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"content": "\u003cp>Best? Top? Favorite? I don’t know what to call them. I had enough trouble narrowing it down to as many movies as years. These annual reflective round-ups always confound me (and you, probably), but the tyranny of ten becomes even more outrageous when dealing with a decade’s worth of material.\u003c/p>\n\u003cp>So there’ll be no proselytizing here, just a sort of blurred time-lapse snapshot of one man’s (evidently rather arty) moviegoing disposition. You’ll notice a lot from Europe. And one American film set in Europe. And another that’s a documentary about an American made by a European. What can I say? By the time you read this, I’ll have left for a European vacation. I doubt that’ll get it out of my system.\u003c/p>\n\u003cp>You may also spot me feeling wistful about the relentless march of time. 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Typically excellent actors Juliette Binoche and Daniel Auteuil rise to a typically pitiless challenge from the austere Austrian auteur Michael Haneke.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cache.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003cb>Grizzly Man\u003c/b> (2005)\u003c/p>\n\u003cp>This exquisitely appropriate union of artist and subject — German madman moviemaker Werner Herzog reflecting on doomed Alaskan bear-watcher Timothy Treadwell — has been haunting me for years.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/grizzly-man.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003cb>Let the Right One In\u003c/b> (2008)\u003c/p>\n\u003cp>If I could see only one vampire movie ever again, or one coming-of-age movie, both would be Tomas Alfredson’s film of John Lindqvist’s script of his own novel. (Which is also to say that, Richard Jenkins notwithstanding, I can do without the forthcoming American remake.)\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/let-the-right-one-in.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003cb>Me and You and Everyone We Know\u003c/b> (2005)\u003c/p>\n\u003cp>My first experience of writer-director-performance artist Miranda July’s inspired, invigorating feature debut ranks high among decade-best movie memories. Its faith in artfulness and fellowship has since been guiding.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/me-and-you.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003cb>Russian Ark\u003c/b> (2002)\u003c/p>\n\u003cp>At last, a film that Russian history buffs and tracking-shot fetishists can agree on. Filmmaker Alexander Sokurov’s technically and poetically astonishing stroll through St. Petersburg’s Hermitage Museum is a virtuosic correlation of content and form.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/russian-ark.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003cb>Saraband\u003c/b> (2003)\u003c/p>\n\u003cp>The late, great master Ingmar Bergman reunites the couple played by Erland Josephson and Liv Ullmann in his 1973 film \u003cb>Scenes from a Marriage\u003c/b>, with profound and moving results.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/saraband.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003cb>Sexy Beast\u003c/b> (2000)\u003c/p>\n\u003cp>Gangster chic had gotten tediously shabby when director Jonathan Glazer’s sinewy feature debut came along and revitalized it. Ray Winstone gives this brilliant black comedy its savory soul, and Ben Kingsley gives it a live-wire jolt. To borrow a line from the latter, “Yes! Yes! Yes! Yes! Yes!”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/sexy-beast.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003cb>Touch the Sound\u003c/b> (2004)\u003c/p>\n\u003cp>You might expect a documentary about a deaf percussionist to get gimmicky or shamefully schmaltzy. But Thomas Riedelsheimer’s innately cinematic portrait of Evelyn Glennie takes its subject’s example and defies all conceptual limitations.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/touch-the-sound.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003cb>You Can Count On Me\u003c/b> (2000)\u003c/p>\n\u003cp>With serene intelligence, genuine warmth and great roles for great actors Mark Ruffalo and Laura Linney, playwright/screenwriter Kenneth Lonergan’s directorial debut sets a new standard for intimate character-driven drama.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/you-can-count-on-me.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Use the comment feature below this post to share your favorite films from the “oughts.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Best? Top? Favorite? I don’t know what to call them. I had enough trouble narrowing it down to as many movies as years. These annual reflective round-ups always confound me (and you, probably), but the tyranny of ten becomes even more outrageous when dealing with a decade’s worth of material.\u003c/p>\n\u003cp>So there’ll be no proselytizing here, just a sort of blurred time-lapse snapshot of one man’s (evidently rather arty) moviegoing disposition. You’ll notice a lot from Europe. And one American film set in Europe. And another that’s a documentary about an American made by a European. What can I say? By the time you read this, I’ll have left for a European vacation. I doubt that’ll get it out of my system.\u003c/p>\n\u003cp>You may also spot me feeling wistful about the relentless march of time. Well, as someone in a movie once said, “Memory is a wonderful thing if you don’t have to deal with the past.”\u003c/p>\n\u003cp>Alphabetically:\u003c/p>\n\u003cp>\u003cb>Before Sunset\u003c/b> (2004)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Writer-director Richard Linklater reunites the couple played by Ethan Hawke and Julie Delpy in his 1995 film “Before Sunrise,” with profound and moving results.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/before-sunset.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003cb>Caché\u003c/b> (2005)\u003c/p>\n\u003cp>A perfect little thriller that also happens to be a timely parable on colonial blowback and the inverse proportionality of surveillance and disconnection. Typically excellent actors Juliette Binoche and Daniel Auteuil rise to a typically pitiless challenge from the austere Austrian auteur Michael Haneke.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cache.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003cb>Grizzly Man\u003c/b> (2005)\u003c/p>\n\u003cp>This exquisitely appropriate union of artist and subject — German madman moviemaker Werner Herzog reflecting on doomed Alaskan bear-watcher Timothy Treadwell — has been haunting me for years.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/grizzly-man.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003cb>Let the Right One In\u003c/b> (2008)\u003c/p>\n\u003cp>If I could see only one vampire movie ever again, or one coming-of-age movie, both would be Tomas Alfredson’s film of John Lindqvist’s script of his own novel. (Which is also to say that, Richard Jenkins notwithstanding, I can do without the forthcoming American remake.)\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/let-the-right-one-in.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003cb>Me and You and Everyone We Know\u003c/b> (2005)\u003c/p>\n\u003cp>My first experience of writer-director-performance artist Miranda July’s inspired, invigorating feature debut ranks high among decade-best movie memories. Its faith in artfulness and fellowship has since been guiding.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/me-and-you.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003cb>Russian Ark\u003c/b> (2002)\u003c/p>\n\u003cp>At last, a film that Russian history buffs and tracking-shot fetishists can agree on. Filmmaker Alexander Sokurov’s technically and poetically astonishing stroll through St. Petersburg’s Hermitage Museum is a virtuosic correlation of content and form.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/russian-ark.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003cb>Saraband\u003c/b> (2003)\u003c/p>\n\u003cp>The late, great master Ingmar Bergman reunites the couple played by Erland Josephson and Liv Ullmann in his 1973 film \u003cb>Scenes from a Marriage\u003c/b>, with profound and moving results.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/saraband.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003cb>Sexy Beast\u003c/b> (2000)\u003c/p>\n\u003cp>Gangster chic had gotten tediously shabby when director Jonathan Glazer’s sinewy feature debut came along and revitalized it. Ray Winstone gives this brilliant black comedy its savory soul, and Ben Kingsley gives it a live-wire jolt. To borrow a line from the latter, “Yes! Yes! Yes! Yes! Yes!”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/sexy-beast.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003cb>Touch the Sound\u003c/b> (2004)\u003c/p>\n\u003cp>You might expect a documentary about a deaf percussionist to get gimmicky or shamefully schmaltzy. But Thomas Riedelsheimer’s innately cinematic portrait of Evelyn Glennie takes its subject’s example and defies all conceptual limitations.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/touch-the-sound.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003cb>You Can Count On Me\u003c/b> (2000)\u003c/p>\n\u003cp>With serene intelligence, genuine warmth and great roles for great actors Mark Ruffalo and Laura Linney, playwright/screenwriter Kenneth Lonergan’s directorial debut sets a new standard for intimate character-driven drama.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/you-can-count-on-me.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Use the comment feature below this post to share your favorite films from the “oughts.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>James Cameron’s greedily expensive and minimally expansive \u003cb>Avatar\u003c/b> is filled with Big Ideas that are tissue-paper thin. Set on another planet some years in the future, the movie delivers a thundering indictment of colonialism (of people), exploitation (of natural resources) and militarism that is old news, frankly, to anyone who’s seen a Western from Hollywood’s heyday. Much more interesting are the questions that \u003cb>Avatar\u003c/b> unwittingly and unintentionally provokes about mainstream movies.\u003c/p>\n\u003cp>\u003cb>Avatar\u003c/b>, in part, is a pretty transparent critique of the U.S. occupation of Iraq. Thanks to its armada of truly impressive special effects and a tidal wave of publicity — but especially because it peddles alternative-universe fantasy rather than gritty reality — more people will buy tickets to \u003cb>Avatar\u003c/b> than will have seen all the other Iraq- and Afghanistan-related dramas combined, from \u003cb>Jarhead\u003c/b> to \u003cb>Battle For Haditha\u003c/b> to this year’s \u003cb>The Hurt Locker\u003c/b>, \u003cb>The Messenger\u003c/b> and \u003cb>Brothers\u003c/b>.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/avatar-4.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>American audiences have repeatedly demonstrated their unwillingness to confront the war in theaters (and everywhere else, for that matter). Should we applaud the distancing effect of 3-D, computer-generated characters, creatures and landscapes that allows or perhaps invites moviegoers to face military scenarios? Or should we be concerned that audiences might confuse video-game visuals for the reality of boots on the ground and bombs in any bag?\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/avatar-1.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>Ultimately, \u003cb>Avatar\u003c/b> isn’t a true science-fiction film — one that brings some imagination to bear about future societies and civilization, utopias or dystopias — but a metaphor for a current situation. Setting a metaphor in space, even at a cost of $300 million, isn’t vision; it’s a copout.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Here’s another contradiction. \u003cb>Avatar\u003c/b> spends most of its time siding with the scientists and condemning the Army brass (but not the soldiers), then rivets us with a half-hour battle of full-metal mayhem. A whole lot of (virtual) destruction of nature takes place, and we do feel the pain. It’s one way of saying, “You don’t know what you’ve got ’til it’s gone,” although I don’t see Joni Mitchell going out with Cameron for veggie stir-fry.\u003c/p>\n\u003cp>There’s also the thorny question of who is allowed, and under what circumstances, to appropriate the history and suffering and wisdom of Native Americans and Africans for ersatz profundity. To his credit, Cameron does avoid heinous condescension and outright ludicrousness, although he does come close to a few Jar-Jar Binks moments.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/avatar-3.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>Mostly, though, I wonder if a movie that costs a fortune to make, and is bankrolled and distributed by a multinational corporation for the sole purpose of generating revenue, can make any pretense of rattling the status quo. \u003cb>Avatar\u003c/b> is an entertaining muddle that poses absolutely no threat.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb> Avatar\u003c/b> opens Friday, December 18, 2009.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>James Cameron’s greedily expensive and minimally expansive \u003cb>Avatar\u003c/b> is filled with Big Ideas that are tissue-paper thin. Set on another planet some years in the future, the movie delivers a thundering indictment of colonialism (of people), exploitation (of natural resources) and militarism that is old news, frankly, to anyone who’s seen a Western from Hollywood’s heyday. Much more interesting are the questions that \u003cb>Avatar\u003c/b> unwittingly and unintentionally provokes about mainstream movies.\u003c/p>\n\u003cp>\u003cb>Avatar\u003c/b>, in part, is a pretty transparent critique of the U.S. occupation of Iraq. Thanks to its armada of truly impressive special effects and a tidal wave of publicity — but especially because it peddles alternative-universe fantasy rather than gritty reality — more people will buy tickets to \u003cb>Avatar\u003c/b> than will have seen all the other Iraq- and Afghanistan-related dramas combined, from \u003cb>Jarhead\u003c/b> to \u003cb>Battle For Haditha\u003c/b> to this year’s \u003cb>The Hurt Locker\u003c/b>, \u003cb>The Messenger\u003c/b> and \u003cb>Brothers\u003c/b>.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/avatar-4.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>American audiences have repeatedly demonstrated their unwillingness to confront the war in theaters (and everywhere else, for that matter). Should we applaud the distancing effect of 3-D, computer-generated characters, creatures and landscapes that allows or perhaps invites moviegoers to face military scenarios? Or should we be concerned that audiences might confuse video-game visuals for the reality of boots on the ground and bombs in any bag?\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/avatar-1.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>Ultimately, \u003cb>Avatar\u003c/b> isn’t a true science-fiction film — one that brings some imagination to bear about future societies and civilization, utopias or dystopias — but a metaphor for a current situation. Setting a metaphor in space, even at a cost of $300 million, isn’t vision; it’s a copout.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Here’s another contradiction. \u003cb>Avatar\u003c/b> spends most of its time siding with the scientists and condemning the Army brass (but not the soldiers), then rivets us with a half-hour battle of full-metal mayhem. A whole lot of (virtual) destruction of nature takes place, and we do feel the pain. It’s one way of saying, “You don’t know what you’ve got ’til it’s gone,” although I don’t see Joni Mitchell going out with Cameron for veggie stir-fry.\u003c/p>\n\u003cp>There’s also the thorny question of who is allowed, and under what circumstances, to appropriate the history and suffering and wisdom of Native Americans and Africans for ersatz profundity. To his credit, Cameron does avoid heinous condescension and outright ludicrousness, although he does come close to a few Jar-Jar Binks moments.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/avatar-3.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>Mostly, though, I wonder if a movie that costs a fortune to make, and is bankrolled and distributed by a multinational corporation for the sole purpose of generating revenue, can make any pretense of rattling the status quo. \u003cb>Avatar\u003c/b> is an entertaining muddle that poses absolutely no threat.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb> Avatar\u003c/b> opens Friday, December 18, 2009.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Although Curt McDowell’s name does ring a bell in cineaste circles, he might still be misunderstood.\u003c/p>\n\u003cp>For instance, he is no known relation to Malcolm McDowell, who perhaps most famously played the milk-chugging and Beethoven-loving sociopath in Kubrick’s \u003cb>A Clockwork Orange\u003c/b>, nor to the late Roddy McDowall, the most famous of the apes in \u003cb>Planet of the Apes\u003c/b>, but it should be pointed out that outrageous sex and primates have indeed figured into his work.\u003c/p>\n\u003cp>In fact, Curt McDowell’s films have been called both experimental and explicit. But apparently, and most confusingly, they’ve also been said to have a great sense of humor. Evidence suggests a rare and perceptive openness, a kind of ribaldry that goes beyond mere camp because it seems less defensive.\u003c/p>\n\u003cp>“He really is a key figure in Bay Area film history,” says Yerba Buena Center for the Arts film and video curator Joel Shepard, who’s presenting a five-film selection of McDowell shorts — fondly described as “weird, anarchic, messy and often sex-driven” — tonight. “But his work has been neglected.”\u003c/p>\n\u003cp>True that. Here, in its entirety, is a prudish and half-grudging obituary from the June 6, 1987, edition of the \u003ci>New York Times\u003c/i>: “Curt McDowell, a prominent underground filmmaker, died of AIDS Wednesday in his San Francisco home, according to \u003ci>The Associated Press\u003c/i>. He was 42 years old. Mr. McDowell’s avant-garde films included ‘Sparkie’s Tavern,’ ‘Loads,’ ‘A Visit to Indiana,’ ‘Pornogra Follies,’ a musical described as a ‘bisexual scatological revue,’ and ‘Nudes,’ a collection of sexual sketches.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With McDowell’s apparent M.O. in mind, there’s something quite charming about the image of the Gray Lady trying not to blush. More recently, McDowell’s work caught the attention of Fox News, when \u003cb>Thundercrack!\u003c/b>, his 1975 midnight-movie favorite (created with frequent collaborator, former lover and beloved local trash maestro George Kuchar) was screened by Frameline with NEA stimulus support. It was just as charming to hear Glenn Beck describe “the world’s only underground kinky art porno horror film, complete with four men, three women and a gorilla.”\u003c/p>\n\u003cp>So far, the only McDowell short I remember seeing — and I’m getting the impression that if I’d seen any others, I wouldn’t forget them — is 1971’s \u003cb>Confessions\u003c/b>, in which he comes out of the closet to his parents in extreme and increasingly hilarious detail.\u003c/p>\n\u003cp>\u003c/p>\u003cp>In addition to \u003cb>Confessions\u003c/b>, Shepard’s selections include \u003cb>Tasteless Trilogy\u003c/b>, \u003cb>Boggy Depot\u003c/b>, \u003cb>Fly Me to the Moon\u003c/b> and the aforementioned \u003cb>Nudes (A Sketchbook)\u003c/b>, in which Kuchar appears. They range in length from 7 to 30 minutes.\u003c/p>\n\u003cp>“Unfortunately, no one has ever bothered to transfer his films to tape or DVD,” Shepard says. “They only exist as the 16mm film prints we will be showing.”\u003c/p>\n\u003cp>But isn’t it more adventurous to see such things in public anyway?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Short Films by Curt McDowell\u003c/b> screens tonight, Thursday December 17, 7:30pm at Yerba Buena Center for the Arts in San Francisco. For \u003ca href=\"http://www.ybca.org/\">more information\u003c/a>, visit ybca.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Although Curt McDowell’s name does ring a bell in cineaste circles, he might still be misunderstood.\u003c/p>\n\u003cp>For instance, he is no known relation to Malcolm McDowell, who perhaps most famously played the milk-chugging and Beethoven-loving sociopath in Kubrick’s \u003cb>A Clockwork Orange\u003c/b>, nor to the late Roddy McDowall, the most famous of the apes in \u003cb>Planet of the Apes\u003c/b>, but it should be pointed out that outrageous sex and primates have indeed figured into his work.\u003c/p>\n\u003cp>In fact, Curt McDowell’s films have been called both experimental and explicit. But apparently, and most confusingly, they’ve also been said to have a great sense of humor. Evidence suggests a rare and perceptive openness, a kind of ribaldry that goes beyond mere camp because it seems less defensive.\u003c/p>\n\u003cp>“He really is a key figure in Bay Area film history,” says Yerba Buena Center for the Arts film and video curator Joel Shepard, who’s presenting a five-film selection of McDowell shorts — fondly described as “weird, anarchic, messy and often sex-driven” — tonight. “But his work has been neglected.”\u003c/p>\n\u003cp>True that. Here, in its entirety, is a prudish and half-grudging obituary from the June 6, 1987, edition of the \u003ci>New York Times\u003c/i>: “Curt McDowell, a prominent underground filmmaker, died of AIDS Wednesday in his San Francisco home, according to \u003ci>The Associated Press\u003c/i>. He was 42 years old. Mr. McDowell’s avant-garde films included ‘Sparkie’s Tavern,’ ‘Loads,’ ‘A Visit to Indiana,’ ‘Pornogra Follies,’ a musical described as a ‘bisexual scatological revue,’ and ‘Nudes,’ a collection of sexual sketches.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With McDowell’s apparent M.O. in mind, there’s something quite charming about the image of the Gray Lady trying not to blush. More recently, McDowell’s work caught the attention of Fox News, when \u003cb>Thundercrack!\u003c/b>, his 1975 midnight-movie favorite (created with frequent collaborator, former lover and beloved local trash maestro George Kuchar) was screened by Frameline with NEA stimulus support. It was just as charming to hear Glenn Beck describe “the world’s only underground kinky art porno horror film, complete with four men, three women and a gorilla.”\u003c/p>\n\u003cp>So far, the only McDowell short I remember seeing — and I’m getting the impression that if I’d seen any others, I wouldn’t forget them — is 1971’s \u003cb>Confessions\u003c/b>, in which he comes out of the closet to his parents in extreme and increasingly hilarious detail.\u003c/p>\n\u003cp>\u003c/p>\u003cp>In addition to \u003cb>Confessions\u003c/b>, Shepard’s selections include \u003cb>Tasteless Trilogy\u003c/b>, \u003cb>Boggy Depot\u003c/b>, \u003cb>Fly Me to the Moon\u003c/b> and the aforementioned \u003cb>Nudes (A Sketchbook)\u003c/b>, in which Kuchar appears. They range in length from 7 to 30 minutes.\u003c/p>\n\u003cp>“Unfortunately, no one has ever bothered to transfer his films to tape or DVD,” Shepard says. “They only exist as the 16mm film prints we will be showing.”\u003c/p>\n\u003cp>But isn’t it more adventurous to see such things in public anyway?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Short Films by Curt McDowell\u003c/b> screens tonight, Thursday December 17, 7:30pm at Yerba Buena Center for the Arts in San Francisco. For \u003ca href=\"http://www.ybca.org/\">more information\u003c/a>, visit ybca.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In this era of media overstimulation, where both public and private space suffer from a constant barrage of sights and sounds, there are two contemporary film directors who use a conversation’s silence — the pauses inside a dialogue — to reveal a character’s thoughts and motivations. Both the Finnish director Aki Kaurismäki, and the steel-haired American Jim Jarmusch, rely on an actor’s skill to convey his/her background. (Their films take place in the ever recurring present: the now, and now, and now…) In doing so, they create tableaux vivant wherein the characters are alive with thought and emotion, rather than writing scripts that explicitly tell an audience what to think and feel about them, or their unexplained pasts. Within this distinction may lie the difference between a standard Hollywood film, and one with a European or art house sensibility.\u003c/p>\n\u003cp>Similarly, with the U.S. release of \u003cb>35 Shots of Rum\u003c/b> (2008), Claire Denis has reclaimed this quiet cinematic territory for her own. Denis started her career as an assistant director, working for, among others, Jarmusch on \u003cb>Down by Law\u003c/b> (1986). After the release of her semi-autobiographical first film \u003cb>Chocolat\u003c/b> (1988) set in colonial Africa, her subject matter has held a tight focus on outsiders and immigrants in urban, French society. In \u003cb>No Fear, No Die\u003c/b> (1990) and \u003cb>I Can’t Sleep\u003c/b> (1994), there is an unrestrained tension between the haves, and the people on the margins, living in crowded apartments or housing projects, struggling to integrate and survive. In other words, Denis has focused her camera’s eye on the effects of post-colonial France, and the images she has shown have been severe and troubling.\u003c/p>\n\u003cp>What Denis shares with Kaurismäki and Jarmusch — the lack of psuedo-psychological, over explanatory motivations — she had already mastered in her more recent films. I remember watching the closing credits for \u003cb>Friday Night\u003c/b> (2002) wondering if I could recall Laure, the main character, having said a word. At one point in the film, Laure, rides in the back of a taxi that’s caught in traffic. The director takes the audience along for this extended ride. Nothing seems to happen for an excruciating amount of time, but when, at last, something does, we’ve been watching Laure’s face and body, as intimately as a lover would. We don’t know all the personal details about her life, but we’ve sat with her during a rush hour commute, taking in her expressions, moods and reactions. To accompany her on the journey requires something from us: the act of paying attention. Otherwise, the audience cannot passively take in or comprehend the character and her story.\u003c/p>\n\u003cp>Of course, there is a way of taking filmed silence to an extreme, to a dead-end of interpretation, where the only meaning to be found is through one’s own personal projections. I was never able to make much sense of Denis’s last, wintry feature film \u003cb>The Intruder\u003c/b> (2004). It felt like a detour through Michael Haneke’s bleakness, where enjoyment at the movies is mostly verboten. So I was relieved to find a straightforward coherence and tenderness driving the narrative of \u003cb>35 Shots of Rum\u003c/b>. Like most of Denis?s work, the film is virtually plotless and has little to no dialogue but sustains a terrific portrait of a young woman, Joséphine, who lives with her father, and their small circle of co-workers, classmates, and acquaintances. There is a familiarity, a closeness, in this community, but the relationships aren’t immediately spelled out for us. Nor is the absence of Joséphine’s mother ever fully accounted for. Again, Denis is visiting a set of urban immigrants, but not as a voyeur or a tourist. \u003cb>35 Shots of Rum\u003c/b> testifies to the fact that there has been significant progress in the degree of assimilation since Denis first started exploring the subject in the 1990s.\u003c/p>\n\u003cp>Not only is this evident in the characters’ mastery of the French language (there are no traces of foreign accents), but they work and play inside a more integrated society. This is not to say that they live in a post-racial world where all is easy living. Like the poor, working class men and women in the films of the Belgian Dardenne brothers, Denis’s characters don’t inhabit roomy country homes, or even suburban flats. There isn’t much physical beauty or relief from the pressures of living in a metropolis. Instead, they are striving to establish their own sense of middle class customs, comforts and norms, as first or second generation citizens in their adopted republic. It’s interesting to think of Claire Denis as one of these immigrants herself. Though born in France, she was raised in Africa. As a white woman, her films could condescend to her subjects and the audience. What’s thrilling about her work, especially in a film like \u003cb>35 Shots of Rum\u003c/b>, is watching the characters spend time together in silence, thinking for themselves. Even if we’re watching an interior monologue, a solitary conversation with the self, Denis realizes a verisimilitude that is as compelling as a documentary, and as moving as an incisive work of art.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Over the course of this 100 minute film, a father (Alex Descas in an understated, near mute, performance), slowly comes to understand his daughter’s need for independence. Without melodramatic shouting matches, or teary-eyed (and tired) reconciliation scenes, we witness Joséphine’s story arc, the life-changing decision she makes, and her subsequent, ravishing transformation into a mature, young woman. These are the rewards of watching a Denis film: knowing nothing about the characters and their origins at the outset, learning few, if any, factual details as the story unfolds, and yet, becoming involved — almost submerged — inside their emotional lives. All the director asks of us is that we pay attention to her subtlety, and her every bit of nuance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>35 Shots of Rum\u003c/b> opens Friday, December 18, 2009.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In this era of media overstimulation, where both public and private space suffer from a constant barrage of sights and sounds, there are two contemporary film directors who use a conversation’s silence — the pauses inside a dialogue — to reveal a character’s thoughts and motivations. Both the Finnish director Aki Kaurismäki, and the steel-haired American Jim Jarmusch, rely on an actor’s skill to convey his/her background. (Their films take place in the ever recurring present: the now, and now, and now…) In doing so, they create tableaux vivant wherein the characters are alive with thought and emotion, rather than writing scripts that explicitly tell an audience what to think and feel about them, or their unexplained pasts. Within this distinction may lie the difference between a standard Hollywood film, and one with a European or art house sensibility.\u003c/p>\n\u003cp>Similarly, with the U.S. release of \u003cb>35 Shots of Rum\u003c/b> (2008), Claire Denis has reclaimed this quiet cinematic territory for her own. Denis started her career as an assistant director, working for, among others, Jarmusch on \u003cb>Down by Law\u003c/b> (1986). After the release of her semi-autobiographical first film \u003cb>Chocolat\u003c/b> (1988) set in colonial Africa, her subject matter has held a tight focus on outsiders and immigrants in urban, French society. In \u003cb>No Fear, No Die\u003c/b> (1990) and \u003cb>I Can’t Sleep\u003c/b> (1994), there is an unrestrained tension between the haves, and the people on the margins, living in crowded apartments or housing projects, struggling to integrate and survive. In other words, Denis has focused her camera’s eye on the effects of post-colonial France, and the images she has shown have been severe and troubling.\u003c/p>\n\u003cp>What Denis shares with Kaurismäki and Jarmusch — the lack of psuedo-psychological, over explanatory motivations — she had already mastered in her more recent films. I remember watching the closing credits for \u003cb>Friday Night\u003c/b> (2002) wondering if I could recall Laure, the main character, having said a word. At one point in the film, Laure, rides in the back of a taxi that’s caught in traffic. The director takes the audience along for this extended ride. Nothing seems to happen for an excruciating amount of time, but when, at last, something does, we’ve been watching Laure’s face and body, as intimately as a lover would. We don’t know all the personal details about her life, but we’ve sat with her during a rush hour commute, taking in her expressions, moods and reactions. To accompany her on the journey requires something from us: the act of paying attention. Otherwise, the audience cannot passively take in or comprehend the character and her story.\u003c/p>\n\u003cp>Of course, there is a way of taking filmed silence to an extreme, to a dead-end of interpretation, where the only meaning to be found is through one’s own personal projections. I was never able to make much sense of Denis’s last, wintry feature film \u003cb>The Intruder\u003c/b> (2004). It felt like a detour through Michael Haneke’s bleakness, where enjoyment at the movies is mostly verboten. So I was relieved to find a straightforward coherence and tenderness driving the narrative of \u003cb>35 Shots of Rum\u003c/b>. Like most of Denis?s work, the film is virtually plotless and has little to no dialogue but sustains a terrific portrait of a young woman, Joséphine, who lives with her father, and their small circle of co-workers, classmates, and acquaintances. There is a familiarity, a closeness, in this community, but the relationships aren’t immediately spelled out for us. Nor is the absence of Joséphine’s mother ever fully accounted for. Again, Denis is visiting a set of urban immigrants, but not as a voyeur or a tourist. \u003cb>35 Shots of Rum\u003c/b> testifies to the fact that there has been significant progress in the degree of assimilation since Denis first started exploring the subject in the 1990s.\u003c/p>\n\u003cp>Not only is this evident in the characters’ mastery of the French language (there are no traces of foreign accents), but they work and play inside a more integrated society. This is not to say that they live in a post-racial world where all is easy living. Like the poor, working class men and women in the films of the Belgian Dardenne brothers, Denis’s characters don’t inhabit roomy country homes, or even suburban flats. There isn’t much physical beauty or relief from the pressures of living in a metropolis. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Over the course of this 100 minute film, a father (Alex Descas in an understated, near mute, performance), slowly comes to understand his daughter’s need for independence. Without melodramatic shouting matches, or teary-eyed (and tired) reconciliation scenes, we witness Joséphine’s story arc, the life-changing decision she makes, and her subsequent, ravishing transformation into a mature, young woman. These are the rewards of watching a Denis film: knowing nothing about the characters and their origins at the outset, learning few, if any, factual details as the story unfolds, and yet, becoming involved — almost submerged — inside their emotional lives. All the director asks of us is that we pay attention to her subtlety, and her every bit of nuance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>35 Shots of Rum\u003c/b> opens Friday, December 18, 2009.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It used to be that a play would run on Broadway, win a few Tony awards, and then go dark before the national touring company brought the fabled production to the grateful rabble out in the provinces. In recent years, this quaint timeline has been radically compressed, as seen in the recent production of \u003cb>The 39 Steps\u003c/b>, which runs through January 2, 2010 at the Curran Theatre in San Francisco. This version has been touring since August, even though the play continues on Broadway until January 10, 2010 and the production in London’s West End runs through February 13. I hear Mel Brooks is staging the musical version on Twitter next week…\u003c/p>\n\u003cp>With a cast of only four and a script that calls for more pantomime than props, the production is lean and tough, relying on the inventiveness of just three men and one woman to convey everything from train travel to automobile chases. But that’s all still to come when we meet our hero, Richard Hannay (Ted Deasy), a privileged, English gentleman who complains, from the comfort of his padded easy chair, that he is bored, so much so that he’s even willing to subject himself to an evening of utterly mindless and pointless theater. As the suggestion makes clear, we in the audience have done pretty much the same thing.\u003c/p>\n\u003cp>Based on the 1915 novel by John Buchan and the 1935 film by Alfred Hitchcock, \u003cb>The 39 Steps\u003c/b> is a smart, funny, and fast-paced parody of the thriller genre. You won’t have to concentrate too hard to hear all the references to other Hitchcock films and their titles — there’s even a shadow-puppet profile of the great director, a suitably silly substitute for Hitch’s habit of making cameos in his own films.\u003c/p>\n\u003cp>Subtle \u003cb>The 39 Steps\u003c/b> is not. The actors turn their heads in tight unison to look at, and then away from, each other; they click their heels to punctuate the action; and they repeatedly run in place, sometimes wildly flapping the hems of their coats to give the impression that they are battling terrific headwinds. The vaudevillian, Monty Pythonesque shtick is flogged again and again — at one point, when Eric Hissom and Scott Parkinson, who are listed in the program only as Man #1 and Man #2, find themselves trapped in a feedback loop of endless character changes, an impatient Hannay brays at them: “Get on with it!” Would that he could have had the same power to halt, or speed along, some of the scenes in the play’s second act, which drags a bit in the middle compared to the first.\u003c/p>\n\u003cp>But the actors, including Claire Brownell as the various female leads (I especially liked her cartoon-Natasha accent as Annabella Schmidt), are fully committed to the zaniness. With little more than a few boxes to work with, they transport us to the roof of a moving train. A door is moved about the stage as one character leads another through the endless rooms of a mysterious manor. And Deasy makes a hilarious escape through a window by, well, just go see it for yourself.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The hijinks never let up. Little wonder, then, that the most common comment my companion and I heard on our way out of the Curran and back to the car was a variation of “Boy, those actors sure worked hard, didn’t they?” Well, yeah, they did, and watching them perform their theatrical calisthenics was great fun. But making a buche du noel is a lot of work, too, and yet, at the end of the day, its still basically a big pile of empty calories.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The SHN production of \u003cb>The 39 Steps\u003c/b> runs through January 2, 2010 at the Curran Theatre in San Francisco. For \u003ca href=\"http://www.shnsf.com/shows/the39steps\">tickets and information\u003c/a>, visit shnsf.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It used to be that a play would run on Broadway, win a few Tony awards, and then go dark before the national touring company brought the fabled production to the grateful rabble out in the provinces. In recent years, this quaint timeline has been radically compressed, as seen in the recent production of \u003cb>The 39 Steps\u003c/b>, which runs through January 2, 2010 at the Curran Theatre in San Francisco. This version has been touring since August, even though the play continues on Broadway until January 10, 2010 and the production in London’s West End runs through February 13. I hear Mel Brooks is staging the musical version on Twitter next week…\u003c/p>\n\u003cp>With a cast of only four and a script that calls for more pantomime than props, the production is lean and tough, relying on the inventiveness of just three men and one woman to convey everything from train travel to automobile chases. But that’s all still to come when we meet our hero, Richard Hannay (Ted Deasy), a privileged, English gentleman who complains, from the comfort of his padded easy chair, that he is bored, so much so that he’s even willing to subject himself to an evening of utterly mindless and pointless theater. As the suggestion makes clear, we in the audience have done pretty much the same thing.\u003c/p>\n\u003cp>Based on the 1915 novel by John Buchan and the 1935 film by Alfred Hitchcock, \u003cb>The 39 Steps\u003c/b> is a smart, funny, and fast-paced parody of the thriller genre. You won’t have to concentrate too hard to hear all the references to other Hitchcock films and their titles — there’s even a shadow-puppet profile of the great director, a suitably silly substitute for Hitch’s habit of making cameos in his own films.\u003c/p>\n\u003cp>Subtle \u003cb>The 39 Steps\u003c/b> is not. The actors turn their heads in tight unison to look at, and then away from, each other; they click their heels to punctuate the action; and they repeatedly run in place, sometimes wildly flapping the hems of their coats to give the impression that they are battling terrific headwinds. The vaudevillian, Monty Pythonesque shtick is flogged again and again — at one point, when Eric Hissom and Scott Parkinson, who are listed in the program only as Man #1 and Man #2, find themselves trapped in a feedback loop of endless character changes, an impatient Hannay brays at them: “Get on with it!” Would that he could have had the same power to halt, or speed along, some of the scenes in the play’s second act, which drags a bit in the middle compared to the first.\u003c/p>\n\u003cp>But the actors, including Claire Brownell as the various female leads (I especially liked her cartoon-Natasha accent as Annabella Schmidt), are fully committed to the zaniness. With little more than a few boxes to work with, they transport us to the roof of a moving train. A door is moved about the stage as one character leads another through the endless rooms of a mysterious manor. And Deasy makes a hilarious escape through a window by, well, just go see it for yourself.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The hijinks never let up. Little wonder, then, that the most common comment my companion and I heard on our way out of the Curran and back to the car was a variation of “Boy, those actors sure worked hard, didn’t they?” Well, yeah, they did, and watching them perform their theatrical calisthenics was great fun. But making a buche du noel is a lot of work, too, and yet, at the end of the day, its still basically a big pile of empty calories.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The SHN production of \u003cb>The 39 Steps\u003c/b> runs through January 2, 2010 at the Curran Theatre in San Francisco. For \u003ca href=\"http://www.shnsf.com/shows/the39steps\">tickets and information\u003c/a>, visit shnsf.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Fashion designer Tom Ford has impeccable taste. In the past, he has breathed new life into such brands as Gucci and Yves St. Laurent, and now he has taken a break from haute couture to direct, co-write, and co-produce his first film. \u003cb>A Single Man\u003c/b> could have easily been a disastrous vanity project, but, surprisingly, it’s a beautiful meditation on loneliness, mortality, and love that has Oscar written all over it.\u003c/p>\n\u003cp>Adapted from a Christopher Isherwood novel of the same name, the film is set in Los Angeles in 1962 during the escalation of the Cuban Missile Crisis. Our protagonist, George Falconer, is a gay college professor who is navigating the fall-out from the death of his lover of 16 years as well as the overall sense of doom and uncertainty of the time period. The audience is immediately given full access to his inner sanctum — his mind is cluttered with painful flashbacks of better times, while he maintains appearances to a neurotic degree (impeccably pressed suits and an immaculate living space). We follow him through his morning rituals, but soon learn that what’s different about this particular day is that George has decided it will be his last.\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/single-man-1.jpg\">\u003c/p>\n\u003cp>Quite heavy material for someone like Colin Firth, who is best known for fluffy fare (\u003cb>Mamma Mia!\u003c/b>) and playing different versions of Mr. Darcy (the BBC’s \u003cb>Pride & Prejudice\u003c/b>, \u003cb>Bridget Jones’ Diary\u003c/b>). To be honest, I didn’t expect much of Firth, but I was wrong. Dead wrong. I never once saw Colin Firth the actor on the screen, only the raw suffering of his character. He’s already won the best actor award at the Venice Film Festival and I would be surprised if he didn’t go on to win many more awards, maybe even the most prized gold statue of them all.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/single-man-2.jpg\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Julianne Moore is downright delicious as Charley, a woman who only gets out of bed for her gay best friend or a gimlet. Left behind by her husband and children, Charley indulges in a self-sabotaging desire for George, a man she can never have. She hides her yearning under layers of makeup, cigarette smoke, and booze, only for it to reveal itself in ugly ways when she’s had too much to drink. Moore is simply brilliant at delivering the pained playfulness of this woman without making a caricature out of her.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/single-man-3.jpg\">\u003c/p>\n\u003cp>In one particularly heart-breaking scene, George is told that his lover’s funeral will be “family only.” Despite his almost two decade relationship, George is considered invisible because of his sexuality. \u003cb>A Single Man\u003c/b>‘s purpose is to shine a light on how this man is forced by an unforgiving society to hide his truth. In spite of this, the marketing for the movie places George back in the shadows. Posters accentuate the dynamic between George and Charley (\u003ca href=\"http://www.awardsdaily.com/wp-content/uploads/2009/11/single-man-3.jpg\">one of them\u003c/a> even pictures the two lying down in bed together) and any overt gayness has been removed from the American trailers completely.\u003c/p>\n\u003cp>It’s disconcerting that the studio has gone out of its way to represent this story as something it’s not. By indulging any apprehension to a gay love story, the studio not only reinforces our culture’s latent homophobia, but condones it. \u003ca href=\"http://www.advocate.com/Arts_and_Entertainment/Film/Colin_Firth_Singled_Out/\">When asked if he believes this “de-gaying” approach does a disservice to the film\u003c/a>, Colin Firth said: “Yes, I do. It is deceptive. I don’t think they should do that because there’s nothing to sanitize. It’s a beautiful story of love between two men and I see no point in hiding that.” Despite the controversy, all will be forgotten in the end. What stays in the mind is the film’s unflinching message: all human feeling is equal.\u003c/p>\n\u003cp>Impeccably shot and hyper stylized in a way that only a fashion designer could pull off, Ford turns every shot into something worthy of a \u003ci>Vogue\u003c/i> photo spread, from the arrangement and lighting to the make-up and wardrobe. \u003cb>A Single Man\u003c/b> drips with Tom Ford’s specific brand of beauty, yet its chic aesthetic never overwhelms the quiet upheaval occurring underneath the characters’ fragile veneers. I was left transfixed, incapable of parting with that carefully constructed world and unable to think of anything else. I usually try to stay away from superlatives, but I must say that this is the finest movie I’ve seen all year. Go see it. Now.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=B5gDj4wtFDY&hl=en_US&fs=1&showinfo=0&color1=0x3a3a3a&color2=0x999999]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>A Single Man\u003c/b> is out now. \u003ca href=\"http://www.sfgate.com/eguide/movies/playing/\">For tickets and information\u003c/a>, visit sfgate.com\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fashion designer Tom Ford has impeccable taste. In the past, he has breathed new life into such brands as Gucci and Yves St. Laurent, and now he has taken a break from haute couture to direct, co-write, and co-produce his first film. \u003cb>A Single Man\u003c/b> could have easily been a disastrous vanity project, but, surprisingly, it’s a beautiful meditation on loneliness, mortality, and love that has Oscar written all over it.\u003c/p>\n\u003cp>Adapted from a Christopher Isherwood novel of the same name, the film is set in Los Angeles in 1962 during the escalation of the Cuban Missile Crisis. Our protagonist, George Falconer, is a gay college professor who is navigating the fall-out from the death of his lover of 16 years as well as the overall sense of doom and uncertainty of the time period. The audience is immediately given full access to his inner sanctum — his mind is cluttered with painful flashbacks of better times, while he maintains appearances to a neurotic degree (impeccably pressed suits and an immaculate living space). We follow him through his morning rituals, but soon learn that what’s different about this particular day is that George has decided it will be his last.\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/single-man-1.jpg\">\u003c/p>\n\u003cp>Quite heavy material for someone like Colin Firth, who is best known for fluffy fare (\u003cb>Mamma Mia!\u003c/b>) and playing different versions of Mr. Darcy (the BBC’s \u003cb>Pride & Prejudice\u003c/b>, \u003cb>Bridget Jones’ Diary\u003c/b>). To be honest, I didn’t expect much of Firth, but I was wrong. Dead wrong. I never once saw Colin Firth the actor on the screen, only the raw suffering of his character. He’s already won the best actor award at the Venice Film Festival and I would be surprised if he didn’t go on to win many more awards, maybe even the most prized gold statue of them all.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/single-man-2.jpg\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Julianne Moore is downright delicious as Charley, a woman who only gets out of bed for her gay best friend or a gimlet. Left behind by her husband and children, Charley indulges in a self-sabotaging desire for George, a man she can never have. She hides her yearning under layers of makeup, cigarette smoke, and booze, only for it to reveal itself in ugly ways when she’s had too much to drink. Moore is simply brilliant at delivering the pained playfulness of this woman without making a caricature out of her.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/single-man-3.jpg\">\u003c/p>\n\u003cp>In one particularly heart-breaking scene, George is told that his lover’s funeral will be “family only.” Despite his almost two decade relationship, George is considered invisible because of his sexuality. \u003cb>A Single Man\u003c/b>‘s purpose is to shine a light on how this man is forced by an unforgiving society to hide his truth. In spite of this, the marketing for the movie places George back in the shadows. Posters accentuate the dynamic between George and Charley (\u003ca href=\"http://www.awardsdaily.com/wp-content/uploads/2009/11/single-man-3.jpg\">one of them\u003c/a> even pictures the two lying down in bed together) and any overt gayness has been removed from the American trailers completely.\u003c/p>\n\u003cp>It’s disconcerting that the studio has gone out of its way to represent this story as something it’s not. By indulging any apprehension to a gay love story, the studio not only reinforces our culture’s latent homophobia, but condones it. \u003ca href=\"http://www.advocate.com/Arts_and_Entertainment/Film/Colin_Firth_Singled_Out/\">When asked if he believes this “de-gaying” approach does a disservice to the film\u003c/a>, Colin Firth said: “Yes, I do. It is deceptive. I don’t think they should do that because there’s nothing to sanitize. It’s a beautiful story of love between two men and I see no point in hiding that.” Despite the controversy, all will be forgotten in the end. What stays in the mind is the film’s unflinching message: all human feeling is equal.\u003c/p>\n\u003cp>Impeccably shot and hyper stylized in a way that only a fashion designer could pull off, Ford turns every shot into something worthy of a \u003ci>Vogue\u003c/i> photo spread, from the arrangement and lighting to the make-up and wardrobe. \u003cb>A Single Man\u003c/b> drips with Tom Ford’s specific brand of beauty, yet its chic aesthetic never overwhelms the quiet upheaval occurring underneath the characters’ fragile veneers. I was left transfixed, incapable of parting with that carefully constructed world and unable to think of anything else. I usually try to stay away from superlatives, but I must say that this is the finest movie I’ve seen all year. Go see it. Now.\u003c/p>\n\u003cp>\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/B5gDj4wtFDY'\n title='//www.youtube.com/embed/B5gDj4wtFDY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>A Single Man\u003c/b> is out now. \u003ca href=\"http://www.sfgate.com/eguide/movies/playing/\">For tickets and information\u003c/a>, visit sfgate.com\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It may seem like a dim, grim memory now, but there was a bleak epoch when a fella didn’t have the luxury of just being able to watch \u003cb>The Sniper\u003c/b> and \u003cb>The Lineup\u003c/b> any old time he felt like it. And if this fella hadn’t been savvy or lucky enough to catch that particular pair of pugnacious, place-sensitive 1950s San Francisco noirs back-to-back at the Roxie a few months back, he’d just have to hope and pray they turned up on TCM or in some bootlegger’s crap-quality DVDs-for-sale bin.\u003c/p>\n\u003cp>No longer. Now Sony has come through with a “collector’s choice” series of DVD releases, including a box set called \u003cb>Columbia Pictures Film Noir Classics I\u003c/b>, two of which just happen to be those aforementioned almost-gone-but-not-forgotten gems. Now any time is the right time to curl up with rifle-toting sex criminals, unwitting heroin mules, crooks, cops and many uncommonly exquisite views of the midcentury city.\u003c/p>\n\u003cp>The box also boasts of bonus non-local noirs such as \u003cb>The Big Heat\u003c/b>, \u003cb>5 Against the House\u003c/b> and \u003cb>Murder by Contract\u003c/b>, plus introductions by Christopher Nolan, Michael Mann and Martin Scorsese.\u003c/p>\n\u003cp>Of course, a fella doesn’t need Scorsese telling him \u003cb>The Sniper\u003c/b> has a great sense of place. As local noir maven Eddie Muller’s ever-sharp commentary points out, the city isn’t ever mentioned by name (officials didn’t want audiences to get the wrong idea about how we roll here), but we’d recognize all those treacherous hilly zigzags in a quickened heartbeat. \u003cb>The Sniper\u003c/b> was not \u003ci>the\u003c/i> very first movie about a serial killer, but it was the first, as Muller suggests, “that treated it seriously and made it like an all-American problem.” And the sinister beauty of it all is that this particular melodrama of a momma’s-boy madman, complete with several rather brutal murder scenes and as many earnest psychoanalytic pieties explaining them, just wouldn’t quite cohere anywhere but here.\u003c/p>\n\u003cp>With \u003cb>The Lineup\u003c/b>, or “\u003ci>Dragnet\u003c/i> by the Bay,” as he succinctly labels it, Muller is joined for commentary duty by legendary crime-fiction Demon Dog James Ellroy, who offers a hilarious raft of foul-mouthed digressions, politically incorrect zingers and debating points on permissiveness versus authoritarianism and San Francisco versus Los Angeles as a setting for noir. (With this new occasion to appreciate Eli Wallach’s ice-cold killer prowling around the old Sutro Baths, that matter finally should be settled.) The gleefully sparring commentators do at least agree that director Don Siegel, who of course went on to make \u003cb>Dirty Harry\u003c/b>, has much more fun with his crooks than with his cops.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Grabs your gonads in the first five minutes,” Ellroy says of \u003cb>The Lineup\u003c/b>. “It inspired \u003cb>Bullitt\u003c/b>, which is a yawn by comparison.” Really? Well, at least a fella finally has a real good chance to see for himself.\u003c/p>\n\n",
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"excerpt": "It may seem like a dim, grim memory now, but there was a bleak epoch when a fella didn't have the luxury of just being able to watch \u003cb>The Sniper\u003c/b> and \u003cb>The Lineup\u003c/b> any old time he felt like it. No more. Sony has just release the two films in a new box set.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It may seem like a dim, grim memory now, but there was a bleak epoch when a fella didn’t have the luxury of just being able to watch \u003cb>The Sniper\u003c/b> and \u003cb>The Lineup\u003c/b> any old time he felt like it. And if this fella hadn’t been savvy or lucky enough to catch that particular pair of pugnacious, place-sensitive 1950s San Francisco noirs back-to-back at the Roxie a few months back, he’d just have to hope and pray they turned up on TCM or in some bootlegger’s crap-quality DVDs-for-sale bin.\u003c/p>\n\u003cp>No longer. Now Sony has come through with a “collector’s choice” series of DVD releases, including a box set called \u003cb>Columbia Pictures Film Noir Classics I\u003c/b>, two of which just happen to be those aforementioned almost-gone-but-not-forgotten gems. Now any time is the right time to curl up with rifle-toting sex criminals, unwitting heroin mules, crooks, cops and many uncommonly exquisite views of the midcentury city.\u003c/p>\n\u003cp>The box also boasts of bonus non-local noirs such as \u003cb>The Big Heat\u003c/b>, \u003cb>5 Against the House\u003c/b> and \u003cb>Murder by Contract\u003c/b>, plus introductions by Christopher Nolan, Michael Mann and Martin Scorsese.\u003c/p>\n\u003cp>Of course, a fella doesn’t need Scorsese telling him \u003cb>The Sniper\u003c/b> has a great sense of place. As local noir maven Eddie Muller’s ever-sharp commentary points out, the city isn’t ever mentioned by name (officials didn’t want audiences to get the wrong idea about how we roll here), but we’d recognize all those treacherous hilly zigzags in a quickened heartbeat. \u003cb>The Sniper\u003c/b> was not \u003ci>the\u003c/i> very first movie about a serial killer, but it was the first, as Muller suggests, “that treated it seriously and made it like an all-American problem.” And the sinister beauty of it all is that this particular melodrama of a momma’s-boy madman, complete with several rather brutal murder scenes and as many earnest psychoanalytic pieties explaining them, just wouldn’t quite cohere anywhere but here.\u003c/p>\n\u003cp>With \u003cb>The Lineup\u003c/b>, or “\u003ci>Dragnet\u003c/i> by the Bay,” as he succinctly labels it, Muller is joined for commentary duty by legendary crime-fiction Demon Dog James Ellroy, who offers a hilarious raft of foul-mouthed digressions, politically incorrect zingers and debating points on permissiveness versus authoritarianism and San Francisco versus Los Angeles as a setting for noir. (With this new occasion to appreciate Eli Wallach’s ice-cold killer prowling around the old Sutro Baths, that matter finally should be settled.) The gleefully sparring commentators do at least agree that director Don Siegel, who of course went on to make \u003cb>Dirty Harry\u003c/b>, has much more fun with his crooks than with his cops.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Grabs your gonads in the first five minutes,” Ellroy says of \u003cb>The Lineup\u003c/b>. “It inspired \u003cb>Bullitt\u003c/b>, which is a yawn by comparison.” Really? Well, at least a fella finally has a real good chance to see for himself.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>After recent elections in California and Maine, where voters cast their ballots against gay marriage, it’s easy to lose sight of where the LGBT struggle for equal rights stands beyond the borders of the United States. Western Europe’s approach to homosexuality is the most progressive First World region according to both its cultural attitudes and its laws. In Sweden, Spain, and the Netherlands, gay marriage is legal. Italy, however, has retained its strong ties to the Catholic church, which continues to condemn homosexuality. While its neighboring countries pass same-sex marriage laws, Italy, wracked with salacious \u003ca href=\"http://www.time.com/time/world/article/0,8599,1923076,00.html\">sex scandals\u003c/a>, opposes any recognition of gay marriage. So it is refreshing to discover, among the 11 films featured at this year’s New Italian Cinema festival, \u003cb>Different From Whom?\u003c/b> and \u003cb>Sea Purple\u003c/b>, two very different films that address gay rights in Italy.\u003c/p>\n\u003cp>\u003cb>Different from Whom? (Diverso da chi?)\u003c/b> is a contemporary political farce: brisk, knowing and witty. It’s reminiscent in pace and style to recent films by \u003ca href=\"http://www.imdb.com/name/nm0891554/\">Francis Veber\u003c/a>, \u003cb>The Valet\u003c/b> and \u003cb>The Dinner Game\u003c/b>. The story concerns an openly gay politician, who is in a long-term relationship, and a power-hungry female politician who join forces to run for mayor and deputy mayor, respectively, of a small urban city. I can already see the film’s tag line for its American release: “Politics makes strange bedfellows.”\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/different-kiss.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>The two leads are both impossibly good-looking: Luca Argentero as Piero, with an aquiline profile rivaling an Armani model and Claudia Gerini as Adele, a smoldering, olive-skinned Greta Scacchi. In a way, this casting seems unfair to the (cliché-ridden yet not charmless) plot. Both actors are delicious to look at in various states of undress. Whether the audience members are coveting homosexual or heterosexual desire (or both), the director knows how to photograph his protagonists at their sensual best. To say that there isn’t a single surprising moment in the story is beside the point. It is refreshing to see a film with a gay politician at its center, and the real world political and personal obstacles he faces.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/different-couple.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>In \u003cb>Sea Purple\u003c/b>, the setting is Sicily during the late 19th century. The sepia tones and languid pace conjure up filmed versions of Thomas Hardy novels like John Schlesinger’s 1967 \u003cb>Far from the Madding Crowd\u003c/b>, where women who roam the countryside are wild and untamed, but dominated at home by a patriarchal society. The gorgeous sea and harsh habitat also reminded me of another Italian film, \u003cb>Respiro\u003c/b> (2002), which captured a similar sense of the confinement and isolation that are intrinsic parts of these island lives.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/sea-purple-ocean.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>In an impoverished, seaside Sicilian village, two women, Angela and Sara, do the unthinkable: they fall in love. At first, the reaction by Angela’s father is predictable — he beats her and then imprisons her. After much suffering, her parents arrive at a strange idea: along with the local priest, they will simply tell everyone that Angela is actually Angelo, a man. They all made a mistake at his birth. In this way, Angela and Sara can marry, and Angela can take over her father’s business. While the story never shakes off its tragic tone, there are moments of happiness for the couple. The most unfortunate aspect of the film, however, is the soundtrack: a 1980s guitar solo coupled with a piano theme repurposed from \u003cb>The Exorcist\u003c/b>. Whenever the film’s lovely emotional moments actually call for understatement, or, heaven forbid, silence, this strangely inappropriate music appears. (If only there were a Soundtracks 101 course for working film directors. Less really is more.)\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/sea-purple-couple.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>While neither of these films is an overt political statement calling for equal rights and the legalization of same-sex marriage, they do offer a glimpse inside one country’s current cultural debate with itself. Where do gay men and women fit into society? At the moment, this question doesn’t seem revolutionary, just timely. Both of these films simply normalize the on-screen presence of the LGBT community. But recognizing the very existence of gays is, at the very least, a hopeful step outside of the Italian celluloid closet. Would that politicians could take their cues from films like \u003cb>Different from Whom?\u003c/b> and \u003cb>Sea Purple\u003c/b>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>New Italian Cinema\u003c/b> runs November 15-22, 2009. For a full schedule of screenings, \u003ca href=\"http://www.sffs.org/screenings-and-events/fall-season/new-italian-cinema.aspx\">tickets and information\u003c/a> visit sffs.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After recent elections in California and Maine, where voters cast their ballots against gay marriage, it’s easy to lose sight of where the LGBT struggle for equal rights stands beyond the borders of the United States. Western Europe’s approach to homosexuality is the most progressive First World region according to both its cultural attitudes and its laws. In Sweden, Spain, and the Netherlands, gay marriage is legal. Italy, however, has retained its strong ties to the Catholic church, which continues to condemn homosexuality. While its neighboring countries pass same-sex marriage laws, Italy, wracked with salacious \u003ca href=\"http://www.time.com/time/world/article/0,8599,1923076,00.html\">sex scandals\u003c/a>, opposes any recognition of gay marriage. So it is refreshing to discover, among the 11 films featured at this year’s New Italian Cinema festival, \u003cb>Different From Whom?\u003c/b> and \u003cb>Sea Purple\u003c/b>, two very different films that address gay rights in Italy.\u003c/p>\n\u003cp>\u003cb>Different from Whom? (Diverso da chi?)\u003c/b> is a contemporary political farce: brisk, knowing and witty. It’s reminiscent in pace and style to recent films by \u003ca href=\"http://www.imdb.com/name/nm0891554/\">Francis Veber\u003c/a>, \u003cb>The Valet\u003c/b> and \u003cb>The Dinner Game\u003c/b>. The story concerns an openly gay politician, who is in a long-term relationship, and a power-hungry female politician who join forces to run for mayor and deputy mayor, respectively, of a small urban city. I can already see the film’s tag line for its American release: “Politics makes strange bedfellows.”\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/different-kiss.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>The two leads are both impossibly good-looking: Luca Argentero as Piero, with an aquiline profile rivaling an Armani model and Claudia Gerini as Adele, a smoldering, olive-skinned Greta Scacchi. In a way, this casting seems unfair to the (cliché-ridden yet not charmless) plot. Both actors are delicious to look at in various states of undress. Whether the audience members are coveting homosexual or heterosexual desire (or both), the director knows how to photograph his protagonists at their sensual best. To say that there isn’t a single surprising moment in the story is beside the point. It is refreshing to see a film with a gay politician at its center, and the real world political and personal obstacles he faces.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/different-couple.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>In \u003cb>Sea Purple\u003c/b>, the setting is Sicily during the late 19th century. The sepia tones and languid pace conjure up filmed versions of Thomas Hardy novels like John Schlesinger’s 1967 \u003cb>Far from the Madding Crowd\u003c/b>, where women who roam the countryside are wild and untamed, but dominated at home by a patriarchal society. The gorgeous sea and harsh habitat also reminded me of another Italian film, \u003cb>Respiro\u003c/b> (2002), which captured a similar sense of the confinement and isolation that are intrinsic parts of these island lives.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/sea-purple-ocean.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>In an impoverished, seaside Sicilian village, two women, Angela and Sara, do the unthinkable: they fall in love. At first, the reaction by Angela’s father is predictable — he beats her and then imprisons her. After much suffering, her parents arrive at a strange idea: along with the local priest, they will simply tell everyone that Angela is actually Angelo, a man. They all made a mistake at his birth. In this way, Angela and Sara can marry, and Angela can take over her father’s business. While the story never shakes off its tragic tone, there are moments of happiness for the couple. The most unfortunate aspect of the film, however, is the soundtrack: a 1980s guitar solo coupled with a piano theme repurposed from \u003cb>The Exorcist\u003c/b>. Whenever the film’s lovely emotional moments actually call for understatement, or, heaven forbid, silence, this strangely inappropriate music appears. (If only there were a Soundtracks 101 course for working film directors. Less really is more.)\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/sea-purple-couple.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>While neither of these films is an overt political statement calling for equal rights and the legalization of same-sex marriage, they do offer a glimpse inside one country’s current cultural debate with itself. Where do gay men and women fit into society? At the moment, this question doesn’t seem revolutionary, just timely. Both of these films simply normalize the on-screen presence of the LGBT community. But recognizing the very existence of gays is, at the very least, a hopeful step outside of the Italian celluloid closet. Would that politicians could take their cues from films like \u003cb>Different from Whom?\u003c/b> and \u003cb>Sea Purple\u003c/b>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>New Italian Cinema\u003c/b> runs November 15-22, 2009. For a full schedule of screenings, \u003ca href=\"http://www.sffs.org/screenings-and-events/fall-season/new-italian-cinema.aspx\">tickets and information\u003c/a> visit sffs.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Roland Emmerich blows up the world real good. Again.",
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"content": "\u003cp>As disaster movies go, \u003cb>2012\u003c/b> is an over-the-top blast of pedal-to-the-metal, 100 percent unadulterated hokum. It works on the nervous system, the retinas and the gut, largely avoiding the cerebral cortex and, thankfully, the tear ducts. Does \u003cb>2012\u003c/b> confirm and continue Hollywood’s death spiral of million-dollar special effects and 10-cent emotionality? Sure. Is Roland Emmerich the world’s most self-indulgent moviemaker this side of James Cameron? You bet. Does he give you $12.50 worth of entertainment? Oh yeah, baby.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/2012-landform.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>In lieu of a standard review of \u003cb>2012\u003c/b> sprinkled with incisive analysis and plot points, I offer a modest list of random takeaways. The filmmaker clearly wishes to impart many life-affirming morals about love, loyalty, compassion and idealized, color-blind humanity, but here’s what I got:\u003c/p>\n\u003cp>The cause of the worldwide cataclysm, to the degree I could follow the bogus pseudo-scientific palaver, is the sun, and not global warming, dolphin-unsafe tuna or NASCAR. Existentially speaking, I could watch \u003cb>2012\u003c/b> completely guilt-free by virtue that this apocalypse is certified 100 percent natural: My consumption, shopping patterns and general bad manners are in no way responsible. (You can tell that I really, really don’t want to give up imported beer.) So for once, it’s the end of the world as we know it and I really do feel fine.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/2012-chasm.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>Notwithstanding all the hot air and smoke that Emmerich blows at us, there’s something primitive and refreshing about the single- and simple-minded drive to survive that fuels the movie. Yes, there are any number of throwaway lines about civilization and culture, but they don’t elevate or even camouflage the basic hellbent impulse to postpone death. Consequently, \u003cb>2012\u003c/b> is free of the stultifying pretension that “great artists” like Peter Jackson and George Lucas lavished on their doltish and enervating power plays between good and evil (the multi-part \u003cb>The Lord of the Rings\u003c/b> and \u003cb>Star Wars\u003c/b> flicks).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While we’re on the subject, it’s a great relief not to encounter clone armies and other wellsprings of teen-boy angst. That’s not to say there won’t be a \u003cb>2012\u003c/b> video game, which I envision as a cross between \u003cb>Death Race 2000\u003c/b> and \u003cb>Sim City\u003c/b>. The bigger hurdle for the corporate multi-revenue-streamers who only see movies as one of many “platforms” will be devising and building the theme-park ride. After all, they don’t want the kiddies so shaken and frightened when they disembark that they forget to cry for cotton candy and a T-shirt.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/2012-family.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>Speaking of family harmony, can we leave the damn dog at home the next time the end of the world comes a-calling? Why does every disaster movie require the pointless inclusion of a dimwit, floppy-tongued canine? What food and, um, bathroom facilities do we think will be provided for animals on the spaceship or submarine or hot-air balloon or whatever getaway vehicle we might be lucky enough to procure a seat on? I’m 100 percent attached to my pet, too — a cat, for the record — but I think he’ll be better off with familiar surroundings and a big bowl of food as the doomsday tidal wave approaches than clutched to my chest in a panicky death-grip at the Top of the Mark. (Chugging an imported beer, of course.)\u003c/p>\n\u003cp>The good news is that \u003cb>2012\u003c/b> ends the long, long, long string of movies that gave us Presidents (from Kevin Kline to Morgan Freeman to Michael Douglas) who were far more charismatic and confidence-inspiring than the then-current occupant of the White House. Danny Glover plays a kindly, low-key — and yes, black — Chief Executive here, but he sure isn’t Barack Obama. For once, the reality is better than the fantasy.\u003c/p>\n\u003cp>The secret is finally out: Woody Harrelson elevates every movie he’s in. He has a knack for pinpointing and personifying the tone of a movie. He’s a hoot as a loony-tunes conspiracy obsessive whose theory, um, turns out to be dead-on.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/2012-harrelson.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>On the other hand, can we retire, at least for a while, the ticking time-bomb school of cinematic crises? There are more countdown-to-catastrophe clocks in \u003cb>2012\u003c/b> than in the entire James Bond oeuvre. Check my math, if you like, but I’m 100 percent sure.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>2012\u003c/b> opens everywhere Friday, November 13, 2009.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As disaster movies go, \u003cb>2012\u003c/b> is an over-the-top blast of pedal-to-the-metal, 100 percent unadulterated hokum. It works on the nervous system, the retinas and the gut, largely avoiding the cerebral cortex and, thankfully, the tear ducts. Does \u003cb>2012\u003c/b> confirm and continue Hollywood’s death spiral of million-dollar special effects and 10-cent emotionality? Sure. Is Roland Emmerich the world’s most self-indulgent moviemaker this side of James Cameron? You bet. Does he give you $12.50 worth of entertainment? Oh yeah, baby.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/2012-landform.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>In lieu of a standard review of \u003cb>2012\u003c/b> sprinkled with incisive analysis and plot points, I offer a modest list of random takeaways. The filmmaker clearly wishes to impart many life-affirming morals about love, loyalty, compassion and idealized, color-blind humanity, but here’s what I got:\u003c/p>\n\u003cp>The cause of the worldwide cataclysm, to the degree I could follow the bogus pseudo-scientific palaver, is the sun, and not global warming, dolphin-unsafe tuna or NASCAR. Existentially speaking, I could watch \u003cb>2012\u003c/b> completely guilt-free by virtue that this apocalypse is certified 100 percent natural: My consumption, shopping patterns and general bad manners are in no way responsible. (You can tell that I really, really don’t want to give up imported beer.) So for once, it’s the end of the world as we know it and I really do feel fine.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/2012-chasm.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>Notwithstanding all the hot air and smoke that Emmerich blows at us, there’s something primitive and refreshing about the single- and simple-minded drive to survive that fuels the movie. Yes, there are any number of throwaway lines about civilization and culture, but they don’t elevate or even camouflage the basic hellbent impulse to postpone death. Consequently, \u003cb>2012\u003c/b> is free of the stultifying pretension that “great artists” like Peter Jackson and George Lucas lavished on their doltish and enervating power plays between good and evil (the multi-part \u003cb>The Lord of the Rings\u003c/b> and \u003cb>Star Wars\u003c/b> flicks).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While we’re on the subject, it’s a great relief not to encounter clone armies and other wellsprings of teen-boy angst. That’s not to say there won’t be a \u003cb>2012\u003c/b> video game, which I envision as a cross between \u003cb>Death Race 2000\u003c/b> and \u003cb>Sim City\u003c/b>. The bigger hurdle for the corporate multi-revenue-streamers who only see movies as one of many “platforms” will be devising and building the theme-park ride. After all, they don’t want the kiddies so shaken and frightened when they disembark that they forget to cry for cotton candy and a T-shirt.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/2012-family.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>Speaking of family harmony, can we leave the damn dog at home the next time the end of the world comes a-calling? Why does every disaster movie require the pointless inclusion of a dimwit, floppy-tongued canine? What food and, um, bathroom facilities do we think will be provided for animals on the spaceship or submarine or hot-air balloon or whatever getaway vehicle we might be lucky enough to procure a seat on? I’m 100 percent attached to my pet, too — a cat, for the record — but I think he’ll be better off with familiar surroundings and a big bowl of food as the doomsday tidal wave approaches than clutched to my chest in a panicky death-grip at the Top of the Mark. (Chugging an imported beer, of course.)\u003c/p>\n\u003cp>The good news is that \u003cb>2012\u003c/b> ends the long, long, long string of movies that gave us Presidents (from Kevin Kline to Morgan Freeman to Michael Douglas) who were far more charismatic and confidence-inspiring than the then-current occupant of the White House. Danny Glover plays a kindly, low-key — and yes, black — Chief Executive here, but he sure isn’t Barack Obama. For once, the reality is better than the fantasy.\u003c/p>\n\u003cp>The secret is finally out: Woody Harrelson elevates every movie he’s in. He has a knack for pinpointing and personifying the tone of a movie. He’s a hoot as a loony-tunes conspiracy obsessive whose theory, um, turns out to be dead-on.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/2012-harrelson.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>On the other hand, can we retire, at least for a while, the ticking time-bomb school of cinematic crises? There are more countdown-to-catastrophe clocks in \u003cb>2012\u003c/b> than in the entire James Bond oeuvre. Check my math, if you like, but I’m 100 percent sure.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>2012\u003c/b> opens everywhere Friday, November 13, 2009.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Like Gen-X nostalgia, animation won’t be going away anytime soon. Consider \u003cb>Fantastic Mr. Fox\u003c/b>, Wes Anderson’s stop-motion-animated adaptation of Roald Dahl’s children’s book, which officially opens the fourth San Francisco International Animation Festival Thursday evening.\u003c/p>\n\u003cp>But the medium has so much more to offer than all-star voice talent (Clooney, Streep) and impeccably tailored puppets from the maker of \u003cb>Rushmore\u003c/b> and \u003cb>The Royal Tenenbaums\u003c/b>. How much more apparently is still being determined — there are many absurdly vivid and highly disciplined imaginations working on the question as we speak — but in the meantime this festival has packed plenty into five days.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/gossip-400.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>The schedule includes a live animation event, four unique and thematically adventurous shorts programs, a feature length anime-style documentary, a slate of vintage live-action-cartoon-hybrid works from Walt Disney, music videos for Britney Spears and Feist and Metallica and Fleet Foxes, a renowned local artist’s riff on \u003cb>Jaws\u003c/b>, several potent explications of human relations, a few peeks into the secret lives of household objects, various paeans to nonconformity, and at least one weird, vaguely \u003cb>The Wall\u003c/b>-esque ditty in which it doesn’t matter that nobody wears pants, as long as they all wear the right colored shirts.\u003c/p>\n\u003cp>You’re going, right?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s PR-speak but it’s also true that this little festival, one of many shrewdly programmed outings from the San Francisco Film Society, “celebrates San Francisco’s prominence as a hub for one of the most creative cinematic forms.” I’ll be there, to find out exactly what that means, and I’ll get back to you.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Fourth San Francisco International Animation Festival runs from November 11-15, 2009, at Landmark’s Embarcadero Center Cinema in San Francisco. For \u003ca href=\"http://www.sffs.org\">tickets and information\u003c/a>, visit sffs.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Like Gen-X nostalgia, animation won’t be going away anytime soon. Consider \u003cb>Fantastic Mr. Fox\u003c/b>, Wes Anderson’s stop-motion-animated adaptation of Roald Dahl’s children’s book, which officially opens the fourth San Francisco International Animation Festival Thursday evening.\u003c/p>\n\u003cp>But the medium has so much more to offer than all-star voice talent (Clooney, Streep) and impeccably tailored puppets from the maker of \u003cb>Rushmore\u003c/b> and \u003cb>The Royal Tenenbaums\u003c/b>. How much more apparently is still being determined — there are many absurdly vivid and highly disciplined imaginations working on the question as we speak — but in the meantime this festival has packed plenty into five days.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/gossip-400.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>The schedule includes a live animation event, four unique and thematically adventurous shorts programs, a feature length anime-style documentary, a slate of vintage live-action-cartoon-hybrid works from Walt Disney, music videos for Britney Spears and Feist and Metallica and Fleet Foxes, a renowned local artist’s riff on \u003cb>Jaws\u003c/b>, several potent explications of human relations, a few peeks into the secret lives of household objects, various paeans to nonconformity, and at least one weird, vaguely \u003cb>The Wall\u003c/b>-esque ditty in which it doesn’t matter that nobody wears pants, as long as they all wear the right colored shirts.\u003c/p>\n\u003cp>You’re going, right?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s PR-speak but it’s also true that this little festival, one of many shrewdly programmed outings from the San Francisco Film Society, “celebrates San Francisco’s prominence as a hub for one of the most creative cinematic forms.” I’ll be there, to find out exactly what that means, and I’ll get back to you.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Fourth San Francisco International Animation Festival runs from November 11-15, 2009, at Landmark’s Embarcadero Center Cinema in San Francisco. For \u003ca href=\"http://www.sffs.org\">tickets and information\u003c/a>, visit sffs.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>As a Jewish writer who’s covered the S.F. Jewish Film Festival for more than 20 years, I’m no longer surprised by the array of movies produced annually about every niche and nook of the Jewish experience. But the breadth of locations and issues in the 34th annual American Indian Film Festival caught me unawares. My bad, obviously. (That innocuous bit of contemporary nomenclature may read in this context like a send-up of Tonto’s pidgin English. That’s OK by me.)\u003c/p>\n\u003cp>The AIFF opens with a documentary, not a wholly unexpected choice given the paucity of nonfiction narratives about Native Americans. Affirmational without being the slightest bit sentimental, personal yet profoundly universal, Kate Raisz’s graceful, eloquent \u003cb>People of the Seal\u003c/b> illuminates the history and culture of the indigenous people living on Saint Paul Island in the Aleutians, 400 miles off the coast of Alaska in the Bering Sea.\u003c/p>\n\u003cp>Unangan life revolved for hundreds of years around the sea otter and more recently the fur seal, surviving the depredations of the Russian fur trade (and the more benign Russian Orthodox missionaries) and the U.S. government’s third-class treatment following the 1867 purchase of Alaska. More recently, the 1983 Federal ban on commercial harvesting of fur seals, instigated by well-meaning environmental activists, has depressed (in both senses) the community.\u003c/p>\n\u003cp>\u003cb>People of the Seal\u003c/b> skillfully delineates the big issues of exploitation, geopolitics, assimilation and environmental health through the fascinating family tree of sixth-generation native Aquilina Debbie Lestenkof. Rest assured that neither Aquilina nor anyone else in this terrific film espouses a cause or asks for sympathy — the Unangan accept reality, and embrace the responsibility of sustaining their culture. Simultaneously meditative and direct, packed with historical info but overridingly sensitive to individual lives, \u003cb>People of the Seal\u003c/b> has something for everyone.\u003c/p>\n\u003cp>Closer to home, the festival closes with Sterlin Harjo’s deeply felt, Oklahoma-set indie feature \u003cb>Barking Water\u003c/b>. A bittersweet, late-in-life trek that, unfortunately, covers more geographical territory than spiritual or narrative, the story begins with an orderly springing the terminally ill Frankie (Richard Ray Whitman) from the hospital. His erstwhile lady love, Irene (Casey Camp-Horinek), waits in the parking lot to ferry him to a rendezvous and (hopefully) reconciliation with his estranged daughter and her newborn.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Frankie has a few stops he wants to make first, and the stage is set for a succession of low-key, ambiguous reunions. We get the gist of his and Irene’s lengthy up-and-down relationship through flashbacks, mostly, imbuing the narrative with understated yet soulful notes of regret, hurt, forgiveness and love. \u003cb>Barking Water\u003c/b> suffers from uneven performances and an underwritten script; Harjo relies a bit too much on the plaintive, six-string musings of various indie singer-songwriters to fill the soundtrack and supply the words. And yet, despite those weaknesses, we feel as we’re been granted entrée to a largely invisible subculture.\u003c/p>\n\u003cp>There’s a whole lot more in the nine-day festival, including \u003cb>No More Smoke Signals\u003c/b>, a documentary about a small South Dakota community radio station, and \u003cb>Contrary Warrior: The Life and Times of Adam Fortunate Eagle\u003c/b> which revisits its subject’s twisty road from Kansas and Oklahoma to his radicalization in San Francisco (and the 1969 takeover of Alcatraz Island) through his current life as an artist and elder on the Paiute-Shoshone Reservation in Southern California. Also worth noting is the panel discussion, “Native American Women v. Hollywood Stereotypes,” Nov. 12 at 10 a.m. at the Radisson Hotel at Fisherman’s Wharf. The fest wraps with its annual American Indian Motion Picture Awards Show on Nov. 14 at 6 p.m. at the Palace of Fine Arts.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The 34th annual American Indian Film Festival takes place November 6-14, 2009 at the Embarcadero Center Cinema and the Palace of Fine Arts in San Francisco. For \u003ca href=\"http://www.aifisf.com/\">tickets and information\u003c/a>, visit www.aifisf.com\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As a Jewish writer who’s covered the S.F. Jewish Film Festival for more than 20 years, I’m no longer surprised by the array of movies produced annually about every niche and nook of the Jewish experience. But the breadth of locations and issues in the 34th annual American Indian Film Festival caught me unawares. My bad, obviously. (That innocuous bit of contemporary nomenclature may read in this context like a send-up of Tonto’s pidgin English. That’s OK by me.)\u003c/p>\n\u003cp>The AIFF opens with a documentary, not a wholly unexpected choice given the paucity of nonfiction narratives about Native Americans. Affirmational without being the slightest bit sentimental, personal yet profoundly universal, Kate Raisz’s graceful, eloquent \u003cb>People of the Seal\u003c/b> illuminates the history and culture of the indigenous people living on Saint Paul Island in the Aleutians, 400 miles off the coast of Alaska in the Bering Sea.\u003c/p>\n\u003cp>Unangan life revolved for hundreds of years around the sea otter and more recently the fur seal, surviving the depredations of the Russian fur trade (and the more benign Russian Orthodox missionaries) and the U.S. government’s third-class treatment following the 1867 purchase of Alaska. More recently, the 1983 Federal ban on commercial harvesting of fur seals, instigated by well-meaning environmental activists, has depressed (in both senses) the community.\u003c/p>\n\u003cp>\u003cb>People of the Seal\u003c/b> skillfully delineates the big issues of exploitation, geopolitics, assimilation and environmental health through the fascinating family tree of sixth-generation native Aquilina Debbie Lestenkof. Rest assured that neither Aquilina nor anyone else in this terrific film espouses a cause or asks for sympathy — the Unangan accept reality, and embrace the responsibility of sustaining their culture. Simultaneously meditative and direct, packed with historical info but overridingly sensitive to individual lives, \u003cb>People of the Seal\u003c/b> has something for everyone.\u003c/p>\n\u003cp>Closer to home, the festival closes with Sterlin Harjo’s deeply felt, Oklahoma-set indie feature \u003cb>Barking Water\u003c/b>. A bittersweet, late-in-life trek that, unfortunately, covers more geographical territory than spiritual or narrative, the story begins with an orderly springing the terminally ill Frankie (Richard Ray Whitman) from the hospital. His erstwhile lady love, Irene (Casey Camp-Horinek), waits in the parking lot to ferry him to a rendezvous and (hopefully) reconciliation with his estranged daughter and her newborn.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Frankie has a few stops he wants to make first, and the stage is set for a succession of low-key, ambiguous reunions. We get the gist of his and Irene’s lengthy up-and-down relationship through flashbacks, mostly, imbuing the narrative with understated yet soulful notes of regret, hurt, forgiveness and love. \u003cb>Barking Water\u003c/b> suffers from uneven performances and an underwritten script; Harjo relies a bit too much on the plaintive, six-string musings of various indie singer-songwriters to fill the soundtrack and supply the words. And yet, despite those weaknesses, we feel as we’re been granted entrée to a largely invisible subculture.\u003c/p>\n\u003cp>There’s a whole lot more in the nine-day festival, including \u003cb>No More Smoke Signals\u003c/b>, a documentary about a small South Dakota community radio station, and \u003cb>Contrary Warrior: The Life and Times of Adam Fortunate Eagle\u003c/b> which revisits its subject’s twisty road from Kansas and Oklahoma to his radicalization in San Francisco (and the 1969 takeover of Alcatraz Island) through his current life as an artist and elder on the Paiute-Shoshone Reservation in Southern California. Also worth noting is the panel discussion, “Native American Women v. Hollywood Stereotypes,” Nov. 12 at 10 a.m. at the Radisson Hotel at Fisherman’s Wharf. The fest wraps with its annual American Indian Motion Picture Awards Show on Nov. 14 at 6 p.m. at the Palace of Fine Arts.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The 34th annual American Indian Film Festival takes place November 6-14, 2009 at the Embarcadero Center Cinema and the Palace of Fine Arts in San Francisco. For \u003ca href=\"http://www.aifisf.com/\">tickets and information\u003c/a>, visit www.aifisf.com\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>So it’s the mid ’90s. I’m in film school. It’s a heady time. I’m all hopped up on Kieslowski and Bergman, preaching the virtues of the \u003cb>Decalogue\u003c/b> and the five-hour version of \u003cb>Fanny and Alexander\u003c/b> and stuff like that. The good stuff.\u003c/p>\n\u003cp>And here comes this chubby, foul-mouthed, bespectacled dude from Jersey who’s really into comics, poo jokes, hockey, working retail, hanging around the mall, making \u003cb>Star Wars\u003c/b> references, being titillated yet discomfited by lesbians and organized religion and fatherhood, and getting famous in the indie-film world for making these preposterously scrappy glorified home movies with all his buddies and no money and a lot of cojones and raunchy camaraderie. He’s so unpretentious it’s almost pretentious. And I’m thinking, “Who is this joker?” And (secretly), “How come I never thought of that?”\u003c/p>\n\u003cp>Well, he’s Kevin Smith. And my general impression is that if I ever got to meet him, and I asked him what he thought of \u003cb>Fanny and Alexander\u003c/b>, even just the three hour version, well, just that title alone would prompt him to giggle uncontrollably while kicking my ass. And then he would take questions from his fans about it on his Web site in real time.\u003c/p>\n\u003cp>And maybe Jason Mewes, the Jay to his Silent Bob, would be by his side. They’re like the Penn and Teller of douchetards, if I may use a word that sounds silly and doesn’t even exist but might nonetheless deeply offend various individuals and groups, because that seems true to the spirit of Smith.\u003c/p>\n\u003cp>Anyway, now it’s the end of the ’00s. And Smith is a full-fledged media personality, with many movies under his belt (maybe it sounds more correct to say below his belt), most recently \u003cb>Zack and Miri Make a Porno\u003c/b>. And, as part of a national tour, he’s coming to the Warfield to do a stand-up show. And I’m alone in a cafe hunched over my laptop, jealously grousing about how far he’s come, and I haven’t, since the days of \u003cb>Clerks\u003c/b>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The lesson might be to think carefully about whether you really want to go to film school.\u003c/p>\n\u003cp>Smith’s show has been billed as “Silent Bob Speaks,” which is too bad. It might actually be funny if he didn’t say anything at all the whole time. And we all just sat there wondering what’s up and thinking, “Oh, right, Silent Bob, heh.” And then thinking, “OK, but seriously.” And then thinking, “Wow, he’s really going through with this.” And then either seething to think that it’s true that he really is just a great big void in the entertainment world and he knows it and he’s managed to sell it to us once again and we’re idiots, or else turning to our pedantic art-film-loving friends and saying, “See? It’s like I’ve been telling you since the mid ’90s. A genius.” And then shutting up and listening and laughing at the silence.\u003c/p>\n\u003cp>But no, he’ll talk. And that could be hilarious too.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Silent Bob Speaks: An Evening with Kevin Smith\u003c/b>, 8 p.m. Friday, October 30, 2009 at \u003ca href=\"http://thewarfieldtheatre.com/eventdetail.php?id=23085\">the Warfield\u003c/a> in San Francisco. For \u003ca href=\"http://www.viewaskew.com\">more information\u003c/a>, visit viewaskew.com\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The lesson might be to think carefully about whether you really want to go to film school.\u003c/p>\n\u003cp>Smith’s show has been billed as “Silent Bob Speaks,” which is too bad. It might actually be funny if he didn’t say anything at all the whole time. And we all just sat there wondering what’s up and thinking, “Oh, right, Silent Bob, heh.” And then thinking, “OK, but seriously.” And then thinking, “Wow, he’s really going through with this.” And then either seething to think that it’s true that he really is just a great big void in the entertainment world and he knows it and he’s managed to sell it to us once again and we’re idiots, or else turning to our pedantic art-film-loving friends and saying, “See? It’s like I’ve been telling you since the mid ’90s. A genius.” And then shutting up and listening and laughing at the silence.\u003c/p>\n\u003cp>But no, he’ll talk. And that could be hilarious too.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Silent Bob Speaks: An Evening with Kevin Smith\u003c/b>, 8 p.m. Friday, October 30, 2009 at \u003ca href=\"http://thewarfieldtheatre.com/eventdetail.php?id=23085\">the Warfield\u003c/a> in San Francisco. For \u003ca href=\"http://www.viewaskew.com\">more information\u003c/a>, visit viewaskew.com\u003c/p>\n\n\u003c/div>\u003c/p>",
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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": "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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"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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"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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"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.",
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"possible": {
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"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.",
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"pri-the-world": {
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"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.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"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": {
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"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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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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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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},
"science-friday": {
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