates the movie’s generous nature and layered characterizations. Mom is upset by Hedvig’s new look, but the lesson she tries to teach is gently Christian. (The director himself is a believer who included religious visions in \u003cem>Lilya 4-Ever\u003c/em>, his child-prostitution drama.)\u003c/p>\n\u003cp>Not all the trouble comes from grownups. Bobo and Klara clash over the latter’s bossiness, at one point jealous Bobo makes a play for the punker who might loosely be termed Klara’s boyfriend.\u003c/p>\n\u003cp>\u003cem>We Are the Best!\u003c/em> was adapted from a semi-autobiographical graphic novel by the filmmaker’s spouse, Coco Moodysson. The director tells the story in a documentary-like style, using hand-held camera and jump cuts to convey adolescent energy, frustration and mutability.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sometimes too faithful to teenage aimlessness, \u003cem>We Are the Best!\u003c/em> can be shapeless and uneventful. But the movie often jolts to life, whether with outbursts of hostility or moments of gleeful female bonding. When they show the audience at a “Santa Rock” teen-center concert that punk’s not dead, Bobo, Klara and Hedvig pull together like the best troupers in all of dreary Sweden. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Punk+Is+Alive+And+Living+In+Three+Swedish+Girls&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This lack causes them to reevaluate Hedvig (Liv LeMoyne), an 8th-grader who’s just as much the outsider as they are, but for a very different reason: She’s a staid churchgoer. Hedvig is also a skilled classical guitarist, and Bobo and Klara figure they can remake her with a haircut and exposure to an anti-God song by their favorite Swedish punk group.\u003c/p>\n\u003cp>Hedvig’s reeducation doesn’t work out exactly as planned, but she does join the band, and her skills prove useful. She answers Klara’s elementary musical questions (“So what are chords?”). More importantly, she shames the middle-aged hipsters who run the youth center when they smugly assume that none of the girls can play.\u003c/p>\n\u003cp>If Moodysson had chosen a negative rather than positive title, the movie might be called \u003cem>Adults Are the Worst\u003c/em>. In addition to the youth-center guys, the girls must suffer such fools as Bobo’s divorced mother, who always seems to have a new boyfriend, and Klara’s father, who tries to jam with them on clarinet. Seen through 13-year-old eyes, most of the parents are hopelessly juvenile.\u003c/p>\n\u003cp>Yet a clash with Hedvig’s mother over her daughter’s hacked-off tresses demonstrates the movie’s generous nature and layered characterizations. Mom is upset by Hedvig’s new look, but the lesson she tries to teach is gently Christian. (The director himself is a believer who included religious visions in \u003cem>Lilya 4-Ever\u003c/em>, his child-prostitution drama.)\u003c/p>\n\u003cp>Not all the trouble comes from grownups. Bobo and Klara clash over the latter’s bossiness, at one point jealous Bobo makes a play for the punker who might loosely be termed Klara’s boyfriend.\u003c/p>\n\u003cp>\u003cem>We Are the Best!\u003c/em> was adapted from a semi-autobiographical graphic novel by the filmmaker’s spouse, Coco Moodysson. The director tells the story in a documentary-like style, using hand-held camera and jump cuts to convey adolescent energy, frustration and mutability.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sometimes too faithful to teenage aimlessness, \u003cem>We Are the Best!\u003c/em> can be shapeless and uneventful. But the movie often jolts to life, whether with outbursts of hostility or moments of gleeful female bonding. When they show the audience at a “Santa Rock” teen-center concert that punk’s not dead, Bobo, Klara and Hedvig pull together like the best troupers in all of dreary Sweden. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Punk+Is+Alive+And+Living+In+Three+Swedish+Girls&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s rarely a compliment to say that a movie is video game-like. That’s usually shorthand for effects-heavy, narratively lightweight CGI shoot-em-ups. Don’t get me wrong: \u003cem>Edge of Tomorrow\u003c/em> has no shortage of big effects set pieces, a lot of invading aliens getting shot at, and the seemingly ageless Tom Cruise performing death-defying acts on a battlefield. Except that he doesn’t defy death, and that’s where the film borrows an important quality of video games to anchor its story: death is never the end.\u003c/p>\n\u003cp>Death in a video game means rebooting, going back to the last save point and trying again, this time presumably ready for what killed you last time. That’s the situation facing Major William Cage (Cruise), a weaselly military PR flack who gets railroaded onto the battlefield by a hardened general (Brendan Gleeson) who feels it’s soldier’s wartime duty is to spend at least a little time on the front lines. In this case that means putting on a mechanized exoskeletal battle suit and going up against a horde of “mimics,” fearsome alien creatures that have already conquered much of the earth.\u003c/p>\n\u003cp>http://youtu.be/yUmSVcttXnI\u003c/p>\n\u003cp>Cage, woefully unprepared for battle, can’t even figure out how to turn the safety off on the suit’s guns when he gets dropped, D-Day-style, onto a French beachhead, only to die a few minutes later; and then awake the day before, back on the base just when this nightmare began. So begins his own video game, in which he eventually lives on the battlefield long enough to meet Rita Vrataski (Emily Blunt), a soldier he only knows by reputation, because he’d been using her image in recruiting efforts following her heroic efforts in humanity’s only victory in the war so far.\u003c/p>\n\u003cp>Turns out, her skill at that battle grew out of becoming caught in a loop similar to the one Cage is in now. Hers ended, but when she realizes Cage is going through the same thing, she instructs him to meet up with her after the next time he dies so they can work together.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And die he does, many, many times — often at Vrataski’s own hand. Before they can take on the enemy together, she must train him, and she’s harder than any drill sergeant. Once she’s injured him beyond the point of usefulness, she kills him so he can start again. It’s like Phil Connors’ piano lessons in \u003cem>Groundhog Day\u003c/em>, if the kindly piano teacher put a bullet in Phil’s head every time his fingers started to get sore.\u003c/p>\n\u003cp>Given the world-in-peril stakes, it would have been easy to make this into a grim affair; gritty is the zeitgeist for sci-fi and superheroes these days, after all. But the script (written and rewritten by a number of people over the past few years, but credited to Christopher McQuarrie and Jez & John-Henry Butterworth) has a knowing comedic edge, and director Doug Liman embraces those lighter elements, particularly in the early scenes of Cage caught in the loop at the base, dealing with a comically tough-as-nails sergeant played by Bill Paxton.\u003c/p>\n\u003cp>Liman has gone the all-business route before with \u003cem>The Bourne Identity\u003c/em>, and he’s done far-too-glib with \u003cem>Mr. and Mrs. Smith\u003c/em>, but this strikes an immensely winning balance between the two. Blunt plays it straight, the hardened super-soldier to Cruise’s inept coward. He might get most of the laughs, but she puts the violent period on every punchline.\u003c/p>\n\u003cp>Ironically, Cage’s functional immortality actually ends up highlighting just how fragile humans are. It’s contrary to action movie dogma, where the hero’s invincibility tends to defy logic. Here, his overall invincibility is a plot point, facilitated by just how easy he is to kill.\u003c/p>\n\u003cp>That makes most of \u003cem>Edge of Tomorrow\u003c/em> refreshing and unexpected, both for its humor and for its upending of action norms. That also makes how badly it misses the landing all the more disappointing, because the climax falls so eye-rollingly back into those same conventions. Suddenly Cage has to become all but invincible to survive the big boss fight at the end of the game.\u003c/p>\n\u003cp>Of course, tradition also dictates that obviously we can’t have a male and a female enduring these trials without them developing feelings for each other. Wouldn’t it be even better if Cage and Vrataski weren’t just fighting side by side, but kissing a little too?\u003c/p>\n\u003cp>No. While it might make sense for him, since he’s been spending hundreds of repeated days with her, for her he’s still new, as he’s always been, and they’ve been spending most of their few hours together just trying not to die. Earlier versions of the script had Cage as a younger man, before Cruise was cast; the shoehorned-in romance is especially exasperating now that he’s old enough to be Vrataski’s dad.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Edge of Tomorrow\u003c/em> does so much so well up to that point that it ends up being a minor disappointment, though. Cage’s journey in the film is from cowardice to bravery; it’s just too bad the film’s convictions end up running the other way. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Lively+%27Tomorrow%2C%27+Lived+Over+And+Over&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And die he does, many, many times — often at Vrataski’s own hand. Before they can take on the enemy together, she must train him, and she’s harder than any drill sergeant. Once she’s injured him beyond the point of usefulness, she kills him so he can start again. It’s like Phil Connors’ piano lessons in \u003cem>Groundhog Day\u003c/em>, if the kindly piano teacher put a bullet in Phil’s head every time his fingers started to get sore.\u003c/p>\n\u003cp>Given the world-in-peril stakes, it would have been easy to make this into a grim affair; gritty is the zeitgeist for sci-fi and superheroes these days, after all. But the script (written and rewritten by a number of people over the past few years, but credited to Christopher McQuarrie and Jez & John-Henry Butterworth) has a knowing comedic edge, and director Doug Liman embraces those lighter elements, particularly in the early scenes of Cage caught in the loop at the base, dealing with a comically tough-as-nails sergeant played by Bill Paxton.\u003c/p>\n\u003cp>Liman has gone the all-business route before with \u003cem>The Bourne Identity\u003c/em>, and he’s done far-too-glib with \u003cem>Mr. and Mrs. Smith\u003c/em>, but this strikes an immensely winning balance between the two. Blunt plays it straight, the hardened super-soldier to Cruise’s inept coward. He might get most of the laughs, but she puts the violent period on every punchline.\u003c/p>\n\u003cp>Ironically, Cage’s functional immortality actually ends up highlighting just how fragile humans are. It’s contrary to action movie dogma, where the hero’s invincibility tends to defy logic. Here, his overall invincibility is a plot point, facilitated by just how easy he is to kill.\u003c/p>\n\u003cp>That makes most of \u003cem>Edge of Tomorrow\u003c/em> refreshing and unexpected, both for its humor and for its upending of action norms. That also makes how badly it misses the landing all the more disappointing, because the climax falls so eye-rollingly back into those same conventions. Suddenly Cage has to become all but invincible to survive the big boss fight at the end of the game.\u003c/p>\n\u003cp>Of course, tradition also dictates that obviously we can’t have a male and a female enduring these trials without them developing feelings for each other. Wouldn’t it be even better if Cage and Vrataski weren’t just fighting side by side, but kissing a little too?\u003c/p>\n\u003cp>No. While it might make sense for him, since he’s been spending hundreds of repeated days with her, for her he’s still new, as he’s always been, and they’ve been spending most of their few hours together just trying not to die. Earlier versions of the script had Cage as a younger man, before Cruise was cast; the shoehorned-in romance is especially exasperating now that he’s old enough to be Vrataski’s dad.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Edge of Tomorrow\u003c/em> does so much so well up to that point that it ends up being a minor disappointment, though. Cage’s journey in the film is from cowardice to bravery; it’s just too bad the film’s convictions end up running the other way. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Lively+%27Tomorrow%2C%27+Lived+Over+And+Over&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The natural world has never been the most hospitable place for Kelly Reichardt’s characters. In \u003cem>Meek’s Cutoff\u003c/em>, a group of 19th century settlers nearly lose their lives while traveling west across the scorching Oregon desert. In \u003cem>Wendy and Lucy\u003c/em>, when Wendy is forced to sleep in the woods after her car breaks down on the way to Alaska, she wakes up in the middle of the night to a deranged man talking to himself right by her side.\u003c/p>\n\u003cp>Reichardt’s characters have also tended to be defined by their rootlessness, whether it’s the pioneers or Wendy searching for new homes across the country, the runaway lovers in \u003cem>River of Grass \u003c/em>fleeing past lives in Florida, or nomadic Kurt aimlessly wandering the streets of Portland at the end of \u003cem>Old Joy\u003c/em>.\u003c/p>\n\u003cp>So it ought to be immediately suspicious that \u003cem>Night Moves\u003c/em>, Reichardt’s ultimately unsatisfying new film, portrays nature at first as a calm refuge and emphasizes the peaceful homes that its characters inhabit. Reichardt keenly observes these spaces — the spa that Dena (Dakota Fanning) works at, the idyllic farm where Josh (Jesse Eisenberg) lives — to the point that when Josh and Dena purchase a boat together, Reichardt has Josh enter the seller’s home and, in a quick pan around his dining room and living room, lets us briefly relish in the comfort of his suburban life.\u003c/p>\n\u003cp>http://youtu.be/s7-VqKLYZks\u003c/p>\n\u003cp>It’s all very quiet, very still, a standard mood for Reichardt that in this case slowly turns to dread as Dena, Josh and a third partner in crime, Harmon (Peter Sarsgaard), set in motion a plan to load Josh and Dena’s boat with explosives and blow up a nearby dam in an act of consciousness-raising eco-terrorism.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Reichardt, working with her regular screenwriting partner Jonathan Raymond, keeps us at a distance from the trio. That’s true both literally — we watch many parts of their plan unfold through long shots, with unaware bystanders appearing in the foreground increasingly as the event nears — and morally. \u003cem>Night Moves\u003c/em> doesn’t doubt the basic rationale behind the trio’s activism (this isn’t a surreptitious case against environmentalism), but it’s clearly skeptical about this particular cast of characters, whose motives turn out to diverge significantly or, in Josh’s case, be nearly impossible to discern. So much is clear when Harmon reacts strongly to Dena’s doomsday facts about the world’s declining fish population. “Who says?” he asks, and then scoffs at her reply: “Yeah, well, maybe science is wrong.”\u003c/p>\n\u003cp>Ultimately, \u003cem>Night Moves\u003c/em> is not overtly preoccupied with the future of the planet or the species. That’s a topic too grandiose for Reichardt, who has always preferred to address politics through a focus on individuals and here zones in on a group of people who, while combating an urgent environmental crisis, may have become dangerously estranged from their society, isolated from the broader culture. Their homes and workplaces seem like sanctuaries to begin with, but later, in retrospect, come to feel like bubbles. And when Sean (Kai Lennox), the paternal, hardworking owner of Josh’s farm, denounces the dam bombing as “theater,” the underlying message is that there’s more than one way to do right by the environment but only a few by which to do right by your fellow humans.\u003c/p>\n\u003cp>Reichardt is one of the most talented, thoughtful American directors working today. But having watched \u003cem>Night Moves\u003c/em> twice now — the first time when it screened at the Toronto International Film Festival last year — it remains her only film that has left me cold, even as I can’t seem to quite shake it. The reason, largely, is Josh, the least personable character that Reichardt and Raymond have ever crafted, particularly as played by a taciturn Eisenberg. After carrying out their plot, Josh, Dena and Harmon, never particularly united in the first place, separate. Each is left alone with their own consciences, their own moral compasses, and the audience is increasingly left alone with Josh, whose suspicious, gloomy expression hardly changes throughout and who, to the end, remains unknowable.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This impenetrability perhaps is meant to position Josh as a lost soul fighting for a lost planet. But in the film’s final third, the inscrutability feels more like a miscalculation through overcompensation: In its aim to tamp down Eisenberg’s neuroticism and have him offer slow drips of revelation rather than bursts of loquacious energy, \u003cem>Night Moves \u003c/em>keeps too much hidden from view. The more Josh and the film retreat from the group, the more it asks pivotal questions about ethics, about how exactly one ought to fight for a more hospitable world, both politically and environmentally. In Josh’s face, however, we find little insight and too many blank stares. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Night+Moves%27+Leaves+Too+Much+In+The+Dark&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The natural world has never been the most hospitable place for Kelly Reichardt’s characters. In \u003cem>Meek’s Cutoff\u003c/em>, a group of 19th century settlers nearly lose their lives while traveling west across the scorching Oregon desert. In \u003cem>Wendy and Lucy\u003c/em>, when Wendy is forced to sleep in the woods after her car breaks down on the way to Alaska, she wakes up in the middle of the night to a deranged man talking to himself right by her side.\u003c/p>\n\u003cp>Reichardt’s characters have also tended to be defined by their rootlessness, whether it’s the pioneers or Wendy searching for new homes across the country, the runaway lovers in \u003cem>River of Grass \u003c/em>fleeing past lives in Florida, or nomadic Kurt aimlessly wandering the streets of Portland at the end of \u003cem>Old Joy\u003c/em>.\u003c/p>\n\u003cp>So it ought to be immediately suspicious that \u003cem>Night Moves\u003c/em>, Reichardt’s ultimately unsatisfying new film, portrays nature at first as a calm refuge and emphasizes the peaceful homes that its characters inhabit. Reichardt keenly observes these spaces — the spa that Dena (Dakota Fanning) works at, the idyllic farm where Josh (Jesse Eisenberg) lives — to the point that when Josh and Dena purchase a boat together, Reichardt has Josh enter the seller’s home and, in a quick pan around his dining room and living room, lets us briefly relish in the comfort of his suburban life.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/s7-VqKLYZks'\n title='//www.youtube.com/embed/s7-VqKLYZks'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s all very quiet, very still, a standard mood for Reichardt that in this case slowly turns to dread as Dena, Josh and a third partner in crime, Harmon (Peter Sarsgaard), set in motion a plan to load Josh and Dena’s boat with explosives and blow up a nearby dam in an act of consciousness-raising eco-terrorism.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Reichardt, working with her regular screenwriting partner Jonathan Raymond, keeps us at a distance from the trio. That’s true both literally — we watch many parts of their plan unfold through long shots, with unaware bystanders appearing in the foreground increasingly as the event nears — and morally. \u003cem>Night Moves\u003c/em> doesn’t doubt the basic rationale behind the trio’s activism (this isn’t a surreptitious case against environmentalism), but it’s clearly skeptical about this particular cast of characters, whose motives turn out to diverge significantly or, in Josh’s case, be nearly impossible to discern. So much is clear when Harmon reacts strongly to Dena’s doomsday facts about the world’s declining fish population. “Who says?” he asks, and then scoffs at her reply: “Yeah, well, maybe science is wrong.”\u003c/p>\n\u003cp>Ultimately, \u003cem>Night Moves\u003c/em> is not overtly preoccupied with the future of the planet or the species. That’s a topic too grandiose for Reichardt, who has always preferred to address politics through a focus on individuals and here zones in on a group of people who, while combating an urgent environmental crisis, may have become dangerously estranged from their society, isolated from the broader culture. Their homes and workplaces seem like sanctuaries to begin with, but later, in retrospect, come to feel like bubbles. And when Sean (Kai Lennox), the paternal, hardworking owner of Josh’s farm, denounces the dam bombing as “theater,” the underlying message is that there’s more than one way to do right by the environment but only a few by which to do right by your fellow humans.\u003c/p>\n\u003cp>Reichardt is one of the most talented, thoughtful American directors working today. But having watched \u003cem>Night Moves\u003c/em> twice now — the first time when it screened at the Toronto International Film Festival last year — it remains her only film that has left me cold, even as I can’t seem to quite shake it. The reason, largely, is Josh, the least personable character that Reichardt and Raymond have ever crafted, particularly as played by a taciturn Eisenberg. After carrying out their plot, Josh, Dena and Harmon, never particularly united in the first place, separate. Each is left alone with their own consciences, their own moral compasses, and the audience is increasingly left alone with Josh, whose suspicious, gloomy expression hardly changes throughout and who, to the end, remains unknowable.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This impenetrability perhaps is meant to position Josh as a lost soul fighting for a lost planet. But in the film’s final third, the inscrutability feels more like a miscalculation through overcompensation: In its aim to tamp down Eisenberg’s neuroticism and have him offer slow drips of revelation rather than bursts of loquacious energy, \u003cem>Night Moves \u003c/em>keeps too much hidden from view. The more Josh and the film retreat from the group, the more it asks pivotal questions about ethics, about how exactly one ought to fight for a more hospitable world, both politically and environmentally. In Josh’s face, however, we find little insight and too many blank stares. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Night+Moves%27+Leaves+Too+Much+In+The+Dark&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For the overwhelming majority of Americans, summer movies mean one thing: larger (and louder)-than-life escapades in air-conditioned multiplexes. While there’s no evidence that either Hollywood-style storytelling or Freon interferes with brain activity, there sure seems to be a correlation. (For the record, Freon is no longer used in new a/c equipment.) Even in our smart corner of the universe, the blockbusters draw big crowds. What’s unique about the Bay Area, though, is the audience for serious films about real-life situations doesn’t evaporate in the summer. Here are five options for stimulating your brain waves, and emotions.\u003c/p>\n\u003cp>http://youtu.be/VckDaVJgOLU\u003c/p>\n\u003cp>Once upon a time, coffee was a no-status pick-me-up dispensed from percolators, vending machines and — in a great leap forward — home-brew machines hawked by North Beach’s favorite son. Nowadays, it’s the ultimate designer drug, packaged and peddled with pedigrees that would make Burgundy vintners blush. \u003cem>A Film About Coffee\u003c/em>, local filmmaker Brandon Loper’s fresh-from-the-lab documentary, filters high-end appreciation through the insights of obsessive artisans. Full of luscious images of roasting, grinding, brewing and pouring the ultimate cup, and finished with a garnish of breathtaking aerial shots of faraway fields, the doc provides a vicarious caffeine kick. \u003ci>A Film About Coffee\u003c/i> receives its San Francisco premier \u003cb>TONIGHT\u003c/b>, Tuesday, June 3, 2014 at the Castro. For \u003ca href=\"https://www.eventbrite.com/e/a-film-about-coffee-san-francisco-premiere-tickets-11531786885\">more information\u003c/a> visit eventbrite.com.\u003c/p>\n\u003cp>http://youtu.be/A4V-LS6pzWI\u003c/p>\n\u003cp>Any doubts that nonfiction filmmaking is riding a wave of audience enthusiasm as well as booming output should be erased by \u003cstrong>SF Docfest\u003c/strong> staking out a summer slot. Founder Jeff Ross is a savvy festival veteran, while the addition of programmers Jennifer Morris (formerly of Frameline) and Chris Metzler (co-director of \u003cem>Everyday Sunshine: The Story of Fishbone\u003c/em>) has produced a lineup with less goofiness and more gravitas than previous years. Kevin Gordon’s \u003cem>True Son\u003c/em>, which follows 22-year-old Michael Tubbs’ 2012 campaign for city councilman of nearby Stockton, is emblematic of the fest’s street-level, social-issue orientation. Robert Greene, a New York filmmaker whose films mix doc and fictional elements, receives the inaugural Vanguard Award. SF Docfest runs June 5-19, 2014 primarily at the Roxie in San Francisco and the Oakland School For the Arts. For \u003ca href=\"http://sfindie.com/festivals/sf-docfest/\">more information\u003c/a> visit sfindie.com.\u003c/p>\n\u003cfigure id=\"attachment_10137053\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/ybca.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/ybca.jpg\" alt=\"Debosyon by Alvin Yapan\" width=\"640\" height=\"360\" class=\"size-full wp-image-10137053\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/ybca.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/ybca-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/ybca-300x168.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Debosyon\u003c/i> by Alvin Yapan; Courtesy VYAC Productions\u003c/figcaption>\u003c/figure>\n\u003cp>Joel Shepard, the eclectic and adventurous film curator at Yerba Buena Center for the Arts who has spotlighted international auteurs Lucrecia Martel, Apichatpong Weerasethakul, Ulrich Seidl and Carlos Reygadas (among many others), is all abuzz these days over the vibrant scene in the Philippines, of all places. Although the country has been making movies since the silent era, and has produced world-class directors like Lino Brocka, the lack of U.S. distribution for recent films has essentially rendered Filipino filmmaking invisible to the American public. The third annual edition of \u003cstrong>New Filipino Cinema\u003c/strong> (June 11-15, 2014) crams an incredible 24 features into just five days, ranging from neorealist dramas to metaphoric fables to arch satires and offering a fabulous opportunity to take a dip or fully immerse yourself in a society \u003cem>and\u003c/em> a national cinema. Shepard has also scheduled multiple screenings for the latest films by two prominent Filipino directors, Lav Diaz’s epic \u003cem>Norte, The End of History\u003c/em> (June 19-22, following its recent S.F. International Film Festival screening) and Brilliante Mendoza’s \u003cem>Thy Womb\u003c/em> (June 15, 26, 28, 29). For \u003ca href=\"http://www.ybca.org/new-filipino-cinema\">more information\u003c/a> visit ybca.org.\u003c/p>\n\u003cfigure id=\"attachment_10134895\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/badhair.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/badhair.jpg\" alt=\"Bad Hair\" width=\"640\" height=\"334\" class=\"size-full wp-image-10134895\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/badhair.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/badhair-400x208.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/badhair-300x156.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Bad Hair\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>The 38th annual San Francisco International LGBT Film Festival, otherwise known as \u003cstrong>Frameline38\u003c/strong> (June 19-29), has a celebratory air about it this year, reflecting the national embrace of gay marriage. Eytan Fox’s transporting comedy \u003cem>Cupcakes\u003c/em> tracks an unlikely team of Israeli Eurovision contestants, while Salome Breziner’s \u003cem>Helicopter Mom\u003c/em> imagines Nia Vardalos (\u003cem>My Big Fat Greek Wedding\u003c/em>) as an absurdly, hysterically and overly helpful mother who takes a hands-on approach to her son’s college application. On the doc side, spirit-raising profiles of beloved icons Greg Louganis, former Congressman Barney Frank and the late Susan Sontag dot the program. Frameline acknowledges the darker hues of reality with a spotlight on gay rights in Putin’s Russia and a hefty helping of solid dramas about personal relationships from all corners of the globe. For \u003ca href=\"http://ticketing.frameline.org/festival/\">more information\u003c/a> visit ticketing.frameline.org.\u003c/p>\n\u003cfigure id=\"attachment_10137054\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/ugetsu.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/ugetsu.jpg\" alt=\"Ugetsu Kenji Mizoguchi\" width=\"640\" height=\"362\" class=\"size-full wp-image-10137054\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/ugetsu.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/ugetsu-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/ugetsu-300x169.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Ugetsu\u003c/i> by Kenji Mizoguchi\u003c/figcaption>\u003c/figure>\n\u003cp>Kenji Mizoguchi stands alongside Yasujiro Ozu and Akira Kurosawa at the pinnacle of Japanese cinema. And yet his 1950s masterworks \u003cem>Ugetsu\u003c/em>, \u003cem>The Life of Oharu\u003c/em>, and \u003cem>Sansho the Bailiff\u003c/em>, which regularly appeared on critics’ lists of the greatest films of all time, are largely unknown to moviegoers who came of age after the heyday of repertory cinema. The profound Pacific Film Archive retrospective \u003cstrong>Kenji Mizoguchi: A Cinema of Totality\u003c/strong> (June 19-August 29, 2014) reintroduces a director whose beautifully realized stories of women from previous eras exposed the rigidity and cruelty in Japanese society before and after World War II. On a summer’s day, you know, time palpably slows down. Mizoguchi’s patient, poetic sagas are the perfect accompaniment. For \u003ca href=\"http://www.bampfa.berkeley.edu/filmseries/mizoguchi_2014\">more information\u003c/a> visit bampfa.berkeley.edu.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For the overwhelming majority of Americans, summer movies mean one thing: larger (and louder)-than-life escapades in air-conditioned multiplexes. While there’s no evidence that either Hollywood-style storytelling or Freon interferes with brain activity, there sure seems to be a correlation. (For the record, Freon is no longer used in new a/c equipment.) Even in our smart corner of the universe, the blockbusters draw big crowds. What’s unique about the Bay Area, though, is the audience for serious films about real-life situations doesn’t evaporate in the summer. Here are five options for stimulating your brain waves, and emotions.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/VckDaVJgOLU'\n title='//www.youtube.com/embed/VckDaVJgOLU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Once upon a time, coffee was a no-status pick-me-up dispensed from percolators, vending machines and — in a great leap forward — home-brew machines hawked by North Beach’s favorite son. Nowadays, it’s the ultimate designer drug, packaged and peddled with pedigrees that would make Burgundy vintners blush. \u003cem>A Film About Coffee\u003c/em>, local filmmaker Brandon Loper’s fresh-from-the-lab documentary, filters high-end appreciation through the insights of obsessive artisans. Full of luscious images of roasting, grinding, brewing and pouring the ultimate cup, and finished with a garnish of breathtaking aerial shots of faraway fields, the doc provides a vicarious caffeine kick. \u003ci>A Film About Coffee\u003c/i> receives its San Francisco premier \u003cb>TONIGHT\u003c/b>, Tuesday, June 3, 2014 at the Castro. For \u003ca href=\"https://www.eventbrite.com/e/a-film-about-coffee-san-francisco-premiere-tickets-11531786885\">more information\u003c/a> visit eventbrite.com.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/A4V-LS6pzWI'\n title='//www.youtube.com/embed/A4V-LS6pzWI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Any doubts that nonfiction filmmaking is riding a wave of audience enthusiasm as well as booming output should be erased by \u003cstrong>SF Docfest\u003c/strong> staking out a summer slot. Founder Jeff Ross is a savvy festival veteran, while the addition of programmers Jennifer Morris (formerly of Frameline) and Chris Metzler (co-director of \u003cem>Everyday Sunshine: The Story of Fishbone\u003c/em>) has produced a lineup with less goofiness and more gravitas than previous years. Kevin Gordon’s \u003cem>True Son\u003c/em>, which follows 22-year-old Michael Tubbs’ 2012 campaign for city councilman of nearby Stockton, is emblematic of the fest’s street-level, social-issue orientation. Robert Greene, a New York filmmaker whose films mix doc and fictional elements, receives the inaugural Vanguard Award. SF Docfest runs June 5-19, 2014 primarily at the Roxie in San Francisco and the Oakland School For the Arts. For \u003ca href=\"http://sfindie.com/festivals/sf-docfest/\">more information\u003c/a> visit sfindie.com.\u003c/p>\n\u003cfigure id=\"attachment_10137053\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/ybca.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/ybca.jpg\" alt=\"Debosyon by Alvin Yapan\" width=\"640\" height=\"360\" class=\"size-full wp-image-10137053\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/ybca.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/ybca-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/ybca-300x168.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Debosyon\u003c/i> by Alvin Yapan; Courtesy VYAC Productions\u003c/figcaption>\u003c/figure>\n\u003cp>Joel Shepard, the eclectic and adventurous film curator at Yerba Buena Center for the Arts who has spotlighted international auteurs Lucrecia Martel, Apichatpong Weerasethakul, Ulrich Seidl and Carlos Reygadas (among many others), is all abuzz these days over the vibrant scene in the Philippines, of all places. Although the country has been making movies since the silent era, and has produced world-class directors like Lino Brocka, the lack of U.S. distribution for recent films has essentially rendered Filipino filmmaking invisible to the American public. The third annual edition of \u003cstrong>New Filipino Cinema\u003c/strong> (June 11-15, 2014) crams an incredible 24 features into just five days, ranging from neorealist dramas to metaphoric fables to arch satires and offering a fabulous opportunity to take a dip or fully immerse yourself in a society \u003cem>and\u003c/em> a national cinema. Shepard has also scheduled multiple screenings for the latest films by two prominent Filipino directors, Lav Diaz’s epic \u003cem>Norte, The End of History\u003c/em> (June 19-22, following its recent S.F. International Film Festival screening) and Brilliante Mendoza’s \u003cem>Thy Womb\u003c/em> (June 15, 26, 28, 29). For \u003ca href=\"http://www.ybca.org/new-filipino-cinema\">more information\u003c/a> visit ybca.org.\u003c/p>\n\u003cfigure id=\"attachment_10134895\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/badhair.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/badhair.jpg\" alt=\"Bad Hair\" width=\"640\" height=\"334\" class=\"size-full wp-image-10134895\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/badhair.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/badhair-400x208.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/badhair-300x156.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Bad Hair\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>The 38th annual San Francisco International LGBT Film Festival, otherwise known as \u003cstrong>Frameline38\u003c/strong> (June 19-29), has a celebratory air about it this year, reflecting the national embrace of gay marriage. Eytan Fox’s transporting comedy \u003cem>Cupcakes\u003c/em> tracks an unlikely team of Israeli Eurovision contestants, while Salome Breziner’s \u003cem>Helicopter Mom\u003c/em> imagines Nia Vardalos (\u003cem>My Big Fat Greek Wedding\u003c/em>) as an absurdly, hysterically and overly helpful mother who takes a hands-on approach to her son’s college application. On the doc side, spirit-raising profiles of beloved icons Greg Louganis, former Congressman Barney Frank and the late Susan Sontag dot the program. Frameline acknowledges the darker hues of reality with a spotlight on gay rights in Putin’s Russia and a hefty helping of solid dramas about personal relationships from all corners of the globe. For \u003ca href=\"http://ticketing.frameline.org/festival/\">more information\u003c/a> visit ticketing.frameline.org.\u003c/p>\n\u003cfigure id=\"attachment_10137054\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/ugetsu.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/ugetsu.jpg\" alt=\"Ugetsu Kenji Mizoguchi\" width=\"640\" height=\"362\" class=\"size-full wp-image-10137054\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/ugetsu.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/ugetsu-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/ugetsu-300x169.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Ugetsu\u003c/i> by Kenji Mizoguchi\u003c/figcaption>\u003c/figure>\n\u003cp>Kenji Mizoguchi stands alongside Yasujiro Ozu and Akira Kurosawa at the pinnacle of Japanese cinema. And yet his 1950s masterworks \u003cem>Ugetsu\u003c/em>, \u003cem>The Life of Oharu\u003c/em>, and \u003cem>Sansho the Bailiff\u003c/em>, which regularly appeared on critics’ lists of the greatest films of all time, are largely unknown to moviegoers who came of age after the heyday of repertory cinema. The profound Pacific Film Archive retrospective \u003cstrong>Kenji Mizoguchi: A Cinema of Totality\u003c/strong> (June 19-August 29, 2014) reintroduces a director whose beautifully realized stories of women from previous eras exposed the rigidity and cruelty in Japanese society before and after World War II. On a summer’s day, you know, time palpably slows down. Mizoguchi’s patient, poetic sagas are the perfect accompaniment. For \u003ca href=\"http://www.bampfa.berkeley.edu/filmseries/mizoguchi_2014\">more information\u003c/a> visit bampfa.berkeley.edu.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'Maleficent' Tells The Fairy Tale From The Wicked One's Perspective",
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"content": "\u003cp>Of all Disney heroines Aurora, aka Sleeping Beauty, was the least inspiring. Not her fault: how much spark can you wring from a Forever Nap, especially one that’s cut off by a kiss from a prince named after the Duke of Edinburgh?\u003c/p>\n\u003cp>Which may be why my 16-year-old, who’s going through one of those inexplicable regressions into Disney toddler fare that seem to hit girls in their teens and beyond, made it through all of five minutes of the 1959 \u003cem>Sleeping Beauty, \u003c/em>then went back to binge-watching \u003cem>Buffy the Vampire Slayer\u003c/em>. But my girl really grooved to \u003cem>Maleficent\u003c/em> and, in a rare confluence of inter-generational pop taste, so did I. And after all, what’s not to like when the spotlight shifts to the (allegedly) wicked fairy, as channeled through the bone structure of Angelina Jolie?\u003c/p>\n\u003cp>I say allegedly because \u003cem>Maleficent,\u003c/em> capably directed by Robert Stromberg from a sharp script by Linda Woolverton (who also wrote Disney’s\u003cem> Beauty and the Beast\u003c/em> and \u003cem>The Lion King\u003c/em>) sets out to explain \u003cem>why\u003c/em> the chilly lady turned into such a hater. That’s a very American question: The vibrantly pre-Freudian Brothers Grimm, who wrote the 1812 \u003cem>Briar Rose\u003c/em> story that built on Charles Perrault’s 1697 original tale, regarded both evil and good as immutable character traits that needed no explanation. The battle between them was the story.\u003c/p>\n\u003cp>http://youtu.be/UbrfnVCsTsQ\u003c/p>\n\u003cp>\u003cem>Maleficent\u003c/em> muddies those waters in ways that may upset moviegoers looking for visceral action, though it surely doesn’t lack for battle scenes. At its core the film wants us rooting for the bad fairy, and, to push things a little further, to suggest that humans make much more natural evildoers than their ethereal neighbors, especially when rendered in 3D.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We meet young Maleficent (played by Isobelle Molloy, then Ella Purnell), parentless but frolicking happily in The Moors, a fairyland landscape more out of Maurice Sendak than the happiest place on Earth. No tweety-birds hopping around this live-action paradise — only gnarly tree-monsters and wonderful toad-goblins, as devoted to their de facto queen as they are terrified of her anger. And why not? Maleficent has two fancy big horns and a massive wing-span that helps her repel invaders from the all too human monarchy next door.\u003c/p>\n\u003cp>The Moors, by contrast, is a democracy that needs no royalty because it functions on mutual trust. Enter Stefan (Sharlto Copley, and someone tell me please, why is it that so many Disney characters speak Glaswegian these days?), a rank careerist who, under cover of sweet nothings, brutally reduces poor Maleficent’s powers, then rushed back home to lobby for leadership.\u003c/p>\n\u003cp>Thus is born Maleficent the Avenger, now fully grown and ready to crash the christening party of Stefan’s baby daughter, Aurora. You may think you know the rest, but watch for all manner of interesting twists, beginning with Angelina Jolie, who even in jutting cheekbones, Spock ears and ruby-red lips set off by the usual deathly pallor, is surely the most quietly inscrutable wicked fairy to walk this digital Earth.\u003c/p>\n\u003cp>It hardly matters that Jolie’s accent rambles a bit between pungent Cockney and plummy Buckingham Palace. She’s a Presence who mostly strides around, green eyes a-glitter, doing magic things with her long fingers like sending humans flying, turning creatures into other creatures the better to do battle, and putting dweeby visiting princes to sleep as needed.\u003c/p>\n\u003cp>No wonder Aurora, on the cusp of 16 and played as a high-spirited enthusiast by the captivating Elle Fanning, is more impressed by Maleficent than she is by the three incompetent good fairies (wittily played by Juno Temple and two actresses better known for playing women of woe in Mike Leigh movies) who can’t seem to focus on caring for their young charge.\u003c/p>\n\u003cp>No spoilers here, but suffice it to say that \u003cem>Maleficent\u003c/em> doesn’t just rehabilitate the most maligned figure in the fairy tale canon and place brackets around received notions of naughty and nice. More daringly, the movie places a giant question mark around who in all of Fairyland make the mommies dearest, or even the fairest lovers of all.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>We are cautioned not to take this the wrong way — but blink and you might miss Prince-y (Brenton Thwaites) hovering redundantly over the finale. When you stop to think about the implications of who in this innovative re-telling gets to arouse the damsel from her truncated snooze, Uncle Walt must surely be shouting “cut!” from the grave. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Maleficent%27+Tells+The+Fairy+Tale+From+The+Wicked+One%27s+Perspective&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "\u003cem>Maleficent\u003c/em> shifts the spotlight away from the sweet, beautiful heroine and rehabilitates the most maligned figure in the fairy tale canon. \u003cem>\u003cstrong>Recommended\u003c/strong>\u003c/em>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Of all Disney heroines Aurora, aka Sleeping Beauty, was the least inspiring. Not her fault: how much spark can you wring from a Forever Nap, especially one that’s cut off by a kiss from a prince named after the Duke of Edinburgh?\u003c/p>\n\u003cp>Which may be why my 16-year-old, who’s going through one of those inexplicable regressions into Disney toddler fare that seem to hit girls in their teens and beyond, made it through all of five minutes of the 1959 \u003cem>Sleeping Beauty, \u003c/em>then went back to binge-watching \u003cem>Buffy the Vampire Slayer\u003c/em>. But my girl really grooved to \u003cem>Maleficent\u003c/em> and, in a rare confluence of inter-generational pop taste, so did I. And after all, what’s not to like when the spotlight shifts to the (allegedly) wicked fairy, as channeled through the bone structure of Angelina Jolie?\u003c/p>\n\u003cp>I say allegedly because \u003cem>Maleficent,\u003c/em> capably directed by Robert Stromberg from a sharp script by Linda Woolverton (who also wrote Disney’s\u003cem> Beauty and the Beast\u003c/em> and \u003cem>The Lion King\u003c/em>) sets out to explain \u003cem>why\u003c/em> the chilly lady turned into such a hater. That’s a very American question: The vibrantly pre-Freudian Brothers Grimm, who wrote the 1812 \u003cem>Briar Rose\u003c/em> story that built on Charles Perrault’s 1697 original tale, regarded both evil and good as immutable character traits that needed no explanation. The battle between them was the story.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/UbrfnVCsTsQ'\n title='//www.youtube.com/embed/UbrfnVCsTsQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Maleficent\u003c/em> muddies those waters in ways that may upset moviegoers looking for visceral action, though it surely doesn’t lack for battle scenes. At its core the film wants us rooting for the bad fairy, and, to push things a little further, to suggest that humans make much more natural evildoers than their ethereal neighbors, especially when rendered in 3D.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We meet young Maleficent (played by Isobelle Molloy, then Ella Purnell), parentless but frolicking happily in The Moors, a fairyland landscape more out of Maurice Sendak than the happiest place on Earth. No tweety-birds hopping around this live-action paradise — only gnarly tree-monsters and wonderful toad-goblins, as devoted to their de facto queen as they are terrified of her anger. And why not? Maleficent has two fancy big horns and a massive wing-span that helps her repel invaders from the all too human monarchy next door.\u003c/p>\n\u003cp>The Moors, by contrast, is a democracy that needs no royalty because it functions on mutual trust. Enter Stefan (Sharlto Copley, and someone tell me please, why is it that so many Disney characters speak Glaswegian these days?), a rank careerist who, under cover of sweet nothings, brutally reduces poor Maleficent’s powers, then rushed back home to lobby for leadership.\u003c/p>\n\u003cp>Thus is born Maleficent the Avenger, now fully grown and ready to crash the christening party of Stefan’s baby daughter, Aurora. You may think you know the rest, but watch for all manner of interesting twists, beginning with Angelina Jolie, who even in jutting cheekbones, Spock ears and ruby-red lips set off by the usual deathly pallor, is surely the most quietly inscrutable wicked fairy to walk this digital Earth.\u003c/p>\n\u003cp>It hardly matters that Jolie’s accent rambles a bit between pungent Cockney and plummy Buckingham Palace. She’s a Presence who mostly strides around, green eyes a-glitter, doing magic things with her long fingers like sending humans flying, turning creatures into other creatures the better to do battle, and putting dweeby visiting princes to sleep as needed.\u003c/p>\n\u003cp>No wonder Aurora, on the cusp of 16 and played as a high-spirited enthusiast by the captivating Elle Fanning, is more impressed by Maleficent than she is by the three incompetent good fairies (wittily played by Juno Temple and two actresses better known for playing women of woe in Mike Leigh movies) who can’t seem to focus on caring for their young charge.\u003c/p>\n\u003cp>No spoilers here, but suffice it to say that \u003cem>Maleficent\u003c/em> doesn’t just rehabilitate the most maligned figure in the fairy tale canon and place brackets around received notions of naughty and nice. More daringly, the movie places a giant question mark around who in all of Fairyland make the mommies dearest, or even the fairest lovers of all.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>We are cautioned not to take this the wrong way — but blink and you might miss Prince-y (Brenton Thwaites) hovering redundantly over the finale. When you stop to think about the implications of who in this innovative re-telling gets to arouse the damsel from her truncated snooze, Uncle Walt must surely be shouting “cut!” from the grave. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Maleficent%27+Tells+The+Fairy+Tale+From+The+Wicked+One%27s+Perspective&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "The Best Movie Theaters of the Bay Area",
"title": "The Best Movie Theaters of the Bay Area",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cfigure id=\"attachment_12278\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/05/30/the-best-movie-houses-of-the-bay-area-san-francisco-oakland/roxie-theater/\" rel=\"attachment wp-att-12278\">\u003cimg class=\"size-full wp-image-12278\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/05/roxie-theater.jpg\" alt=\"Photo: Thomas Hawk, via Flickr\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/05/roxie-theater.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2014/05/roxie-theater-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://www.flickr.com/photos/51035555243@N01/4520083241\">Thomas Hawk\u003c/a>, via Flickr\u003c/figcaption>\u003c/figure>\n\u003cp>Mega-multiplexes have their uses. When you want to see the latest IMAX-3-D-explosion-laden-Michael Bay-or-Jerry Bruckheimer-produced-blockbuster-probably-starring-Mark Wahlberg, by all means, run to the Cinema 12 or 26 screen. Spend $60 on a small popcorn and a Diet Sprite and fasten yourself into the reclining chairs as the sound system blasts you almost into the adjacent screening. It's the American way.\u003c/p>\n\u003cp>But what about when you want an intimate, slightly more personal film viewing experience? Thankfully, San Francisco (and other parts of the Bay Area) still have a handful of decent single screen and art house movie theaters for your enjoyment. Whether you want to gaze adoringly at Montgomery Clift and Elizabeth Taylor in a revival of \u003cem>A Place in the Sun\u003c/em> at the Stanford in Palo Alto or slump down in the lumpy seats at the Balboa while taking in a late run flick, there's something for everyone on our list of favorite movie houses.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003ca href=\"http://www.stanfordtheatre.org\">The Stanford Theatre\u003c/a>\u003c/strong>\u003cbr>\n221 University Avenue, Palo Alto\u003c/p>\n\u003cfigure id=\"attachment_12275\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/05/30/the-best-movie-houses-of-the-bay-area-san-francisco-oakland/7634399494_a5fa9a666c_z/\" rel=\"attachment wp-att-12275\">\u003cimg class=\"wp-image-12275\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/05/7634399494_a5fa9a666c_z.jpg\" alt=\"Photo: Adam Fagen, via Flickr\" width=\"600\" height=\"411\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/05/7634399494_a5fa9a666c_z.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2014/05/7634399494_a5fa9a666c_z-400x273.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://www.flickr.com/photos/afagen/7634399494/\">Adam Fagen\u003c/a>, via Flickr\u003c/figcaption>\u003c/figure>\n\u003cp>Amidst the Apple stores, Pottery Barns and undergrad hangouts of University Avenue stands the historic Stanford Theater, a perfect slice of what small town life was like between the wars when stockings were seamed and the movies were our greatest escape. This architectural gem of a movie house, and the Stanford Theatre Foundation that manages it, are dedicated to showing classic Hollywood films as they were meant to be seen: on the big screen, on film and with the kind of equipment originally used to show films during the theatre's heyday. Well worth a trip down the peninsula, the theatre frequently dedicates their schedule to movie stars (Fred Astaire, Bette Davis) and directors (John Ford, Vincente Minnelli) for mini-festivals celebrating the best of old Hollywood. For an added plus, the popcorn can't be beat, and be sure not to miss the historic film poster collection on rotation in the lobby.\u003c/p>\n\u003cp style=\"text-align: center\">\u003ca href=\"http://www.cinemasf.com/balboa/\">\u003cstrong>Balboa Theatre\u003c/strong>\u003c/a>\u003cbr>\n3630 Balboa Street, San Francisco\u003c/p>\n\u003cfigure id=\"attachment_12279\" class=\"wp-caption aligncenter\" style=\"max-width: 375px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/05/30/the-best-movie-houses-of-the-bay-area-san-francisco-oakland/4022408032_aecf4f7075_b/\" rel=\"attachment wp-att-12279\">\u003cimg class=\"wp-image-12279\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/05/4022408032_aecf4f7075_b.jpg\" alt=\"Photo: Serafina, via Flickr\" width=\"375\" height=\"500\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/05/4022408032_aecf4f7075_b.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2014/05/4022408032_aecf4f7075_b-400x533.jpg 400w\" sizes=\"(max-width: 375px) 100vw, 375px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://www.flickr.com/photos/phyxiusone/4022408032/\">Serafina\u003c/a>, via Flickr\u003c/figcaption>\u003c/figure>\n\u003cp>Often overlooked when discussing great San Francisco movie houses, the old Balboa is just decrepit and seedy enough around the edges to make it completely charming and yet still remind you of a time when moviegoing had a bit of glamour attached. The Art Deco-by-way-of-seventies-redo interior is worth the price of admission alone, but, once you get talking to the old timers at the ticket counter and behind concessions, it's almost incidental what movie you're there to see. It's not unusual to be almost completely alone in the theater, or at least feel like it once the darkness descends on you and the rattling old sound system echoes in the space.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp style=\"text-align: center\">\u003ca href=\"http://www.roxie.com/\">\u003cstrong>Roxie\u003c/strong>\u003c/a>\u003cbr>\n3117 16th Street, San Francisco\u003c/p>\n\u003cfigure id=\"attachment_12281\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/05/30/the-best-movie-houses-of-the-bay-area-san-francisco-oakland/4019285755_89cacd99ba_z-1/\" rel=\"attachment wp-att-12281\">\u003cimg class=\"wp-image-12281\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/05/4019285755_89cacd99ba_z-1.jpg\" alt=\"Photo: tkamenick, via Flickr\" width=\"600\" height=\"404\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/05/4019285755_89cacd99ba_z-1.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2014/05/4019285755_89cacd99ba_z-1-400x269.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://www.flickr.com/photos/35064820@N00/4019285755/\">tkamenick\u003c/a>, via Flickr\u003c/figcaption>\u003c/figure>\n\u003cp>If you want to see a two part, five hour Japanese movie about cross-dressing step-siblings who fall in love and then join a cult, the Roxie is your theater. Likewise, if you want to sit through an all day Wes Anderson retrospective before seeing his latest, or if you just want to feel like you're traveling back in time to the '70s for a little exploitation grindhouse fun with a slightly ruckus group of filmgoers. Something about the place even \u003cem>smells\u003c/em> authentic: it's a little bit bar floor, a little stale popcorn, a little warm celluloid: an aroma only a cinephile could love. Added bonus: it's allegedly the oldest still operating theatre in San Francisco.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003ca href=\"http://www.landmarktheatres.com/market/SanFrancisco/ClayTheatre.htm\">Clay Theatre\u003c/a>\u003c/strong>\u003cbr>\n2261 Fillmore Street, San Francisco\u003c/p>\n\u003cfigure id=\"attachment_12280\" class=\"wp-caption aligncenter\" style=\"max-width: 335px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/05/30/the-best-movie-houses-of-the-bay-area-san-francisco-oakland/401px-clay_movie_theatre/\" rel=\"attachment wp-att-12280\">\u003cimg class=\"wp-image-12280\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/05/401px-Clay_Movie_theatre.jpg\" alt=\"Photo: Wikimedia Commons\" width=\"335\" height=\"500\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/05/401px-Clay_Movie_theatre.jpg 401w, https://ww2.kqed.org/app/uploads/sites/12/2014/05/401px-Clay_Movie_theatre-400x597.jpg 400w\" sizes=\"(max-width: 335px) 100vw, 335px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://commons.wikimedia.org/wiki/File:Clay_Movie_theatre.jpg\">Wikimedia Commons\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>I have four words for you to explain one of the many reasons the Clay is a great neighborhood movie house. \u003cem>Rocky Horror Picture Show\u003c/em>. In addition to hosting midnight showings of the audience participation classic, the theater is also renowned for showing other cult films in its history, including a long running screening of John Waters' \u003cem>Pink Flamingos\u003c/em> in the '70s. The Pacific Heights bar and restaurant scene makes the Clay a perfect date night destination. \u003cem>San Francisco Magazine\u003c/em> even names it the \"best theater to makeout in\" in 2004. A, um, friend of mine can vouch for that...\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003ca href=\"http://paramounttheatre.com\">The Paramount Theatre\u003c/a>\u003c/strong>\u003cbr>\n2025 Broadway, Oakland\u003c/p>\n\u003cfigure id=\"attachment_12277\" class=\"wp-caption aligncenter\" style=\"max-width: 352px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/05/30/the-best-movie-houses-of-the-bay-area-san-francisco-oakland/422px-paramount_oakland_571434cu/\" rel=\"attachment wp-att-12277\">\u003cimg class=\"wp-image-12277\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/05/422px-Paramount_Oakland_571434cu.jpg\" alt=\"Photo: Wikimedia Commons\" width=\"352\" height=\"500\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/05/422px-Paramount_Oakland_571434cu.jpg 422w, https://ww2.kqed.org/app/uploads/sites/12/2014/05/422px-Paramount_Oakland_571434cu-400x567.jpg 400w\" sizes=\"(max-width: 352px) 100vw, 352px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://commons.wikimedia.org/wiki/File:Paramount_Oakland_571434cu.jpg\">Wikimedia Commons\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>The Paramount is a theatre that does double duty; sometimes it hosts concerts with A-list talent (I've seen Tori Amos there more times than I can remember), while never neglecting its origins as a movie house. Actually, the term \"movie house\" is insufficient; the Paramount is truly a movie PALACE in the old sense. The opulent decor is show enough (a fabulous example of Egyptian Revival), but there's also the added benefit that, in addition to screening classic films, they also screen later favorites like \u003cem>The Goonies\u003c/em> and the occasional horror schlock, which is elevated to art amidst the gazes of the plaster sphinxes. In the '20s, '30s and '40s, movie studios frequently also owned the theaters their movies played in, and the Paramount is a fabulous reminder of this back-in-the-day monopoly. Every time I've seen Tori in concert at the Paramount, she can't help but compliment her surroundings, which is probably why she, like us, keeps coming back.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003ca href=\"http://voguesf.com\">Vogue Theatre\u003c/a>\u003c/strong>\u003cbr>\n3290 Sacramento, San Francisco\u003c/p>\n\u003cfigure id=\"attachment_12282\" class=\"wp-caption aligncenter\" style=\"max-width: 375px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/05/30/the-best-movie-houses-of-the-bay-area-san-francisco-oakland/vogue/\" rel=\"attachment wp-att-12282\">\u003cimg class=\"wp-image-12282\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/05/vogue.jpg\" alt=\"Photo: Brian Ferrell, via Flickr\" width=\"375\" height=\"500\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/05/vogue.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2014/05/vogue-400x533.jpg 400w\" sizes=\"(max-width: 375px) 100vw, 375px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://www.flickr.com/photos/endenizen/3751247894/\">Brian Ferrell\u003c/a>, via Flickr\u003c/figcaption>\u003c/figure>\n\u003cp>A neighborhood gem, this Presidio Heights theatre is (according to property records) the second oldest operating movie house in San Francisco. Go for the quiet, the lack of crowds on a weeknight and the fabulous \"Mostly British Film Festival.\" And come back for the great cultural events the Vogue hosts, including the \"Dance Film Festival\" and simulcast screenings of the opera.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003ca href=\"http://castrotheatre.com\">The Castro Theatre\u003c/a>\u003c/strong>\u003cbr>\n429 Castro Street, San Francisco\u003c/p>\n\u003cfigure id=\"attachment_12276\" class=\"wp-caption aligncenter\" style=\"max-width: 375px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/05/30/the-best-movie-houses-of-the-bay-area-san-francisco-oakland/castro3/\" rel=\"attachment wp-att-12276\">\u003cimg class=\"wp-image-12276\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/05/castro3.jpg\" alt=\"Photo: Emmanuel Hapsis\" width=\"375\" height=\"500\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/05/castro3.jpg 500w, https://ww2.kqed.org/app/uploads/sites/12/2014/05/castro3-400x533.jpg 400w\" sizes=\"(max-width: 375px) 100vw, 375px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Emmanuel Hapsis\u003c/figcaption>\u003c/figure>\n\u003cp>I've saved my personal favorite for last. Whether you're going to a major film festival, star-studded premiere, kid friendly sing-a-long or Peaches Christ drag spectacular, it's almost impossible to have a bad time at the Castro. Yes, the Castro is beautiful, yes, it hosts only-in-SF traditions (what other city does an annual screening of \u003cem>Showgirls?\u003c/em>) and yes, it is the place where many burgeoning young cinephiles first saw Fellini and Bergman and Almodovar on the big screen, but it's also important for being one of the most distinguishable landmarks in the neighborhood that helped bring gay rights to the forefront of American culture.\u003c/p>\n\u003cp>My favorite place to watch a movie in the Castro is in the balcony; you not only have a great view of the screen, but you also have a great view of the audience, which is sometimes the real show. The next time the Castro screens \u003cem>Milk\u003c/em>, run, don't walk to the next show time. To sit inside the theatre while watching crowds onscreen processing outside is a total \u003cem>Twin Peaks\u003c/em> moment that's at once a little eery and completely magical. For me, the Castro will always be the beating heart of the SF movie house scene, pumping blood to all the other organs in the body electric of our film-going fantasies.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>On second thought, who needs a mega-multiplex?\u003c/p>\n\n",
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"excerpt": "Take a break from Netflix and catch a flick at some of these local favorites, while we still have them.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_12278\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/05/30/the-best-movie-houses-of-the-bay-area-san-francisco-oakland/roxie-theater/\" rel=\"attachment wp-att-12278\">\u003cimg class=\"size-full wp-image-12278\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/05/roxie-theater.jpg\" alt=\"Photo: Thomas Hawk, via Flickr\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/05/roxie-theater.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2014/05/roxie-theater-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://www.flickr.com/photos/51035555243@N01/4520083241\">Thomas Hawk\u003c/a>, via Flickr\u003c/figcaption>\u003c/figure>\n\u003cp>Mega-multiplexes have their uses. When you want to see the latest IMAX-3-D-explosion-laden-Michael Bay-or-Jerry Bruckheimer-produced-blockbuster-probably-starring-Mark Wahlberg, by all means, run to the Cinema 12 or 26 screen. Spend $60 on a small popcorn and a Diet Sprite and fasten yourself into the reclining chairs as the sound system blasts you almost into the adjacent screening. It's the American way.\u003c/p>\n\u003cp>But what about when you want an intimate, slightly more personal film viewing experience? Thankfully, San Francisco (and other parts of the Bay Area) still have a handful of decent single screen and art house movie theaters for your enjoyment. Whether you want to gaze adoringly at Montgomery Clift and Elizabeth Taylor in a revival of \u003cem>A Place in the Sun\u003c/em> at the Stanford in Palo Alto or slump down in the lumpy seats at the Balboa while taking in a late run flick, there's something for everyone on our list of favorite movie houses.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003ca href=\"http://www.stanfordtheatre.org\">The Stanford Theatre\u003c/a>\u003c/strong>\u003cbr>\n221 University Avenue, Palo Alto\u003c/p>\n\u003cfigure id=\"attachment_12275\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/05/30/the-best-movie-houses-of-the-bay-area-san-francisco-oakland/7634399494_a5fa9a666c_z/\" rel=\"attachment wp-att-12275\">\u003cimg class=\"wp-image-12275\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/05/7634399494_a5fa9a666c_z.jpg\" alt=\"Photo: Adam Fagen, via Flickr\" width=\"600\" height=\"411\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/05/7634399494_a5fa9a666c_z.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2014/05/7634399494_a5fa9a666c_z-400x273.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://www.flickr.com/photos/afagen/7634399494/\">Adam Fagen\u003c/a>, via Flickr\u003c/figcaption>\u003c/figure>\n\u003cp>Amidst the Apple stores, Pottery Barns and undergrad hangouts of University Avenue stands the historic Stanford Theater, a perfect slice of what small town life was like between the wars when stockings were seamed and the movies were our greatest escape. This architectural gem of a movie house, and the Stanford Theatre Foundation that manages it, are dedicated to showing classic Hollywood films as they were meant to be seen: on the big screen, on film and with the kind of equipment originally used to show films during the theatre's heyday. Well worth a trip down the peninsula, the theatre frequently dedicates their schedule to movie stars (Fred Astaire, Bette Davis) and directors (John Ford, Vincente Minnelli) for mini-festivals celebrating the best of old Hollywood. For an added plus, the popcorn can't be beat, and be sure not to miss the historic film poster collection on rotation in the lobby.\u003c/p>\n\u003cp style=\"text-align: center\">\u003ca href=\"http://www.cinemasf.com/balboa/\">\u003cstrong>Balboa Theatre\u003c/strong>\u003c/a>\u003cbr>\n3630 Balboa Street, San Francisco\u003c/p>\n\u003cfigure id=\"attachment_12279\" class=\"wp-caption aligncenter\" style=\"max-width: 375px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/05/30/the-best-movie-houses-of-the-bay-area-san-francisco-oakland/4022408032_aecf4f7075_b/\" rel=\"attachment wp-att-12279\">\u003cimg class=\"wp-image-12279\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/05/4022408032_aecf4f7075_b.jpg\" alt=\"Photo: Serafina, via Flickr\" width=\"375\" height=\"500\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/05/4022408032_aecf4f7075_b.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2014/05/4022408032_aecf4f7075_b-400x533.jpg 400w\" sizes=\"(max-width: 375px) 100vw, 375px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://www.flickr.com/photos/phyxiusone/4022408032/\">Serafina\u003c/a>, via Flickr\u003c/figcaption>\u003c/figure>\n\u003cp>Often overlooked when discussing great San Francisco movie houses, the old Balboa is just decrepit and seedy enough around the edges to make it completely charming and yet still remind you of a time when moviegoing had a bit of glamour attached. The Art Deco-by-way-of-seventies-redo interior is worth the price of admission alone, but, once you get talking to the old timers at the ticket counter and behind concessions, it's almost incidental what movie you're there to see. It's not unusual to be almost completely alone in the theater, or at least feel like it once the darkness descends on you and the rattling old sound system echoes in the space.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp style=\"text-align: center\">\u003ca href=\"http://www.roxie.com/\">\u003cstrong>Roxie\u003c/strong>\u003c/a>\u003cbr>\n3117 16th Street, San Francisco\u003c/p>\n\u003cfigure id=\"attachment_12281\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/05/30/the-best-movie-houses-of-the-bay-area-san-francisco-oakland/4019285755_89cacd99ba_z-1/\" rel=\"attachment wp-att-12281\">\u003cimg class=\"wp-image-12281\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/05/4019285755_89cacd99ba_z-1.jpg\" alt=\"Photo: tkamenick, via Flickr\" width=\"600\" height=\"404\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/05/4019285755_89cacd99ba_z-1.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2014/05/4019285755_89cacd99ba_z-1-400x269.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://www.flickr.com/photos/35064820@N00/4019285755/\">tkamenick\u003c/a>, via Flickr\u003c/figcaption>\u003c/figure>\n\u003cp>If you want to see a two part, five hour Japanese movie about cross-dressing step-siblings who fall in love and then join a cult, the Roxie is your theater. Likewise, if you want to sit through an all day Wes Anderson retrospective before seeing his latest, or if you just want to feel like you're traveling back in time to the '70s for a little exploitation grindhouse fun with a slightly ruckus group of filmgoers. Something about the place even \u003cem>smells\u003c/em> authentic: it's a little bit bar floor, a little stale popcorn, a little warm celluloid: an aroma only a cinephile could love. Added bonus: it's allegedly the oldest still operating theatre in San Francisco.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003ca href=\"http://www.landmarktheatres.com/market/SanFrancisco/ClayTheatre.htm\">Clay Theatre\u003c/a>\u003c/strong>\u003cbr>\n2261 Fillmore Street, San Francisco\u003c/p>\n\u003cfigure id=\"attachment_12280\" class=\"wp-caption aligncenter\" style=\"max-width: 335px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/05/30/the-best-movie-houses-of-the-bay-area-san-francisco-oakland/401px-clay_movie_theatre/\" rel=\"attachment wp-att-12280\">\u003cimg class=\"wp-image-12280\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/05/401px-Clay_Movie_theatre.jpg\" alt=\"Photo: Wikimedia Commons\" width=\"335\" height=\"500\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/05/401px-Clay_Movie_theatre.jpg 401w, https://ww2.kqed.org/app/uploads/sites/12/2014/05/401px-Clay_Movie_theatre-400x597.jpg 400w\" sizes=\"(max-width: 335px) 100vw, 335px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://commons.wikimedia.org/wiki/File:Clay_Movie_theatre.jpg\">Wikimedia Commons\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>I have four words for you to explain one of the many reasons the Clay is a great neighborhood movie house. \u003cem>Rocky Horror Picture Show\u003c/em>. In addition to hosting midnight showings of the audience participation classic, the theater is also renowned for showing other cult films in its history, including a long running screening of John Waters' \u003cem>Pink Flamingos\u003c/em> in the '70s. The Pacific Heights bar and restaurant scene makes the Clay a perfect date night destination. \u003cem>San Francisco Magazine\u003c/em> even names it the \"best theater to makeout in\" in 2004. A, um, friend of mine can vouch for that...\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003ca href=\"http://paramounttheatre.com\">The Paramount Theatre\u003c/a>\u003c/strong>\u003cbr>\n2025 Broadway, Oakland\u003c/p>\n\u003cfigure id=\"attachment_12277\" class=\"wp-caption aligncenter\" style=\"max-width: 352px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/05/30/the-best-movie-houses-of-the-bay-area-san-francisco-oakland/422px-paramount_oakland_571434cu/\" rel=\"attachment wp-att-12277\">\u003cimg class=\"wp-image-12277\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/05/422px-Paramount_Oakland_571434cu.jpg\" alt=\"Photo: Wikimedia Commons\" width=\"352\" height=\"500\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/05/422px-Paramount_Oakland_571434cu.jpg 422w, https://ww2.kqed.org/app/uploads/sites/12/2014/05/422px-Paramount_Oakland_571434cu-400x567.jpg 400w\" sizes=\"(max-width: 352px) 100vw, 352px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://commons.wikimedia.org/wiki/File:Paramount_Oakland_571434cu.jpg\">Wikimedia Commons\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>The Paramount is a theatre that does double duty; sometimes it hosts concerts with A-list talent (I've seen Tori Amos there more times than I can remember), while never neglecting its origins as a movie house. Actually, the term \"movie house\" is insufficient; the Paramount is truly a movie PALACE in the old sense. The opulent decor is show enough (a fabulous example of Egyptian Revival), but there's also the added benefit that, in addition to screening classic films, they also screen later favorites like \u003cem>The Goonies\u003c/em> and the occasional horror schlock, which is elevated to art amidst the gazes of the plaster sphinxes. In the '20s, '30s and '40s, movie studios frequently also owned the theaters their movies played in, and the Paramount is a fabulous reminder of this back-in-the-day monopoly. Every time I've seen Tori in concert at the Paramount, she can't help but compliment her surroundings, which is probably why she, like us, keeps coming back.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003ca href=\"http://voguesf.com\">Vogue Theatre\u003c/a>\u003c/strong>\u003cbr>\n3290 Sacramento, San Francisco\u003c/p>\n\u003cfigure id=\"attachment_12282\" class=\"wp-caption aligncenter\" style=\"max-width: 375px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/05/30/the-best-movie-houses-of-the-bay-area-san-francisco-oakland/vogue/\" rel=\"attachment wp-att-12282\">\u003cimg class=\"wp-image-12282\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/05/vogue.jpg\" alt=\"Photo: Brian Ferrell, via Flickr\" width=\"375\" height=\"500\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/05/vogue.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2014/05/vogue-400x533.jpg 400w\" sizes=\"(max-width: 375px) 100vw, 375px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://www.flickr.com/photos/endenizen/3751247894/\">Brian Ferrell\u003c/a>, via Flickr\u003c/figcaption>\u003c/figure>\n\u003cp>A neighborhood gem, this Presidio Heights theatre is (according to property records) the second oldest operating movie house in San Francisco. Go for the quiet, the lack of crowds on a weeknight and the fabulous \"Mostly British Film Festival.\" And come back for the great cultural events the Vogue hosts, including the \"Dance Film Festival\" and simulcast screenings of the opera.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003ca href=\"http://castrotheatre.com\">The Castro Theatre\u003c/a>\u003c/strong>\u003cbr>\n429 Castro Street, San Francisco\u003c/p>\n\u003cfigure id=\"attachment_12276\" class=\"wp-caption aligncenter\" style=\"max-width: 375px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/05/30/the-best-movie-houses-of-the-bay-area-san-francisco-oakland/castro3/\" rel=\"attachment wp-att-12276\">\u003cimg class=\"wp-image-12276\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/05/castro3.jpg\" alt=\"Photo: Emmanuel Hapsis\" width=\"375\" height=\"500\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/05/castro3.jpg 500w, https://ww2.kqed.org/app/uploads/sites/12/2014/05/castro3-400x533.jpg 400w\" sizes=\"(max-width: 375px) 100vw, 375px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Emmanuel Hapsis\u003c/figcaption>\u003c/figure>\n\u003cp>I've saved my personal favorite for last. Whether you're going to a major film festival, star-studded premiere, kid friendly sing-a-long or Peaches Christ drag spectacular, it's almost impossible to have a bad time at the Castro. Yes, the Castro is beautiful, yes, it hosts only-in-SF traditions (what other city does an annual screening of \u003cem>Showgirls?\u003c/em>) and yes, it is the place where many burgeoning young cinephiles first saw Fellini and Bergman and Almodovar on the big screen, but it's also important for being one of the most distinguishable landmarks in the neighborhood that helped bring gay rights to the forefront of American culture.\u003c/p>\n\u003cp>My favorite place to watch a movie in the Castro is in the balcony; you not only have a great view of the screen, but you also have a great view of the audience, which is sometimes the real show. The next time the Castro screens \u003cem>Milk\u003c/em>, run, don't walk to the next show time. To sit inside the theatre while watching crowds onscreen processing outside is a total \u003cem>Twin Peaks\u003c/em> moment that's at once a little eery and completely magical. For me, the Castro will always be the beating heart of the SF movie house scene, pumping blood to all the other organs in the body electric of our film-going fantasies.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
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},
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
},
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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