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"content": "\u003cp>This was a mediocre year for movies, and that’s being generous. Compared to the bumper crop of outstanding films released in 2007, the last 12 months have been a dreary slog. Good luck coming up with titles that anyone will remember, let alone want to revisit, even a few months hence. Here are five I venture will stand the test of time.\u003c/p>\n\u003cp>1. Guy Maddin’s \u003cb>My Winnipeg\u003c/b> is a one-of-a-kind documentary of the imagination, a wry and poetic and tart melding of childhood memories, selective urban history and savage regret. Pure pleasure, start to finish.\u003c/p>\n\u003cp>2. \u003cb>In the City of Sylvia\u003c/b> received a single screening at the S.F. International Film Festival, but its one-week N.Y. run earlier this month might just encourage the Roxie or Red Vic to book it. Catalan filmmaker José Luis Guerin follows a young man on holiday in Strasbourg who imagines he’s caught an elusive glimpse of a long-ago lover. A dreamy mood piece populated with a daunting number of beautiful women, \u003cb>Sylvia\u003c/b> is an artful comment on moviemaking and movie watching.\u003c/p>\n\u003cp>3. It was a breakout year for Israeli cinema, with \u003cb>Beaufort\u003c/b>, \u003cb>The Band’s Visit\u003c/b>, \u003cb>My Father, My Lord\u003c/b> and \u003cb>Waltz With Bashir\u003c/b> (opening Jan. 9, 2009) all deserving raves. Check out the overlooked \u003cb>Jellyfish\u003c/b>, a delicate fable of three alienated women separately trying to fit the pieces of their lives together in Tel Aviv.\u003c/p>\n\u003cp>4. Steven Soderbergh’s two-part \u003cb>Che\u003c/b> opening Jan. 9, 2009 and comprised of \u003cb>The Argentine\u003c/b> and \u003cb>Guerilla\u003c/b>, is arguably the most ambitious and best-made movie of the year. It doesn’t create the emotional connection that we associate with “great” films, hence the cool reviews, but it is a work of extraordinary rigor and intelligence.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>5. I echo all the praise heaped on \u003cb>Man On Wire\u003c/b>, but I’ll use my final vote to call attention to a less-heralded documentary, \u003cb>Roman Polanski: Wanted and Desired\u003c/b>. Relying only on participants in and witnesses to the actual events and contemporaneous news footage — no historians or film critics, in other words — filmmaker Marina Zenovich recounts the brouhaha surrounding Polanski’s 1977 arrest for having sex with a 13-year-old girl. More than just a fascinating story, the film reveals the low-class intersection of celebrity, sex, media and justice.\u003c/p>\n\u003cp>For the record, the biggest crowd-pleasers of 2008, \u003cb>The Dark Knight\u003c/b> and \u003cb>Wall-E\u003c/b>, land squarely in the “well made but don’t ever need to see again” category.\u003c/p>\n\u003cp>Unlike daily critics, who have to cover everything, I’m privileged to skip the junk pile of low-rent horror films, teen sex comedies, action movies starring washed-up pro wrestlers, sci-fi boondoggles and cheesy children’s movies. The bad news is that it’s harder to come up with a Bottom 5. Just kidding.\u003c/p>\n\u003cp>1. \u003cb>Wanted\u003c/b>. Amoral action flicks with reprehensible characters and grotesque violence are sadly commonplace, but they don’t typically star respected actors and top-dollar actresses. Everybody involved in this atrocity should be suspended without pay for a year.\u003c/p>\n\u003cp>2. \u003cb>The Happening\u003c/b>. I suspect that M. Night Shyamalan intended to pay homage to the ham-fisted dialogue, stilted performances and lame visual effects that “distinguished” the cheesy science fiction films of the ’50s. But he neglected to signal to audiences that he was making a parody. Or perhaps his ego swallowed his sense of humor in his sleep, and he never noticed.\u003c/p>\n\u003cp>3. \u003cb>Seven Pounds\u003c/b>. This narcissistic, soft-focus glob of horsefeathers is the natural result when superstardom morphs into megalomania.\u003c/p>\n\u003cp>4. \u003cb>Zach and Miri Make a Porno\u003c/b>. Kevin Smith has finally developed to the point where he can compose a decent-looking shot — or at least hire someone who can — but his worldview is still stuck in the second year of high school.\u003c/p>\n\u003cp>5. \u003cb>Vicky Christina Barcelona\u003c/b> might seem witty and clever if you’ve never seen a Woody Allen movie. In fact, it’s a weak-tea, week-kneed rehash of his increasingly irrelevant obsession with successful but neurotic artists and unsuccessful and neurotic women. Ah, but there’s always next year for the prolific one.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>What were your favorite films in 2008. Comment on this post and share your bests and worsts.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>5. I echo all the praise heaped on \u003cb>Man On Wire\u003c/b>, but I’ll use my final vote to call attention to a less-heralded documentary, \u003cb>Roman Polanski: Wanted and Desired\u003c/b>. Relying only on participants in and witnesses to the actual events and contemporaneous news footage — no historians or film critics, in other words — filmmaker Marina Zenovich recounts the brouhaha surrounding Polanski’s 1977 arrest for having sex with a 13-year-old girl. More than just a fascinating story, the film reveals the low-class intersection of celebrity, sex, media and justice.\u003c/p>\n\u003cp>For the record, the biggest crowd-pleasers of 2008, \u003cb>The Dark Knight\u003c/b> and \u003cb>Wall-E\u003c/b>, land squarely in the “well made but don’t ever need to see again” category.\u003c/p>\n\u003cp>Unlike daily critics, who have to cover everything, I’m privileged to skip the junk pile of low-rent horror films, teen sex comedies, action movies starring washed-up pro wrestlers, sci-fi boondoggles and cheesy children’s movies. The bad news is that it’s harder to come up with a Bottom 5. Just kidding.\u003c/p>\n\u003cp>1. \u003cb>Wanted\u003c/b>. Amoral action flicks with reprehensible characters and grotesque violence are sadly commonplace, but they don’t typically star respected actors and top-dollar actresses. Everybody involved in this atrocity should be suspended without pay for a year.\u003c/p>\n\u003cp>2. \u003cb>The Happening\u003c/b>. I suspect that M. Night Shyamalan intended to pay homage to the ham-fisted dialogue, stilted performances and lame visual effects that “distinguished” the cheesy science fiction films of the ’50s. But he neglected to signal to audiences that he was making a parody. Or perhaps his ego swallowed his sense of humor in his sleep, and he never noticed.\u003c/p>\n\u003cp>3. \u003cb>Seven Pounds\u003c/b>. This narcissistic, soft-focus glob of horsefeathers is the natural result when superstardom morphs into megalomania.\u003c/p>\n\u003cp>4. \u003cb>Zach and Miri Make a Porno\u003c/b>. Kevin Smith has finally developed to the point where he can compose a decent-looking shot — or at least hire someone who can — but his worldview is still stuck in the second year of high school.\u003c/p>\n\u003cp>5. \u003cb>Vicky Christina Barcelona\u003c/b> might seem witty and clever if you’ve never seen a Woody Allen movie. In fact, it’s a weak-tea, week-kneed rehash of his increasingly irrelevant obsession with successful but neurotic artists and unsuccessful and neurotic women. Ah, but there’s always next year for the prolific one.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>What were your favorite films in 2008. Comment on this post and share your bests and worsts.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The plot of Spanish director Nacho Vigalondo’s feature film debut, \u003cb>Timecrimes\u003c/b>, is simple. Hector (Karra Elejalde) gets caught up in events that spin increasingly out of control when he spies a naked woman in the forest near his country home and decides to investigate. After being attacked by a mysterious stranger whose face is covered by a dirty bandage — think Liam Neeson in \u003cb>Darkman\u003c/b>, Hector seeks help at a nearby scientific research lab. A technician hides him inside a mysterious contraption, which turns out to be a time machine. Hector is transported a few hours back in time, and must make sure that his double, in this timeline, follows the same chain of events.\u003c/p>\n\u003cp>If I provided any further details, it would surely spoil the fun. \u003cb>Timecrimes\u003c/b> is one of those super lean independent films that unfolds with clockwork efficiency — just a few characters, a remote location, no wasted action, and no extraneous dialogue. Like the classic “last man on earth” films from the ’60s and ’70s, or some of the better \u003cb>Outer Limits\u003c/b> or \u003cb>Twilight Zone\u003c/b> episodes, the suspense is all inside the premise, following the action of one increasingly desperate character as he tries to find his way back to “normal.”\u003c/p>\n\u003cp>Hollywood films generate thrills and chills with million dollar special effects. \u003cb>Timecrimes\u003c/b> features some eerie glowing lights, cold, de-populated structures, interesting-looking gadgets and a few mysterious sounds, but most of the fun is in the reveal, in the unexpected twists and turns of time travel. It’s interesting to reflect on the fragility of the future, how even the smallest action has the potential to cause a ripple effect, which may become greatly magnified as it moves through time. Future realities splinter. The time traveler’s actions can have devastating consequences.\u003c/p>\n\u003cp>In most films of this genre, the time traveler understands his responsibility to do his best to “preserve the timeline.” (See multiple instances in \u003cb>Star Trek\u003c/b> for the gravity of Picard, the earnestness of Kirk.) Of course, the villains are also doing their best to disrupt the same, to erase people and their implications for future history. The \u003cb>Terminator\u003c/b> series is a great example; evil robots sent into the past to destroy a future resistance before it is born.\u003c/p>\n\u003cp>But what of the imperfect protagonist, the one whose only wish is for his own self-preservation? What of the hero who has been wrenched from his own time and finds himself fighting to return to a life that has already been irrevocably altered? \u003cb>Timecrimes\u003c/b> beautifully teases out the thread of this simple science fiction trope, winding it back onto itself until it is a hard knot, a lump in the throat, a series of increasingly bad choices — all of them aimed at the impossible: erasing the moment when its main character discovered that time travel was possible.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Timecrimes\u003c/b> opens December 19, 2008.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The plot of Spanish director Nacho Vigalondo’s feature film debut, \u003cb>Timecrimes\u003c/b>, is simple. Hector (Karra Elejalde) gets caught up in events that spin increasingly out of control when he spies a naked woman in the forest near his country home and decides to investigate. After being attacked by a mysterious stranger whose face is covered by a dirty bandage — think Liam Neeson in \u003cb>Darkman\u003c/b>, Hector seeks help at a nearby scientific research lab. A technician hides him inside a mysterious contraption, which turns out to be a time machine. Hector is transported a few hours back in time, and must make sure that his double, in this timeline, follows the same chain of events.\u003c/p>\n\u003cp>If I provided any further details, it would surely spoil the fun. \u003cb>Timecrimes\u003c/b> is one of those super lean independent films that unfolds with clockwork efficiency — just a few characters, a remote location, no wasted action, and no extraneous dialogue. Like the classic “last man on earth” films from the ’60s and ’70s, or some of the better \u003cb>Outer Limits\u003c/b> or \u003cb>Twilight Zone\u003c/b> episodes, the suspense is all inside the premise, following the action of one increasingly desperate character as he tries to find his way back to “normal.”\u003c/p>\n\u003cp>Hollywood films generate thrills and chills with million dollar special effects. \u003cb>Timecrimes\u003c/b> features some eerie glowing lights, cold, de-populated structures, interesting-looking gadgets and a few mysterious sounds, but most of the fun is in the reveal, in the unexpected twists and turns of time travel. It’s interesting to reflect on the fragility of the future, how even the smallest action has the potential to cause a ripple effect, which may become greatly magnified as it moves through time. Future realities splinter. The time traveler’s actions can have devastating consequences.\u003c/p>\n\u003cp>In most films of this genre, the time traveler understands his responsibility to do his best to “preserve the timeline.” (See multiple instances in \u003cb>Star Trek\u003c/b> for the gravity of Picard, the earnestness of Kirk.) Of course, the villains are also doing their best to disrupt the same, to erase people and their implications for future history. The \u003cb>Terminator\u003c/b> series is a great example; evil robots sent into the past to destroy a future resistance before it is born.\u003c/p>\n\u003cp>But what of the imperfect protagonist, the one whose only wish is for his own self-preservation? What of the hero who has been wrenched from his own time and finds himself fighting to return to a life that has already been irrevocably altered? \u003cb>Timecrimes\u003c/b> beautifully teases out the thread of this simple science fiction trope, winding it back onto itself until it is a hard knot, a lump in the throat, a series of increasingly bad choices — all of them aimed at the impossible: erasing the moment when its main character discovered that time travel was possible.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Never mind that the description on the flyer, as “the season’s most exploratory programming initiative,” makes it sound like a lonely bureaucrat’s long lost talking point. In fact, Other Cinema’s quasi-annual \u003cb>New Experimental Works\u003c/b> showcase packs so much bewitching, perplexing, WTF’ing, un-boring cinematic fringery into a single evening that it might even counteract a whole month’s worth of over-serious multiplex Oscar bait.\u003c/p>\n\u003cp>“It’s an explosion of work!” Other Cinema overlord Craig Baldwin said the other day while rummaging for preview DVD samples among the video decks, coffee mugs and scribbled notes to self hyper-cluttering his beautifully chaotic Valencia Street lair. “There’s too much on this show! I really can’t keep up with it!”\u003c/p>\n\u003cp>That’s sort of how it feels to watch former local Martha Colburn’s \u003cb>Myth Labs\u003c/b>, a brief, throbbing, cut-out-animation history of America which begins with pilgrims spilling bags of meth from their bibles and takes it frenziedly from there. And this is only \u003ci>one\u003c/i> of the evening’s highlights.\u003c/p>\n\u003cp>There’s also the jittery lyricism of Salise Hughes’s \u003cb>Shiny Things\u003c/b>, which affectingly cross cuts cops and robbers with a particularly haunting arrangement of Neil Young’s “Heart of Gold” via multi-layered, selectively erased footage from the mid-fifties genre films \u003cb>Violent Saturday\u003c/b> and \u003cb>Pete Kelly’s Blues\u003c/b>, plus a dash of abstract-yet-iconic imagery from Krzysztof Kieslowski’s \u003cb>Blue\u003c/b> thrown in for good measure. If this strangely resonating film speaks to a broader theme of the overall program, it’s by emphasizing the sense that there really is a lot going on here.\u003c/p>\n\u003cp>And if the self-described “paramedia ecologist” Gerry Fialka’s \u003cb>Jammerz\u003c/b> seems to try a little too name-droppingly hard to celebrate the virtues of culture jamming, from the perspective of an aging white dude with a noggin full of pharmaceutical and scholastic residue, well, then you probably need to just loosen up.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>All Baldwin knows is that the event wouldn’t be complete without a piece from the eminent undergrounder Roger Beebe, or “my hero,” as Baldwin called him. “I have a Super 8 camera that I’ll pay him with,” he added. Not that Beebe needs one; the two-and-a-half-minute rhythmic revelry of Beebe’s \u003cb>TB TX Dance\u003c/b> is famously, completely cameraless — made with only a laser printer, some 16mm film leader, and a fine cinematic intuition.\u003c/p>\n\u003cp>Plus, in tribute to the recently deceased and much admired local experimentalist Bruce Conner, a clip from the not deceased but much admired local experimentalist George Kuchar’s film, \u003cb>Tempest in a Teapot\u003c/b>, in which Conner appears. “Everybody’s having Bruce Conner tributes,” Baldwin said. “I just thought it’d be nice to tip our hat to good old Bruce.”\u003c/p>\n\u003cp>For the rest of us, or at least for cynics who consider the holiday season a time of grudging obligation to screwed-up, self-aggrandized family, some perspective might be gleaned from local media-maker Barbara Klutinis’s \u003cb>Severing the Soul\u003c/b>, a brief history of Rosemary Kennedy’s lobotomy — complete with just enough creepy footage and creepier sound.\u003c/p>\n\u003cp>Or, for the lighter side of brain surgery, there’s Karl Lind’s \u003cb>Devo Karaoke\u003c/b>, for which Lind descends from Portland to perform live vocals along with his brain-groping, Kubrick-riffing, ape-intensive video for the New Wave art-punk kitsch mongers’ song “Gates of Steel.”\u003c/p>\n\u003cp>And still, there is more. Too much, even, to account for here. So how about just one last little doozie to go out with? Of \u003cb>Daddy\u003c/b> Baldwin said, “I love it. I’m howling. But it’s probably going to freak some people out.” Yes. Yes it is. This little gem comes from locals Eli Marias & Amos Natkin, who once said in a statement that their work “begins with the proliferation of VHS self-help tapes.” In this case, it’s a low-grade, circa-1982 video of two sullen-seeming boys playing with Legos and lip-synching along with a mind-alteringly cheesy, infuriatingly catchy public-service-announcement in song. (Sample lyric: “Daddy, when you gonna come home and be the daddy you’re supposed to be?”) But wait. There’s more. In particular, the audio overlay of an over-sharing answering machine message from a father to a son on the younger fellow’s 25th birthday. (Sample quotation: “How can I forget? It was the biggest day of my life. And I was the first human being, other than the doctor, who pulled you out to touch you. You were all wet… it was an interesting day.”) For four and a half hilariously uncomfortable minutes, he continues, covering such topics as divorce, court orders, more birthday wishes, health problems, weird emotional blackmail, etc. The boys sing and pout and snap their Legos together. Baldwin’s summarizing note taped to the DVD case: “Dark and pathetic.”\u003c/p>\n\u003cp>Happy holidays!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Other Cinema’s \u003cb>New Experimental Works\u003c/b> show begins at 8:30pm on Saturday, December 20, 2008, at Artists’ Television Access in San Francisco. For \u003ca href=\"http://www.othercinema.com\" target=\"offsite\" rel=\"noopener\">more information\u003c/a> visit othercinema.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Never mind that the description on the flyer, as “the season’s most exploratory programming initiative,” makes it sound like a lonely bureaucrat’s long lost talking point. In fact, Other Cinema’s quasi-annual \u003cb>New Experimental Works\u003c/b> showcase packs so much bewitching, perplexing, WTF’ing, un-boring cinematic fringery into a single evening that it might even counteract a whole month’s worth of over-serious multiplex Oscar bait.\u003c/p>\n\u003cp>“It’s an explosion of work!” Other Cinema overlord Craig Baldwin said the other day while rummaging for preview DVD samples among the video decks, coffee mugs and scribbled notes to self hyper-cluttering his beautifully chaotic Valencia Street lair. “There’s too much on this show! I really can’t keep up with it!”\u003c/p>\n\u003cp>That’s sort of how it feels to watch former local Martha Colburn’s \u003cb>Myth Labs\u003c/b>, a brief, throbbing, cut-out-animation history of America which begins with pilgrims spilling bags of meth from their bibles and takes it frenziedly from there. And this is only \u003ci>one\u003c/i> of the evening’s highlights.\u003c/p>\n\u003cp>There’s also the jittery lyricism of Salise Hughes’s \u003cb>Shiny Things\u003c/b>, which affectingly cross cuts cops and robbers with a particularly haunting arrangement of Neil Young’s “Heart of Gold” via multi-layered, selectively erased footage from the mid-fifties genre films \u003cb>Violent Saturday\u003c/b> and \u003cb>Pete Kelly’s Blues\u003c/b>, plus a dash of abstract-yet-iconic imagery from Krzysztof Kieslowski’s \u003cb>Blue\u003c/b> thrown in for good measure. If this strangely resonating film speaks to a broader theme of the overall program, it’s by emphasizing the sense that there really is a lot going on here.\u003c/p>\n\u003cp>And if the self-described “paramedia ecologist” Gerry Fialka’s \u003cb>Jammerz\u003c/b> seems to try a little too name-droppingly hard to celebrate the virtues of culture jamming, from the perspective of an aging white dude with a noggin full of pharmaceutical and scholastic residue, well, then you probably need to just loosen up.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>All Baldwin knows is that the event wouldn’t be complete without a piece from the eminent undergrounder Roger Beebe, or “my hero,” as Baldwin called him. “I have a Super 8 camera that I’ll pay him with,” he added. Not that Beebe needs one; the two-and-a-half-minute rhythmic revelry of Beebe’s \u003cb>TB TX Dance\u003c/b> is famously, completely cameraless — made with only a laser printer, some 16mm film leader, and a fine cinematic intuition.\u003c/p>\n\u003cp>Plus, in tribute to the recently deceased and much admired local experimentalist Bruce Conner, a clip from the not deceased but much admired local experimentalist George Kuchar’s film, \u003cb>Tempest in a Teapot\u003c/b>, in which Conner appears. “Everybody’s having Bruce Conner tributes,” Baldwin said. “I just thought it’d be nice to tip our hat to good old Bruce.”\u003c/p>\n\u003cp>For the rest of us, or at least for cynics who consider the holiday season a time of grudging obligation to screwed-up, self-aggrandized family, some perspective might be gleaned from local media-maker Barbara Klutinis’s \u003cb>Severing the Soul\u003c/b>, a brief history of Rosemary Kennedy’s lobotomy — complete with just enough creepy footage and creepier sound.\u003c/p>\n\u003cp>Or, for the lighter side of brain surgery, there’s Karl Lind’s \u003cb>Devo Karaoke\u003c/b>, for which Lind descends from Portland to perform live vocals along with his brain-groping, Kubrick-riffing, ape-intensive video for the New Wave art-punk kitsch mongers’ song “Gates of Steel.”\u003c/p>\n\u003cp>And still, there is more. Too much, even, to account for here. So how about just one last little doozie to go out with? Of \u003cb>Daddy\u003c/b> Baldwin said, “I love it. I’m howling. But it’s probably going to freak some people out.” Yes. Yes it is. This little gem comes from locals Eli Marias & Amos Natkin, who once said in a statement that their work “begins with the proliferation of VHS self-help tapes.” In this case, it’s a low-grade, circa-1982 video of two sullen-seeming boys playing with Legos and lip-synching along with a mind-alteringly cheesy, infuriatingly catchy public-service-announcement in song. (Sample lyric: “Daddy, when you gonna come home and be the daddy you’re supposed to be?”) But wait. There’s more. In particular, the audio overlay of an over-sharing answering machine message from a father to a son on the younger fellow’s 25th birthday. (Sample quotation: “How can I forget? It was the biggest day of my life. And I was the first human being, other than the doctor, who pulled you out to touch you. You were all wet… it was an interesting day.”) For four and a half hilariously uncomfortable minutes, he continues, covering such topics as divorce, court orders, more birthday wishes, health problems, weird emotional blackmail, etc. The boys sing and pout and snap their Legos together. Baldwin’s summarizing note taped to the DVD case: “Dark and pathetic.”\u003c/p>\n\u003cp>Happy holidays!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Other Cinema’s \u003cb>New Experimental Works\u003c/b> show begins at 8:30pm on Saturday, December 20, 2008, at Artists’ Television Access in San Francisco. For \u003ca href=\"http://www.othercinema.com\" target=\"offsite\" rel=\"noopener\">more information\u003c/a> visit othercinema.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There’s no polite way to say this, but you wouldn’t think a documentary about Liberia could be uplifting. Not until recently, anyway. That coastal West African nation, founded by freed American slaves halfway through the 19th century, practically bled to death by its own hand at the close of the 20th, while presided over by one of modern Africa’s most horrible despots (and unfortunately that’s really saying something).\u003c/p>\n\u003cp>Under Liberia’s warlord-tyrant president Charles Taylor, government-sanctioned rape, torture, mutilation and murder were commonplace — propagated mostly through ragtag, street-roaming swarms of drug-addled tweens with Kalashnikovs. When a rebel group, the Liberians United for Reconciliation and Democracy, rose to oppose Taylor, it too swiftly became an agent of barbarity.\u003c/p>\n\u003cp>“Nobody can bring war against me. I’m war itself,” Taylor once bragged. And he was right.\u003c/p>\n\u003cp>So a group of desperate, astonishingly brave Liberian women tried something else. Instead of bringing war, they brought peace. They demonstrated. They withheld sex from their husbands. They left politics and religious differences out of it. They took to the radio, asking, simply, “Are you sick and tired of war?”\u003c/p>\n\u003cp>Yes, under the circumstances, it sounds preposterous. But the basic idea is at least as old as Aristophanes’ \u003cb>Lysistrata\u003c/b>, which played it for bawdy satirical comedy: Men start wars and women stop them. Gini Reticker’s documentary \u003cb>Pray the Devil Back to Hell\u003c/b>, has the privilege of presenting the idea as more or less a matter of fact.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Reticker’s straightforward, narrowly focused reconstruction mixes current interviews with various scraps of archival footage — including the chilling snippet in which Taylor made that aforementioned boast, and just enough glimpses of the violence and its aftermath to set the proper stakes.\u003c/p>\n\u003cp>The arresting montage of vivid graffiti-inspired illustrations over her opening credits tips us off to Reticker’s direct presentation and ultimately affirming tone: No, this won’t be another gravely hectoring chore of a documentary about Africa’s ongoing affliction with something like the opposite of civilization. Nor will it be a dazzler cinematically. Nor will it need to be.\u003c/p>\n\u003cp>Instead, social worker Leymah Gbowee talks plainly and modestly about how she started a women’s movement (of Christians and Muslims alike), got the warmongers’ attention, helped get Taylor deposed and eventually helped make it possible for Liberia to elect Ellen Johnson-Sirleaf, Africa’s first female head of state, in 2005.\u003c/p>\n\u003cp>“The UN didn’t know what to do,” Gbowee recalls of the uneasy moment when a shattered Liberia finally got the world’s official attention. “Fortunately for them, the women were there.”\u003c/p>\n\u003cp>In hindsight, Gbowee’s story — and by no means is it hers alone — seems so remarkable that it almost had to become a film. Perhaps \u003cb>Pray the Devil Back to Hell\u003c/b> will not be the last.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Pray the Devil Back to Hell\u003c/b> is now playing at the Red Vic Movie House in San Francisco. For \u003ca href=\"http://wwwredvicmoviehouse.com\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a> visit www.redvicmoviehouse.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s no polite way to say this, but you wouldn’t think a documentary about Liberia could be uplifting. Not until recently, anyway. That coastal West African nation, founded by freed American slaves halfway through the 19th century, practically bled to death by its own hand at the close of the 20th, while presided over by one of modern Africa’s most horrible despots (and unfortunately that’s really saying something).\u003c/p>\n\u003cp>Under Liberia’s warlord-tyrant president Charles Taylor, government-sanctioned rape, torture, mutilation and murder were commonplace — propagated mostly through ragtag, street-roaming swarms of drug-addled tweens with Kalashnikovs. When a rebel group, the Liberians United for Reconciliation and Democracy, rose to oppose Taylor, it too swiftly became an agent of barbarity.\u003c/p>\n\u003cp>“Nobody can bring war against me. I’m war itself,” Taylor once bragged. And he was right.\u003c/p>\n\u003cp>So a group of desperate, astonishingly brave Liberian women tried something else. Instead of bringing war, they brought peace. They demonstrated. They withheld sex from their husbands. They left politics and religious differences out of it. They took to the radio, asking, simply, “Are you sick and tired of war?”\u003c/p>\n\u003cp>Yes, under the circumstances, it sounds preposterous. But the basic idea is at least as old as Aristophanes’ \u003cb>Lysistrata\u003c/b>, which played it for bawdy satirical comedy: Men start wars and women stop them. Gini Reticker’s documentary \u003cb>Pray the Devil Back to Hell\u003c/b>, has the privilege of presenting the idea as more or less a matter of fact.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Reticker’s straightforward, narrowly focused reconstruction mixes current interviews with various scraps of archival footage — including the chilling snippet in which Taylor made that aforementioned boast, and just enough glimpses of the violence and its aftermath to set the proper stakes.\u003c/p>\n\u003cp>The arresting montage of vivid graffiti-inspired illustrations over her opening credits tips us off to Reticker’s direct presentation and ultimately affirming tone: No, this won’t be another gravely hectoring chore of a documentary about Africa’s ongoing affliction with something like the opposite of civilization. Nor will it be a dazzler cinematically. Nor will it need to be.\u003c/p>\n\u003cp>Instead, social worker Leymah Gbowee talks plainly and modestly about how she started a women’s movement (of Christians and Muslims alike), got the warmongers’ attention, helped get Taylor deposed and eventually helped make it possible for Liberia to elect Ellen Johnson-Sirleaf, Africa’s first female head of state, in 2005.\u003c/p>\n\u003cp>“The UN didn’t know what to do,” Gbowee recalls of the uneasy moment when a shattered Liberia finally got the world’s official attention. “Fortunately for them, the women were there.”\u003c/p>\n\u003cp>In hindsight, Gbowee’s story — and by no means is it hers alone — seems so remarkable that it almost had to become a film. Perhaps \u003cb>Pray the Devil Back to Hell\u003c/b> will not be the last.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Pray the Devil Back to Hell\u003c/b> is now playing at the Red Vic Movie House in San Francisco. For \u003ca href=\"http://wwwredvicmoviehouse.com\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a> visit www.redvicmoviehouse.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Ron Howard’s tedious and pretentious \u003cb>Frost/Nixon\u003c/b> is misconceived on so many levels, it’s a tossup where to begin. Perhaps with the movie’s biggest miscalculation, which is figuring audiences give a hoot about a 30-year-old turning point in a cocky, callow British television personality’s career.\u003c/p>\n\u003cp>Ah, but you thought this Hollywood adaptation of Peter Morgan’s play was less about bushy-tailed talk-show host David Frost than disgraced former Pres. Richard Millhouse Nixon. Indeed, the film’s lone selling point is Frank Langella’s beautifully mannered and compulsively watchable performance. It’s a nifty depiction of a rarefied breed of sharp-witted shark, but it’s hardly a close approximation of Nixon. Langella bears very little physical resemblance to the jowly one, and his voice has none of the jittery intensity and precious little of the oiliness that defined our (until recently) most-despised Chief Executive.\u003c/p>\n\u003cp>Langella and Michael Sheen reprise the roles they created on the stage in London and New York, but something essential is lost in translation. The drama surrounding Frost’s 1977 series of television interviews with Nixon was palpable in the theater, but it’s banal and contrived onscreen. We could care less about the financial risk Frost took by proceeding without enough backing from sponsors — not least because we know Sir David Frost, as he is known today, made out just fine — and the showdown between the TV lightweight and the political heavyweight isn’t quite the kind of underdog story that inspires mythic poetry.\u003c/p>\n\u003cp>What’s truly annoying, however, is Howard’s lugubrious pacing. The first third of the movie, where we get to know Frost and the groundwork for the interviews is laid, should be bright, buoyant and bouncy, reflecting the joie de vivre of a carefree playboy. (I’m thinking of the sunny briskness of the opening reels of Spielberg’s \u003cb>Catch Me If You Can\u003c/b>.) Then, with the introduction of the cave-dwelling monster (who actually lives in a San Clemente mansion overlooking the ocean), the film would take on an ominous darkness leading up to the titanic showdown.\u003c/p>\n\u003cp>\u003c/p>\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a sense, \u003cb>Frost/Nixon\u003c/b> is the anti-\u003cb>Milk\u003c/b>. While Gus Van Sant made the most alive and vibrant film he could of the Harvey Milk saga, Howard overinflates his minor meeting with portentous pauses and sanctimonious seriousness. It’s a ridiculous and occasionally laughable approach, not to mention insulting to our intelligence. \u003cb>Frost/Nixon\u003c/b> is a con job in the first degree, and shame to any awards voters who are taken in by it.\u003c/p>\n\u003cp>When all’s said and done, the movie’s lacquered finish, even enhanced with some heavy-handed Vietnam-Iraq parallels, isn’t enough to obscure the fact that the Frost-Nixon conversations are a tiny footnote in history with little contemporary resonance. Only a filmmaker who thinks he’s a contenda would turn a footnote into the high-toned hokum of \u003cb>Frost/Nixon\u003c/b>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Frost/Nixon opens Friday, December 12, 2008 in San Francisco, and everywhere on Dec. 25.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ron Howard’s tedious and pretentious \u003cb>Frost/Nixon\u003c/b> is misconceived on so many levels, it’s a tossup where to begin. Perhaps with the movie’s biggest miscalculation, which is figuring audiences give a hoot about a 30-year-old turning point in a cocky, callow British television personality’s career.\u003c/p>\n\u003cp>Ah, but you thought this Hollywood adaptation of Peter Morgan’s play was less about bushy-tailed talk-show host David Frost than disgraced former Pres. Richard Millhouse Nixon. Indeed, the film’s lone selling point is Frank Langella’s beautifully mannered and compulsively watchable performance. It’s a nifty depiction of a rarefied breed of sharp-witted shark, but it’s hardly a close approximation of Nixon. Langella bears very little physical resemblance to the jowly one, and his voice has none of the jittery intensity and precious little of the oiliness that defined our (until recently) most-despised Chief Executive.\u003c/p>\n\u003cp>Langella and Michael Sheen reprise the roles they created on the stage in London and New York, but something essential is lost in translation. The drama surrounding Frost’s 1977 series of television interviews with Nixon was palpable in the theater, but it’s banal and contrived onscreen. We could care less about the financial risk Frost took by proceeding without enough backing from sponsors — not least because we know Sir David Frost, as he is known today, made out just fine — and the showdown between the TV lightweight and the political heavyweight isn’t quite the kind of underdog story that inspires mythic poetry.\u003c/p>\n\u003cp>What’s truly annoying, however, is Howard’s lugubrious pacing. The first third of the movie, where we get to know Frost and the groundwork for the interviews is laid, should be bright, buoyant and bouncy, reflecting the joie de vivre of a carefree playboy. (I’m thinking of the sunny briskness of the opening reels of Spielberg’s \u003cb>Catch Me If You Can\u003c/b>.) Then, with the introduction of the cave-dwelling monster (who actually lives in a San Clemente mansion overlooking the ocean), the film would take on an ominous darkness leading up to the titanic showdown.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a sense, \u003cb>Frost/Nixon\u003c/b> is the anti-\u003cb>Milk\u003c/b>. While Gus Van Sant made the most alive and vibrant film he could of the Harvey Milk saga, Howard overinflates his minor meeting with portentous pauses and sanctimonious seriousness. It’s a ridiculous and occasionally laughable approach, not to mention insulting to our intelligence. \u003cb>Frost/Nixon\u003c/b> is a con job in the first degree, and shame to any awards voters who are taken in by it.\u003c/p>\n\u003cp>When all’s said and done, the movie’s lacquered finish, even enhanced with some heavy-handed Vietnam-Iraq parallels, isn’t enough to obscure the fact that the Frost-Nixon conversations are a tiny footnote in history with little contemporary resonance. Only a filmmaker who thinks he’s a contenda would turn a footnote into the high-toned hokum of \u003cb>Frost/Nixon\u003c/b>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Frost/Nixon opens Friday, December 12, 2008 in San Francisco, and everywhere on Dec. 25.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>First, consider the concepts: A near-future dystopia, in which some bureaucratic functionary’s fantasy life begets corrosive social satire. A tale of late-’60s suburban dysfunction, as viewed through the prism of adolescence. A documentary about how climate change directly threatens even the scientists who study it. A stylish, crisscrossing narrative of lonely hearts in isolation, almost but not quite coming together.\u003c/p>\n\u003cp>This is just for starters.\u003c/p>\n\u003cp>Had they been homegrown, their promise might be muted by our built-up aversion to the obsequiously “indie,” a reasonable fear of ruination via that bad Tinseltown habit of always trying too hard.\u003c/p>\n\u003cp>But these films — Denys Arcand’s \u003cb>The Age of Ignorance\u003c/b>, Léa Pool’s \u003cb>Mommy Is at the Hairdresser’s\u003c/b>, Jean Lemire’s \u003cb>The Last Continent\u003c/b> and Stéphane Lafleur’s feature debut, \u003cb>Continental, a Film Without Guns\u003c/b>, respectively, have a different sort of regional vitality. They all hail from Québec, a province in which matters of independence and proper cultural sovereignty are not taken lightly.\u003c/p>\n\u003cp>These and three more impressively varied contemporary works — plus Claude Jutra’s beloved Québecquois benchmark \u003cb>Mon Oncle Antoine\u003c/b>, from 1971, round out \u003cb>Québec Film Week\u003c/b>, a new offering from the San Francisco Film Society and another of its brief, potent, highly praise-worthy and regionally specific-mini fests, continuing through December 14, 2008.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now, in the same way it’s unwise to worry about their possible infection with American movie tropes, so it is to generalize about these films’ regionalist traits. But here goes. Preferring candor to grandeur, knowingness to vanity, the movies in this bunch show a tendency toward the wry, a restrained sort of sophistication that might even seem aloof — at least, that is, until its emotional power sneaks up on us and pounces.\u003c/p>\n\u003cp>Take, for instance, the forlorn young hotel clerk (Fanny Mallette) in \u003cb>Continental, A Film Without Guns\u003c/b>, who finally forces herself to go out to party, only to drop somebody else’s baby on the floor while there. Strange as it may sound, the cinema of Québec — surprising, beguiling, ultimately appealing — could not ask for a better emissary. And she is only one of many.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Québec Film Week\u003c/b> runs through December 14, 2008, at the Opera Plaza Cinema in San Francisco. Half of the showcased films will have special guests in attendance, including \u003cb>The Last Continent\u003c/b> director Lemire and \u003cb>Continental?\u003c/b> director Lafleur. For \u003ca href=\"http://www.sffs.org\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a> visit www.sffs.org.\u003c/p>\n\n",
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"content": "\u003cp>There’s little debate that the high-profile, star-driven \u003cb>Milk\u003c/b> is not just the San Francisco movie of the year, but the decade. What’s less certain is the potency and impact of Gus Van Sant’s labor of love, in the Bay Area and beyond, this holiday and awards season and gazing into the future.\u003c/p>\n\u003cp>\u003cb>Milk\u003c/b> is a solid, even stirring piece of work, alive and streetwise and politically engaged. But for anyone who knows Rob Epstein and Richard Schmiechen’s powerhouse 1984 documentary \u003cb>The Times of Harvey Milk\u003c/b>, the narrative feature rarely escapes its shadow. (That’s the one reaction that may not especially bother Van Sant, who openly admits he had concerns going in about equaling the emotional wallop of the 1984 doc.) Moviegoers unfamiliar with the non-fiction film, of course, won’t sit there comparing the re-creation to the real thing, or Sean Penn to Harvey Milk.\u003c/p>\n\u003cp>In fact, Penn more than acquits himself, embodying the charm, enthusiasm and persistence so essential to enrolling hundreds and hundreds of people in campaigns for public office and gay rights. My colleague Mark Taylor has written perceptively about the fatal flaw in biopics, namely that the actor (even a movie star) can’t quite replicate the magnetic charisma that made his character (Ray Charles, Johnny Cash or Darby Crash in \u003ca href=\"/arts/movies/article.jsp?essid=23289\">What We Do Is Secret\u003c/a>) so iconic. Penn’s got that spark, alright, and more: The heart of his performance is the way he throws himself into the character, unlike the overly cool Jamie Foxx or the moodily introspective Joaquin Phoenix, withholding nothing.\u003c/p>\n\u003cp>My fundamental problem with \u003cb>Milk\u003c/b> may simply be that familiarity breeds disbelief. I had no foreknowledge of the real Erin Brockovich and Dr. Alfred Kinsey, or of the formative years of Malcolm X and Ray Charles, and I surrendered to the worlds those films created. I wasn’t here in 1978, but \u003cb>Milk\u003c/b> was shot in places and spaces I semi-regularly visit, on Castro Street and in and around City Hall. So it’s infinitely harder to transport myself back in time, despite all the good efforts of Van Sant and his production team to replicate the San Francisco of the ’70s.\u003c/p>\n\u003cp>It’s worth noting that \u003cb>Milk\u003c/b> delves much further into its subject’s personal life, and the gay lifestyle (if one can use that phrase in a non-pejorative manner), than Epstein and Schmiechen’s documentary. Van Sant and his distributor obviously want \u003cb>Milk\u003c/b> to cross over and connect with straight audiences, but the director doesn’t sell out the reality of ’70s gay promiscuity or the purity of queer love in a misbegotten attempt to avoid latent heterosexual queasiness. (I don’t think \u003cb>Brokeback Mountain\u003c/b> eradicated that malaise, any more than Obama’s election vanquished racism.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The experimental-experiential Van Sant of \u003cb>Elephant\u003c/b>, \u003cb>Last Days\u003c/b> and \u003cb>Paranoid Park\u003c/b> reverts to the more conventional narrative structure of his fab \u003cb>To Die For\u003c/b>, using a key character to relate the story in an extended flashback. A concession to the mainstream? You betcha. Could the film have used some of that beauty, poetry and freedom? I daresay yes. Does the structure work? That’s a subjective call, but this fan of the documentary felt that the director and screenwriter Dustin Lance Black overused Milk’s poignant audiotape (“to be played only in the event of my assassination”) to decreasing returns.\u003c/p>\n\u003cp>No doubt you have detected a hefty measure of ambivalence on my part toward \u003cb>Milk\u003c/b>, which is not the natural or most comfortable position for a critic. I’m not overly concerned in this case because \u003cb>Milk\u003c/b>‘s importance and value reside not in critical consensus but in the degree to which the film is embraced by filmgoers. San Francisco audiences, gay viewers, video-store patrons, high school students. Yes, I’m well aware the movie will get the kind of visibility at Blockbuster (video stores do still exist, yes?) that the documentary never did.\u003c/p>\n\u003cp>So I turn the mic over to you. Does \u003cb>Milk\u003c/b> honor its subject, San Francisco history and the larger cause of gay rights? Does it speak to the dominant majority of straight audiences? Is it a fleeting morsel of pop culture, given a box-office boost by the unexpected contemporary parallel of California Proposition 8, or a film for the ages?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Milk\u003c/b> opens Wed., November 26, 2008 at the Castro Theatre — with two special preview screenings Tuesday, November 25, Friday, November 28 at the Embarcadero and Friday, December 5 at the California and the Piedmont in the East Bay.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s little debate that the high-profile, star-driven \u003cb>Milk\u003c/b> is not just the San Francisco movie of the year, but the decade. What’s less certain is the potency and impact of Gus Van Sant’s labor of love, in the Bay Area and beyond, this holiday and awards season and gazing into the future.\u003c/p>\n\u003cp>\u003cb>Milk\u003c/b> is a solid, even stirring piece of work, alive and streetwise and politically engaged. But for anyone who knows Rob Epstein and Richard Schmiechen’s powerhouse 1984 documentary \u003cb>The Times of Harvey Milk\u003c/b>, the narrative feature rarely escapes its shadow. (That’s the one reaction that may not especially bother Van Sant, who openly admits he had concerns going in about equaling the emotional wallop of the 1984 doc.) Moviegoers unfamiliar with the non-fiction film, of course, won’t sit there comparing the re-creation to the real thing, or Sean Penn to Harvey Milk.\u003c/p>\n\u003cp>In fact, Penn more than acquits himself, embodying the charm, enthusiasm and persistence so essential to enrolling hundreds and hundreds of people in campaigns for public office and gay rights. My colleague Mark Taylor has written perceptively about the fatal flaw in biopics, namely that the actor (even a movie star) can’t quite replicate the magnetic charisma that made his character (Ray Charles, Johnny Cash or Darby Crash in \u003ca href=\"/arts/movies/article.jsp?essid=23289\">What We Do Is Secret\u003c/a>) so iconic. Penn’s got that spark, alright, and more: The heart of his performance is the way he throws himself into the character, unlike the overly cool Jamie Foxx or the moodily introspective Joaquin Phoenix, withholding nothing.\u003c/p>\n\u003cp>My fundamental problem with \u003cb>Milk\u003c/b> may simply be that familiarity breeds disbelief. I had no foreknowledge of the real Erin Brockovich and Dr. Alfred Kinsey, or of the formative years of Malcolm X and Ray Charles, and I surrendered to the worlds those films created. I wasn’t here in 1978, but \u003cb>Milk\u003c/b> was shot in places and spaces I semi-regularly visit, on Castro Street and in and around City Hall. So it’s infinitely harder to transport myself back in time, despite all the good efforts of Van Sant and his production team to replicate the San Francisco of the ’70s.\u003c/p>\n\u003cp>It’s worth noting that \u003cb>Milk\u003c/b> delves much further into its subject’s personal life, and the gay lifestyle (if one can use that phrase in a non-pejorative manner), than Epstein and Schmiechen’s documentary. Van Sant and his distributor obviously want \u003cb>Milk\u003c/b> to cross over and connect with straight audiences, but the director doesn’t sell out the reality of ’70s gay promiscuity or the purity of queer love in a misbegotten attempt to avoid latent heterosexual queasiness. (I don’t think \u003cb>Brokeback Mountain\u003c/b> eradicated that malaise, any more than Obama’s election vanquished racism.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The experimental-experiential Van Sant of \u003cb>Elephant\u003c/b>, \u003cb>Last Days\u003c/b> and \u003cb>Paranoid Park\u003c/b> reverts to the more conventional narrative structure of his fab \u003cb>To Die For\u003c/b>, using a key character to relate the story in an extended flashback. A concession to the mainstream? You betcha. Could the film have used some of that beauty, poetry and freedom? I daresay yes. Does the structure work? That’s a subjective call, but this fan of the documentary felt that the director and screenwriter Dustin Lance Black overused Milk’s poignant audiotape (“to be played only in the event of my assassination”) to decreasing returns.\u003c/p>\n\u003cp>No doubt you have detected a hefty measure of ambivalence on my part toward \u003cb>Milk\u003c/b>, which is not the natural or most comfortable position for a critic. I’m not overly concerned in this case because \u003cb>Milk\u003c/b>‘s importance and value reside not in critical consensus but in the degree to which the film is embraced by filmgoers. San Francisco audiences, gay viewers, video-store patrons, high school students. Yes, I’m well aware the movie will get the kind of visibility at Blockbuster (video stores do still exist, yes?) that the documentary never did.\u003c/p>\n\u003cp>So I turn the mic over to you. Does \u003cb>Milk\u003c/b> honor its subject, San Francisco history and the larger cause of gay rights? Does it speak to the dominant majority of straight audiences? Is it a fleeting morsel of pop culture, given a box-office boost by the unexpected contemporary parallel of California Proposition 8, or a film for the ages?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Milk\u003c/b> opens Wed., November 26, 2008 at the Castro Theatre — with two special preview screenings Tuesday, November 25, Friday, November 28 at the Embarcadero and Friday, December 5 at the California and the Piedmont in the East Bay.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Judging by the thirty feature films he left us with (and certainly he has been judged by them), Hollywood director Robert Aldrich’s enduring legacy will be the fact of having endured his legacy.\u003c/p>\n\u003cp>Probably best known for \u003cb>The Dirty Dozen\u003c/b>, Aldrich made his name in the 1950s and ’60s, piling up variously pulp-inclined genre films — and all manner of backhanded compliments, faint-praise damnings and even flat-out insults from critics to go with them.\u003c/p>\n\u003cp>So the Pacific Film Archive’s month-long survey of his lesser known work, \u003cb>A Dirty Dozen: The Films of Robert Aldrich\u003c/b> should be as fun and worthy and illuminating as it is to imagine how challenging it would be for today’s marketeers to extract selling-point slogans from those movies’ reviews.\u003c/p>\n\u003cp>Oh sure, the critics have admired and commended Aldrich too. But the compliments always seemed so intriguingly conditional, as when \u003ci>Time Out New York\u003c/i> called 1961’s \u003cb>The Last Sunset\u003c/b> “more lyrical than Aldrich’s usual macho posturings,” or Pauline Kael observed of 1955’s \u003cb>The Big Knife\u003c/b> that “Robert Aldrich directed, overdoing everything in sight; he just about turns hysteria into a style.”\u003c/p>\n\u003cp>It was also Kael who noted, of 1965’s \u003cb>Hush…Hush, Sweet Charlotte\u003c/b>, that “a lot of people seemed to enjoy the spectacle of [Bette] Davis crawling and howling and looking wildly repulsive.” And, even less forgivingly, of 1977’s \u003cb>Twilight’s Last Gleaming\u003c/b>, that “…it falls apart, and drags on and on…it suggests an overextended episode of a TV series, and the attempts at wit are pathetically gross.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Even local critic David Thomson, whose definitive \u003cb>New Biographical Dictionary of Film\u003c/b> includes a perceptive entry on Aldrich and who will be on hand at the PFA on December 6th to introduce 1955’s \u003cb>Kiss Me Deadly\u003c/b> and 1956’s \u003cb>Attack!\u003c/b>, called 1968’s \u003cb>The Killing of Sister George\u003c/b> one of Aldrich’s several “horribly calculated, smirking exploitations of sub-gothic emotional horror.”\u003c/p>\n\u003cp>Never mind those Aldrich movies the PFA deliberately \u003ci>didn’t\u003c/i> choose for this retrospective, like \u003cb>What Ever Happened to Baby Jane?\u003c/b> Don’t ask.\u003c/p>\n\u003cp>Other films in this series will be introduced by Aldrich’s daughter Adell, who may even have at least a few unequivocally nice things to say about him.\u003c/p>\n\u003cp>Not that nice gets you anywhere in this world, as Aldrich seemed quite clearly to understand. In fact, being so appalling can be sort of appealing; you might say that Aldrich’s habit of confounding all the critics — of cranking up the heat and hysteria and always seeming to go just too far, and then farther still — was part of his charm. And still is.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>A Dirty Dozen: The Films of Robert Aldrich\u003c/b> runs from November 21 through December 20, 2008 at the Pacific Film Archive in Berkeley. For \u003ca href=\"http://www.bampfa.berkeley.edu\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a> visit www.bampfa.berkeley.edu.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Judging by the thirty feature films he left us with (and certainly he has been judged by them), Hollywood director Robert Aldrich’s enduring legacy will be the fact of having endured his legacy.\u003c/p>\n\u003cp>Probably best known for \u003cb>The Dirty Dozen\u003c/b>, Aldrich made his name in the 1950s and ’60s, piling up variously pulp-inclined genre films — and all manner of backhanded compliments, faint-praise damnings and even flat-out insults from critics to go with them.\u003c/p>\n\u003cp>So the Pacific Film Archive’s month-long survey of his lesser known work, \u003cb>A Dirty Dozen: The Films of Robert Aldrich\u003c/b> should be as fun and worthy and illuminating as it is to imagine how challenging it would be for today’s marketeers to extract selling-point slogans from those movies’ reviews.\u003c/p>\n\u003cp>Oh sure, the critics have admired and commended Aldrich too. But the compliments always seemed so intriguingly conditional, as when \u003ci>Time Out New York\u003c/i> called 1961’s \u003cb>The Last Sunset\u003c/b> “more lyrical than Aldrich’s usual macho posturings,” or Pauline Kael observed of 1955’s \u003cb>The Big Knife\u003c/b> that “Robert Aldrich directed, overdoing everything in sight; he just about turns hysteria into a style.”\u003c/p>\n\u003cp>It was also Kael who noted, of 1965’s \u003cb>Hush…Hush, Sweet Charlotte\u003c/b>, that “a lot of people seemed to enjoy the spectacle of [Bette] Davis crawling and howling and looking wildly repulsive.” And, even less forgivingly, of 1977’s \u003cb>Twilight’s Last Gleaming\u003c/b>, that “…it falls apart, and drags on and on…it suggests an overextended episode of a TV series, and the attempts at wit are pathetically gross.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Even local critic David Thomson, whose definitive \u003cb>New Biographical Dictionary of Film\u003c/b> includes a perceptive entry on Aldrich and who will be on hand at the PFA on December 6th to introduce 1955’s \u003cb>Kiss Me Deadly\u003c/b> and 1956’s \u003cb>Attack!\u003c/b>, called 1968’s \u003cb>The Killing of Sister George\u003c/b> one of Aldrich’s several “horribly calculated, smirking exploitations of sub-gothic emotional horror.”\u003c/p>\n\u003cp>Never mind those Aldrich movies the PFA deliberately \u003ci>didn’t\u003c/i> choose for this retrospective, like \u003cb>What Ever Happened to Baby Jane?\u003c/b> Don’t ask.\u003c/p>\n\u003cp>Other films in this series will be introduced by Aldrich’s daughter Adell, who may even have at least a few unequivocally nice things to say about him.\u003c/p>\n\u003cp>Not that nice gets you anywhere in this world, as Aldrich seemed quite clearly to understand. In fact, being so appalling can be sort of appealing; you might say that Aldrich’s habit of confounding all the critics — of cranking up the heat and hysteria and always seeming to go just too far, and then farther still — was part of his charm. And still is.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>A Dirty Dozen: The Films of Robert Aldrich\u003c/b> runs from November 21 through December 20, 2008 at the Pacific Film Archive in Berkeley. For \u003ca href=\"http://www.bampfa.berkeley.edu\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a> visit www.bampfa.berkeley.edu.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Nerdcore Rising",
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"content": "\u003cp>OK, it’s a fair point that conscious hip-hop has become a little bit pious and practically oppressive. And if Talib Kweli wants to call his record \u003cb>A Prisoner of Consciousness\u003c/b>, fine; he’s earned it. But even alternatives have alternatives. So here’s one: Instead of conscious hip-hop, where the flow is ever-so-smooth and the vibe is soulful and socially aware, how about self-conscious hip-hop, where the flow is spastic, the vibe computer-savvy and socially awkward?\u003c/p>\n\u003cp>We are talking here about making rap safe for web-addicted white-boy shut-ins from college towns everywhere. Oh, they are players, all right. Players of \u003ca href=\"http://www.wizards.com/magic/\" target=\"offsite\" rel=\"noopener\">Magic: The Gathering\u003c/a> and \u003ca href=\"https://signup.worldofwarcraft.com/trial/index.html\" target=\"offsite\" rel=\"noopener\">World of Warcraft\u003c/a>. We are talking here about nerdcore.\u003c/p>\n\u003cp>And we are watching in wonder and listening to the genre’s so-called godfather, the Bay Area-spawned MC Frontalot (née Damian Hess), as he spits the hook in “Braggadocio,” a signature track: “Now it’s time for a little braggadocio/while I swing my arms like Ralph Macchio.”\u003c/p>\n\u003cp>It works on several levels.\u003c/p>\n\u003cp>The occasion for this drolly enlightening experience is comedian/filmmaker Negin Farsad’s documentary \u003cb>Nerdcore Rising\u003c/b>, which plays for two days this week at the Red Vic. See it if for no other reason than written description is unable to do it justice.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>No, Frontalot and his fellow geekstas haven’t exactly reinvented or revolutionized hip-hop — no more than Farsad has transfigured the band-bio documentary. But in each case, they’ve made it theirs. A couple of years ago, Farsad tagged along with the Frontalot crew’s first tentative national tour, in which were addressed such quandaries as why music made mostly on computers in relative isolation should be performed live; how to tie a proper necktie; what to do when the opening act gets fake blood all over your gear; whether nerdcore is viable as anything other than a novelty act or a self-contained sub-subculture; what it means when not everyone’s a fan; and what it means when someone actually is.\u003c/p>\n\u003cp>Like, seriously. There’s that sweet girl from Florida who says she’s not a groupie but willingly drives 19 hours to catch a Frontalot show. And there’s a wonderfully tender moment when the musicians sort out their collective feelings about her — first having a little fun at her expense, then catching themselves and feeling ashamed and humbled and appreciative, then realizing she makes them nervous because, well, all girls make them nervous.\u003c/p>\n\u003cp>Remember, this is a band whose song titles include “I Hate Your Blog” and “Yellow Lasers,” and whose completely dorktastic pre-show rituals include a group Wookie call. Oh yes they did. As keyboardist Gaby wisely observes, “There’s no real for us to keep. I think that’s important.”\u003c/p>\n\u003cp>Farsad understands that the tribulations of adolescent male life plus the creative democratization of web publishing and desktop music studios equals something rather precious. She also gathers lots of pithy commentary to put the phenomenon in perspective. Weird Al Yankovic weighs in with a validation. De La Soul producer Prince Paul risks serious cred shrinkage with a cautious allowance that nerdcore’s fundamental sincerity is in fact the old-school way. “For those guys to do what they do really takes a lot of guts,” he says. But besides being brave, they’re honest, and “to me that’s true hip-hop.” And former Dead Kennedys frontman Jello Biafra cautions, “Be careful with your own stereotype; it could become a prison.”\u003c/p>\n\u003cp>True dat, as they say. If Frontalot isn’t careful, he could become a prisoner of self-consciousness.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Nerdcore Rising\u003c/b> plays Tuesday and Wednesday, November 18 and 19, 2008, at the Red Vic Movie House in San Francisco, with MC Frontalot and director Negin Farsad in attendance. For \u003ca href=\"http://www.redvicmoviehouse.com\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a> visit redvicmoviehouse.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>OK, it’s a fair point that conscious hip-hop has become a little bit pious and practically oppressive. And if Talib Kweli wants to call his record \u003cb>A Prisoner of Consciousness\u003c/b>, fine; he’s earned it. But even alternatives have alternatives. So here’s one: Instead of conscious hip-hop, where the flow is ever-so-smooth and the vibe is soulful and socially aware, how about self-conscious hip-hop, where the flow is spastic, the vibe computer-savvy and socially awkward?\u003c/p>\n\u003cp>We are talking here about making rap safe for web-addicted white-boy shut-ins from college towns everywhere. Oh, they are players, all right. Players of \u003ca href=\"http://www.wizards.com/magic/\" target=\"offsite\" rel=\"noopener\">Magic: The Gathering\u003c/a> and \u003ca href=\"https://signup.worldofwarcraft.com/trial/index.html\" target=\"offsite\" rel=\"noopener\">World of Warcraft\u003c/a>. We are talking here about nerdcore.\u003c/p>\n\u003cp>And we are watching in wonder and listening to the genre’s so-called godfather, the Bay Area-spawned MC Frontalot (née Damian Hess), as he spits the hook in “Braggadocio,” a signature track: “Now it’s time for a little braggadocio/while I swing my arms like Ralph Macchio.”\u003c/p>\n\u003cp>It works on several levels.\u003c/p>\n\u003cp>The occasion for this drolly enlightening experience is comedian/filmmaker Negin Farsad’s documentary \u003cb>Nerdcore Rising\u003c/b>, which plays for two days this week at the Red Vic. See it if for no other reason than written description is unable to do it justice.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>No, Frontalot and his fellow geekstas haven’t exactly reinvented or revolutionized hip-hop — no more than Farsad has transfigured the band-bio documentary. But in each case, they’ve made it theirs. A couple of years ago, Farsad tagged along with the Frontalot crew’s first tentative national tour, in which were addressed such quandaries as why music made mostly on computers in relative isolation should be performed live; how to tie a proper necktie; what to do when the opening act gets fake blood all over your gear; whether nerdcore is viable as anything other than a novelty act or a self-contained sub-subculture; what it means when not everyone’s a fan; and what it means when someone actually is.\u003c/p>\n\u003cp>Like, seriously. There’s that sweet girl from Florida who says she’s not a groupie but willingly drives 19 hours to catch a Frontalot show. And there’s a wonderfully tender moment when the musicians sort out their collective feelings about her — first having a little fun at her expense, then catching themselves and feeling ashamed and humbled and appreciative, then realizing she makes them nervous because, well, all girls make them nervous.\u003c/p>\n\u003cp>Remember, this is a band whose song titles include “I Hate Your Blog” and “Yellow Lasers,” and whose completely dorktastic pre-show rituals include a group Wookie call. Oh yes they did. As keyboardist Gaby wisely observes, “There’s no real for us to keep. I think that’s important.”\u003c/p>\n\u003cp>Farsad understands that the tribulations of adolescent male life plus the creative democratization of web publishing and desktop music studios equals something rather precious. She also gathers lots of pithy commentary to put the phenomenon in perspective. Weird Al Yankovic weighs in with a validation. De La Soul producer Prince Paul risks serious cred shrinkage with a cautious allowance that nerdcore’s fundamental sincerity is in fact the old-school way. “For those guys to do what they do really takes a lot of guts,” he says. But besides being brave, they’re honest, and “to me that’s true hip-hop.” And former Dead Kennedys frontman Jello Biafra cautions, “Be careful with your own stereotype; it could become a prison.”\u003c/p>\n\u003cp>True dat, as they say. If Frontalot isn’t careful, he could become a prisoner of self-consciousness.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Nerdcore Rising\u003c/b> plays Tuesday and Wednesday, November 18 and 19, 2008, at the Red Vic Movie House in San Francisco, with MC Frontalot and director Negin Farsad in attendance. For \u003ca href=\"http://www.redvicmoviehouse.com\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a> visit redvicmoviehouse.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>We could while away a lovely afternoon — or start a lively comments thread — debating why amazing debut records (\u003cb>The Doors\u003c/b> and \u003cb>Horses\u003c/b>, to name two) greatly outnumber brilliant first films (a list headed by \u003cb>Citizen Kane\u003c/b> and \u003cb>The 400 Blows\u003c/b>). I’ll spare you my theory until another occasion; suffice it to say that I’m reawakened every year at this time to the rarity of first-shot bull’s-eyes by the week-long festival of \u003cb>New Italian Cinema\u003c/b>, presented by the Istituto Italiano di Cultura and the San Francisco Film Society.\u003c/p>\n\u003cp>That’s not a backhanded slap at the program, which spotlights a brace of first and second-time filmmakers bookended by the latest works of veteran directors Paolo Virzi (\u003cb>Napoleon and Me\u003c/b>), Matteo Garrone (Cannes Grand Prize winner \u003cb>Gomorrah\u003c/b>) and Paolo Benvenuti (\u003cb>Puccini and the Girl\u003c/b>) on Opening and Closing Night. The five films by emerging directors that I previewed (of the seven in the program) are insightful, well-crafted snapshots of contemporary Italian life. They aren’t unforgettable masterpieces nor, frankly, unforgettable. But these directors have their fingers on the national pulse, and their atypical approaches to story and character warrant our keeping an eye out as their careers develop.\u003c/p>\n\u003cp>Carmine Amoroso’s \u003cb>Cover Boy: The Last Revolution\u003c/b>, my favorite of the bunch, follows the misadventures of a good-hearted, good-looking young Romanian making his way in Rome. Ioan is befriended by a scuffling Swiss worker a decade older and wiser and, late in the film, by a Milanese fashion photographer; paradoxically, his hard-won life lessons result from unexpected good fortune rather than the grinding humiliation heaped on most new immigrants. A subtly homoerotic undercurrent percolates through the film, adding an intriguing wisp of ambiguity.\u003c/p>\n\u003cp>Another honest young Romanian “guest worker,” a pregnant wife in need of money, propels Federico Bondi’s \u003cb>Black Sea\u003c/b> with her low-key ambition and quiet yearning. Angela manages to thaw the curmudgeonly widow she’s hired to live with and care for, gradually bridging the generation and culture gap. The last reel of this modest character sketch is overly mysterious, sabotaging the intended emotional impact with a dash of confusion.\u003c/p>\n\u003cp>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The immigration theme extends to Claudio Cupellini’s uneven farce \u003cb>Lessons in Chocolate\u003c/b>, which might be described as the rehabilitation of a scoundrel — with a date-nut filling. The erratic script and Cupellini’s hit-and-miss pacing hobble this painfully contrived tale of an ethically challenged Perugia contractor forced to take a chocolate cooking class in place of the Egyptian worker injured on a building site. This innocuous, warm-hearted comedy is singularly adept at trivializing or ignoring every serious issue it broaches, from exploitation of immigrants to women attracted to lying losers.\u003c/p>\n\u003cp>Andrea Molaioli’s \u003cb>The Girl By the Lake\u003c/b> re-imagines the clichéd small-town murder mystery as a near-clinical study of poisoned parent-child relationships. This deliberate, low-key and quietly mesmerizing movie follows an aging detective (Toni Servillo, vaguely resembling the world-weary Armin Mueller-Stahl) as he goes about finding the killer of a lovely young woman. The film’s lone weakness — and it’s a big one — is a letdown of an ending in lieu of the payoff, and stomach punch, that we’re expecting.\u003c/p>\n\u003cp>What happens when Generation Xers discover that money can’t buy happiness, and their youth (and promise) is irretrievably gone? Toni d’Angelo’s \u003cb>A Night\u003c/b> isn’t as downbeat as all that, even if it begins with a one-car accident, a funeral home and a Naples reunion of a bunch of old friends who haven’t seen each other in years. Their nocturnal escapades provide the catalyst for neon- and strobe-lit soul-searching, but d’Angelo woefully underexplores his fertile premise. Diverting but unsatisfying, \u003cb>A Night\u003c/b>, like most of this year’s \u003cb>New Italian Cinema\u003c/b>, is best seen as a snack in preparation for the director’s hearty repast in the not-too-distant future.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>New Italian Cinema\u003c/b> screens Sunday, November 16 though Sunday, November 23, 2008 at the Embarcadero Center Cinemas. For \u003ca href=\"http:www.sffs.org\" target=\"offsite\" rel=\"noopener\">more information\u003c/a>, visit sffs.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We could while away a lovely afternoon — or start a lively comments thread — debating why amazing debut records (\u003cb>The Doors\u003c/b> and \u003cb>Horses\u003c/b>, to name two) greatly outnumber brilliant first films (a list headed by \u003cb>Citizen Kane\u003c/b> and \u003cb>The 400 Blows\u003c/b>). I’ll spare you my theory until another occasion; suffice it to say that I’m reawakened every year at this time to the rarity of first-shot bull’s-eyes by the week-long festival of \u003cb>New Italian Cinema\u003c/b>, presented by the Istituto Italiano di Cultura and the San Francisco Film Society.\u003c/p>\n\u003cp>That’s not a backhanded slap at the program, which spotlights a brace of first and second-time filmmakers bookended by the latest works of veteran directors Paolo Virzi (\u003cb>Napoleon and Me\u003c/b>), Matteo Garrone (Cannes Grand Prize winner \u003cb>Gomorrah\u003c/b>) and Paolo Benvenuti (\u003cb>Puccini and the Girl\u003c/b>) on Opening and Closing Night. The five films by emerging directors that I previewed (of the seven in the program) are insightful, well-crafted snapshots of contemporary Italian life. They aren’t unforgettable masterpieces nor, frankly, unforgettable. But these directors have their fingers on the national pulse, and their atypical approaches to story and character warrant our keeping an eye out as their careers develop.\u003c/p>\n\u003cp>Carmine Amoroso’s \u003cb>Cover Boy: The Last Revolution\u003c/b>, my favorite of the bunch, follows the misadventures of a good-hearted, good-looking young Romanian making his way in Rome. Ioan is befriended by a scuffling Swiss worker a decade older and wiser and, late in the film, by a Milanese fashion photographer; paradoxically, his hard-won life lessons result from unexpected good fortune rather than the grinding humiliation heaped on most new immigrants. A subtly homoerotic undercurrent percolates through the film, adding an intriguing wisp of ambiguity.\u003c/p>\n\u003cp>Another honest young Romanian “guest worker,” a pregnant wife in need of money, propels Federico Bondi’s \u003cb>Black Sea\u003c/b> with her low-key ambition and quiet yearning. Angela manages to thaw the curmudgeonly widow she’s hired to live with and care for, gradually bridging the generation and culture gap. The last reel of this modest character sketch is overly mysterious, sabotaging the intended emotional impact with a dash of confusion.\u003c/p>\n\u003cp>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The immigration theme extends to Claudio Cupellini’s uneven farce \u003cb>Lessons in Chocolate\u003c/b>, which might be described as the rehabilitation of a scoundrel — with a date-nut filling. The erratic script and Cupellini’s hit-and-miss pacing hobble this painfully contrived tale of an ethically challenged Perugia contractor forced to take a chocolate cooking class in place of the Egyptian worker injured on a building site. This innocuous, warm-hearted comedy is singularly adept at trivializing or ignoring every serious issue it broaches, from exploitation of immigrants to women attracted to lying losers.\u003c/p>\n\u003cp>Andrea Molaioli’s \u003cb>The Girl By the Lake\u003c/b> re-imagines the clichéd small-town murder mystery as a near-clinical study of poisoned parent-child relationships. This deliberate, low-key and quietly mesmerizing movie follows an aging detective (Toni Servillo, vaguely resembling the world-weary Armin Mueller-Stahl) as he goes about finding the killer of a lovely young woman. The film’s lone weakness — and it’s a big one — is a letdown of an ending in lieu of the payoff, and stomach punch, that we’re expecting.\u003c/p>\n\u003cp>What happens when Generation Xers discover that money can’t buy happiness, and their youth (and promise) is irretrievably gone? Toni d’Angelo’s \u003cb>A Night\u003c/b> isn’t as downbeat as all that, even if it begins with a one-car accident, a funeral home and a Naples reunion of a bunch of old friends who haven’t seen each other in years. Their nocturnal escapades provide the catalyst for neon- and strobe-lit soul-searching, but d’Angelo woefully underexplores his fertile premise. Diverting but unsatisfying, \u003cb>A Night\u003c/b>, like most of this year’s \u003cb>New Italian Cinema\u003c/b>, is best seen as a snack in preparation for the director’s hearty repast in the not-too-distant future.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>New Italian Cinema\u003c/b> screens Sunday, November 16 though Sunday, November 23, 2008 at the Embarcadero Center Cinemas. For \u003ca href=\"http:www.sffs.org\" target=\"offsite\" rel=\"noopener\">more information\u003c/a>, visit sffs.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Twelve-year-old Oskar is a bit of a freak, and it’s not just the unfortunate haircut. His parents are divorced; he’s being shuttled back and forth between them. He’s regularly bullied at school and cannot seem to find the will to fight back, and he has developed a crush on Eli, the little girl who just moved into the apartment next door. Trouble is, Eli is a vampire, and the guy she lives with (who poses as her father) is a sort of serial killer who must regularly slay young boys and return to feed his “little girl” with their blood. All the makings of a lovely little teen romance, right?\u003c/p>\n\u003cp>Right! \u003cb>Let the Right One In\u003c/b> may be a little twisted in spots, but ultimately it is a sweet film about two awkward and isolated pre-teens finding solace in one another. It doesn’t matter that one of them, Eli, may be hundreds of years old and, like all traditional vampires, must hide from the sun and regularly feed on human blood. She possesses various supernatural powers and the strength to fell a grown man, but she’s still just a lonely little girl who desperately needs a friend. When she happens upon Oskar, another desperate outsider trying somewhat unsuccessfully to navigate the shark-infested waters of the sixth grade, she resists the urge to feed in order to fulfill another, equally pressing need — companionship.\u003c/p>\n\u003cp>\u003cb>Let the Right One In\u003c/b> begins in the depth of winter, with snow on the ground, barren trees, and an almost perpetual twilight — a visible cold. The film’s colors are muted and, while the Swedish landscape looks clean and orderly, there is a hardness — a distant, cold, and detached feeling to the environment. Oskar has figured out a way to separate himself from his predicament as the daily object of a bully’s attentions. In fact, when we first meet him, he is mimicking the bully’s taunts, and playing with a knife he’ll never use. He is pretending to be the bully and to vanquish the bully, but when he is attacked all he can do is shut down, the way that nature has gone into hiding for the winter. When a small vampire enters the picture, her presence feels natural, like she is just another deadly feature in a harsh environment that is filled with ways to die.\u003c/p>\n\u003cp>But Eli is also a beacon of hope and connectedness in little Oskar’s otherwise dreary existence. The relationship the two develop reminded me of \u003cb>A Little Romance\u003c/b>, a sweet 1979 comedy that featured a young Diane Lane as an American schoolgirl who runs away to Venice with a French boy, who is her first crush. However, Eli is more like Sara Gilbert’s Darlene in \u003cb>Roseanne\u003c/b>, laconic, defiant, willful and unpredictable. Certainly there are tests along the way — young love isn’t easy. And once Eli reveals her secret to Oskar, there is also the chance of rejection and betrayal.\u003c/p>\n\u003cp>Similar to the way the \u003cb>Buffy, The Vampire Slayer\u003c/b> series used the supernatural to communicate the challenges of teen life, \u003cb>Let The Right One In\u003c/b> captures the same carelessness, alienation and cruelty, but without the air quotes. It’s not only a fresh take on the vampire genre, but it’s also a refreshingly vulnerable take on the teen romance, with just enough shock and gore thrown in to satisfy any true horror fan. It’s a harsh world, but at least there are “people” in it who can make it a little less lonely, all you have to do is “let the right one in.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Let the Right One In\u003c/b> is now playing at the Bridge Theater in San Francisco, Shattuck Cinemas in Berkeley and the Rafael Film Center in San Rafael.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Twelve-year-old Oskar is a bit of a freak, and it’s not just the unfortunate haircut. His parents are divorced; he’s being shuttled back and forth between them. He’s regularly bullied at school and cannot seem to find the will to fight back, and he has developed a crush on Eli, the little girl who just moved into the apartment next door. Trouble is, Eli is a vampire, and the guy she lives with (who poses as her father) is a sort of serial killer who must regularly slay young boys and return to feed his “little girl” with their blood. All the makings of a lovely little teen romance, right?\u003c/p>\n\u003cp>Right! \u003cb>Let the Right One In\u003c/b> may be a little twisted in spots, but ultimately it is a sweet film about two awkward and isolated pre-teens finding solace in one another. It doesn’t matter that one of them, Eli, may be hundreds of years old and, like all traditional vampires, must hide from the sun and regularly feed on human blood. She possesses various supernatural powers and the strength to fell a grown man, but she’s still just a lonely little girl who desperately needs a friend. When she happens upon Oskar, another desperate outsider trying somewhat unsuccessfully to navigate the shark-infested waters of the sixth grade, she resists the urge to feed in order to fulfill another, equally pressing need — companionship.\u003c/p>\n\u003cp>\u003cb>Let the Right One In\u003c/b> begins in the depth of winter, with snow on the ground, barren trees, and an almost perpetual twilight — a visible cold. The film’s colors are muted and, while the Swedish landscape looks clean and orderly, there is a hardness — a distant, cold, and detached feeling to the environment. Oskar has figured out a way to separate himself from his predicament as the daily object of a bully’s attentions. In fact, when we first meet him, he is mimicking the bully’s taunts, and playing with a knife he’ll never use. He is pretending to be the bully and to vanquish the bully, but when he is attacked all he can do is shut down, the way that nature has gone into hiding for the winter. When a small vampire enters the picture, her presence feels natural, like she is just another deadly feature in a harsh environment that is filled with ways to die.\u003c/p>\n\u003cp>But Eli is also a beacon of hope and connectedness in little Oskar’s otherwise dreary existence. The relationship the two develop reminded me of \u003cb>A Little Romance\u003c/b>, a sweet 1979 comedy that featured a young Diane Lane as an American schoolgirl who runs away to Venice with a French boy, who is her first crush. However, Eli is more like Sara Gilbert’s Darlene in \u003cb>Roseanne\u003c/b>, laconic, defiant, willful and unpredictable. Certainly there are tests along the way — young love isn’t easy. And once Eli reveals her secret to Oskar, there is also the chance of rejection and betrayal.\u003c/p>\n\u003cp>Similar to the way the \u003cb>Buffy, The Vampire Slayer\u003c/b> series used the supernatural to communicate the challenges of teen life, \u003cb>Let The Right One In\u003c/b> captures the same carelessness, alienation and cruelty, but without the air quotes. It’s not only a fresh take on the vampire genre, but it’s also a refreshingly vulnerable take on the teen romance, with just enough shock and gore thrown in to satisfy any true horror fan. It’s a harsh world, but at least there are “people” in it who can make it a little less lonely, all you have to do is “let the right one in.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Diana Serra Cary probably can’t help with your complicated feelings about Lindsay Lohan and Dakota Fanning. But Cary, born Peggy-Jean Montgomery in 1918, certainly can offer some perspective on the peculiar, glamorous, exploitative, glorious, horrifying phenomenon of child stardom (not to mention the related topic of wackjob showbiz parentdom). She was one of its inventors.\u003c/p>\n\u003cp>If you think \u003ci>today’s\u003c/i> movies are infantilizing, get a load of Baby Peggy. Get a load of her this weekend, actually, in person, at the Niles Essanay Silent Film Museum’s \u003cb>Baby Peggy 90th Birthday Bash\u003c/b>, a two-day extravaganza with features, shorts, a documentary, an interactive panel discussion and a book signing.\u003c/p>\n\u003cp>One obvious benefit of Cary’s nine decades’ worth of hindsight is that her movie-industry reflections have been finely honed. “It was hard work,” she told London’s \u003ci>Independent\u003c/i> in 2006. “I did my own stunts. They thought children were made of rubber then.”\u003c/p>\n\u003cp>In Baby Peggy’s many films, the cherubic, almond-eyed tot often proved savvier about matters of adulthood than the grownups surrounding her. A talented mimic, she also specialized in eerily accurate miniature parody versions of older stars like Mary Pickford and Pola Negri. And she inspired a line of dolls in her own image.\u003c/p>\n\u003cp>Baby Peggy got started by accident when her mother brought the 19-month-old to watch a movie being made at Century Studios, told her to sit quietly on a stool in the corner, and was commended for having such a well-behaved child by the director — who happened to need a tyke to star in his next project, opposite Brownie the Wonder Dog. When that movie, \u003cb>Playmates\u003c/b>, scored big, Peggy scored a contract. Her cowboy-stuntman-actor father took it from there, and the rest is — well, a forgotten cautionary tale of ’20s Hollywood.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Let’s see if we have this straight. In 1921, at three years of age, Baby Peggy was already her family’s provider, making ten grand a week. In 1923, she got nearly 2 million fan letters (and had a staff of five women handling her mail). By 1934, her parents had squandered her fortune and she was broke, scraping by as an extra and being asked by the clerk of a photographer who took her headshots, “How does it feel to be a has-been at 16?” Two years after that, her 1924 silent film \u003cb>Captain January\u003c/b> was remade, with sound and Shirley Temple as the star.\u003c/p>\n\u003cp>\u003c/p>\u003cp>It just goes to show that not only have we always been strangely infatuated with child stars; we have also always been deeply irritated by them.\u003c/p>\n\u003cp>After the apparently obligatory career ruination, identity crisis, divorce and nervous breakdown that seemed like a hell of a price to pay for a brief stint of celebrity, Cary became a journalist and historian. Her well-regarded books — see if you can detect a theme here — include \u003cb>Hollywood’s Children: An Inside Account of the Child Star Era\u003c/b>, \u003cb>Jackie Coogan, The World’s Boy King: A Biography of Hollywood’s Legendary Child Star\u003c/b>, and of course \u003cb>What Ever Happened to Baby Peggy: The Autobiography of Hollywood’s Pioneer Child Star\u003c/b>.\u003c/p>\n\u003cp>Baby Peggy’s legacy is almost incalculable. It includes, for instance, the very mixed blessing of being the star who gave Judy Garland’s mother the idea to get her daughter into show business.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The \u003cb>Baby Peggy 90th Birthday Bash\u003c/b> takes place November 8-9, 2008, at the Niles Edison Theater, 37417 Niles Boulevard, Fremont, CA. For \u003ca href=\"http://www.nilesfilmmuseum.org\" target=\"offsite\" rel=\"noopener\">schedule, tickets and other information\u003c/a> visit www.nilesfilmmuseum.org.\u003c/p>\n\n",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"tagline": "Deeply-reported investigative journalism",
"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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"perspectives": {
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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