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"content": "\u003cp>For some cultures it’s not the choice of word that matters so much as the way a word is used — where the emphasis is placed within the word, on the forceful first letter, extension of the middle vowel or the crashing of the final two consonants, like cymbals at the end of a musical phrase. Pow! The meaning of a word changes according to this emphasis and where it is used in a sentence. For some people, the F-word expresses every human emotion, from tenderness to shock to anger, frustration and wonder. It is the one word that sums up their lives fully, in one satisfying syllable.\u003c/p>\n\u003cp>These people live in Astoria, Queens and populate Dito Montiel’s autobiographical film, \u003cb>A Guide to Recognizing Your Saints\u003c/b>. We first meet them as they strut down the gritty sidewalk, a gang of cocky teenagers striding confidently through their home turf. The scene is reminiscent of John Travolta gliding to an imaginary Bee Gees soundtrack in \u003cb>Saturday Night Fever\u003c/b>, but it also reminded me of the final scene of \u003cb>Stayin’ Alive\u003c/b>, the unfortunate sequel (directed by Sylvester Stallone) to the iconic seventies film and of \u003cb>The Simpson\u003c/b>‘s parody, wherein Bart explains that sometimes there is only one thing left to do in life — strut. \u003c/p>\n\u003cp>All three of these references came together for me because the characters in \u003cb>Saints\u003c/b> are beyond tough, propelled by attitude. Their working class neighborhood is a giant trap that each works in some way to perfect. The streets are dead ends, with their own backward sense of reason and nobility. The whole film is about longing for escape while attempting to cut off all means of achieving it. As the story is told through flashback, we know that Dito (Robert Downey, Jr/Shia LaBeouf) has managed to extricate himself from the neighborhood, from his friends who are stuck there and from the family that has disowned him for leaving. \u003c/p>\n\u003cp>Dito has returned to his old stomping (literally) grounds to help his mother (Dianne Weist) convince his ailing father (Chazz Palminteri) to go to the hospital. It’s a loaded setup that springs all the harsh memories of Dito’s boyhood to sweaty, oppressive and violent life. Unfolding over the summer of 1986, \u003cb>A Guide to Recognizing Your Saints\u003c/b> covers all the incidents that lead to Dito’s escape with real, overwhelming passion and emotion that, in this portrayal at least, is sub-verbal.\u003c/p>\n\u003cp>While all of the characters are locked in true life-and-death struggles, against abusive parents, rival street gangs, crazy and unpredictable friends, there are moments of pure poetry. When the sun goes down but the heat continues to rise, these teenagers take to the streets, aimlessly seeking distraction, pretending to be adults, but lacking purpose or direction — the night is wild. Joy is snatched out of the chaos of buildings covered in graffiti that looks like a stylized representation of chain link fence and turns everything into a prison, each layer covering the former version of that fence, marking territory, denoting lines that must not be crossed. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I have to admit that I got caught up in the emotion (probably because the actors were so damned good), but I wished that someone could have found a way to break through, to open the characters’ eyes, to zoom out for them into the universe, to show them how small the grudges they carried really were in the grand scheme of things. I wanted the characters to see how they were laying waste to everything they cared about and destroying themselves in the process. Instead, I just felt trapped in their world, a world of mounting frustration with characters that lacked either the will or the intelligence to escape. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>A Guide to Recognizing Your Saints\u003c/b> opens October 13, 2006.\u003c/p>\n\n",
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"content": "\u003cp>\u003cb>Week in Review\u003c/b>\u003cbr>There are two kinds of roles that actors take to rejuvenate sagging careers: they either go transgressive or introspective. Either a guy plays a junky or he plays a dissatisfied yuppie. A woman becomes a hooker or a millionaire who has everything but happiness. After Hollywood has taken their mediocre acting talents as far as they can go, these actors make a last stab at credibility in smaller films that give them a chance to show their “range.” \u003c/p>\n\u003cp>Unfortunately, “range” to these people means they gain 30 pounds by eating lunch every day, stop dying their hair and let the gray show, or they play a character with a blue collar job and perfectly capped teeth. I’ve seen two films recently that just tickled my angry spot: \u003cb>Friends With Money\u003c/b> and \u003cb>Edmond\u003c/b>. \u003c/p>\n\u003cp>\u003cb>Friends With Money\u003c/b> “stars” Jennifer Anniston and Frances McDormand. Jennifer you might remember from her eponymous haircut, the “hot” girl on \u003cb>Friends\u003c/b>, and the girl who got to bang Brad Pitt; now she’s playing a maid with a $300 haircut, a manicure, and perfect skin. Frances McDormand, long past \u003cb>Blood Simple\u003c/b>, \u003cb>Crimewave\u003c/b>, \u003cb>Missippi Burning\u003c/b>, and \u003cb>Fargo\u003c/b>, plays a fashion designer who has success and money, but is still a little unhappy. Awww. It’s a Coming-of-forty-five film in which I couldn’t find it in my heart to care about anyone.\u003c/p>\n\u003cp>\u003cb>Edmond\u003c/b>, starring William H. Macy, is like the movie \u003cb>Falling Down\u003c/b>, but meaner, and with a script that makes little sense. Denise Richards, who once was all over TV and is now 35 years old, plays a stripper in an upscale club; she acts like she’s never been in a strip club before. Maybe she should’ve asked her ex-husband Charlie Sheen for advice. Mena Suvari, who once did the \u003cb>American Pie\u003c/b> and \u003cb>American Beauty\u003c/b> films, but is now relegated to videogame voiceovers, plays, as listed in the credits, “Whore.” Both of them are still totally beautiful, but they are committing the fatal sin in Hollywood — aging. Julia Stiles plays a slutty homophobic cocktail waitress. Hopefully her career’s still intact, but this is a bad sign.\u003c/p>\n\u003cp>The real headscratching moment of \u003cb>Edmond\u003c/b> was after it was over, and I realized it was written by David Mamet, who is one of my favorite screen and drama writers. Every time I’m in a discussion of best written screenplays, I usually list \u003cb>Glengarry Glen Ross\u003c/b>. Then I realized the director was Stuart Gordon, one of the \u003cb>Masters of Horror\u003c/b> directors who also directed \u003cb>The ReAnimator\u003c/b>. He also directed \u003cb>Robot Jox\u003c/b> and \u003cb>Space Truckers\u003c/b>. Nuff said. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Pick of the Week\u003c/b>\u003cbr>Yet another good week for DVDs. I was tempted to pick the second season of the TV series \u003cb>Rescue Me\u003c/b>, but it just wasn’t quite as tight as season one. I liked the Keanu Reeves/Sandra Bullock “magical mailbox” film, \u003cb>The Lake House\u003c/b>. \u003cb>Goal! The Dream Begins\u003c/b> was more interesting than any actual soccer match I’ve seen. \u003cb>I Don’t Know Jack\u003c/b> surprised me with its tragic ending. \u003cb>From Here to Eternity\u003c/b> is an undisputed American classic worth every bit of the hype. The pick this week goes to a totally random selection, \u003cb>Who Am I This Time?\u003c/b>, due to the strength of Christopher Walken’s performance.\u003c/p>\n\u003cp>\u003cb>Who Am I This Time?\u003c/b> is an hour-long film made for \u003cb>American Playhouse\u003c/b>, directed by Johnathan Demme and starring Christopher Walken and Susan Serandon. It’s not a great film, but the performances are so strong, I couldn’t help making it the pick, combined with the fact that you probably haven’t heard of it. Walken plays Harry Nash, a small town hardware store clerk who has trouble communicating with the outside world. However, he’s a genius onstage. Not only does Walken (the epitome of the “strange” actor) play a “strange” actor, he also plays the role that actor plays on stage: Stanley Kowalski in \u003cb>A Streetcar Named Desire\u003c/b>. The scene where Nash auditions for the role with Susan Sarandon’s Helene Shaw is worth the whole film.\u003c/p>\n\u003cp>Helene falls for Harry, but can’t seem to communicate with him off stage. She’s determined to connect with the man that she knows lurks inside his heart. But how? Well, that’s the film for you to watch. Overall, it’s a great date film, but because of its length, I’d recommend getting another film as well… perhaps \u003cb>From Here to Eternity\u003c/b>. \u003c/p>\n\u003cp>\u003cb>The Pace\u003c/b>\u003cbr>Even with all my running around this week, I jammed 10 DVDs in. 380 DVDs in 281 days. 120 DVDs left in the next 84 days for a pace of 9.99 per week. \u003c/p>\n\u003cp>Weirdness: \u003cb>Triumph of the Spirit\u003c/b> showed up, after I reported it as missing. However, a Sam Kinison documentary was sent and recorded as returned by Netflix but I never saw it. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Total Viewing Time: 27 days, 5 hours, 53 minutes\u003c/p>\n\n",
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"excerpt": "\u003cb>Week in Review\u003c/b>\u003cbr />There are two kinds of roles that actors take to rejuvenate sagging careers: they either go transgressive or introspective. Either a guy plays a junky or he plays a dissatisfied yuppie. A woman becomes a hooker or a millionaire who has everything but happiness. After Hollywood has taken their mediocre acting talents as far as they can go, these actors make a last stab at credibility in smaller films that give them a chance to show their \"range.\" ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>Week in Review\u003c/b>\u003cbr>There are two kinds of roles that actors take to rejuvenate sagging careers: they either go transgressive or introspective. Either a guy plays a junky or he plays a dissatisfied yuppie. A woman becomes a hooker or a millionaire who has everything but happiness. After Hollywood has taken their mediocre acting talents as far as they can go, these actors make a last stab at credibility in smaller films that give them a chance to show their “range.” \u003c/p>\n\u003cp>Unfortunately, “range” to these people means they gain 30 pounds by eating lunch every day, stop dying their hair and let the gray show, or they play a character with a blue collar job and perfectly capped teeth. I’ve seen two films recently that just tickled my angry spot: \u003cb>Friends With Money\u003c/b> and \u003cb>Edmond\u003c/b>. \u003c/p>\n\u003cp>\u003cb>Friends With Money\u003c/b> “stars” Jennifer Anniston and Frances McDormand. Jennifer you might remember from her eponymous haircut, the “hot” girl on \u003cb>Friends\u003c/b>, and the girl who got to bang Brad Pitt; now she’s playing a maid with a $300 haircut, a manicure, and perfect skin. Frances McDormand, long past \u003cb>Blood Simple\u003c/b>, \u003cb>Crimewave\u003c/b>, \u003cb>Missippi Burning\u003c/b>, and \u003cb>Fargo\u003c/b>, plays a fashion designer who has success and money, but is still a little unhappy. Awww. It’s a Coming-of-forty-five film in which I couldn’t find it in my heart to care about anyone.\u003c/p>\n\u003cp>\u003cb>Edmond\u003c/b>, starring William H. Macy, is like the movie \u003cb>Falling Down\u003c/b>, but meaner, and with a script that makes little sense. Denise Richards, who once was all over TV and is now 35 years old, plays a stripper in an upscale club; she acts like she’s never been in a strip club before. Maybe she should’ve asked her ex-husband Charlie Sheen for advice. Mena Suvari, who once did the \u003cb>American Pie\u003c/b> and \u003cb>American Beauty\u003c/b> films, but is now relegated to videogame voiceovers, plays, as listed in the credits, “Whore.” Both of them are still totally beautiful, but they are committing the fatal sin in Hollywood — aging. Julia Stiles plays a slutty homophobic cocktail waitress. Hopefully her career’s still intact, but this is a bad sign.\u003c/p>\n\u003cp>The real headscratching moment of \u003cb>Edmond\u003c/b> was after it was over, and I realized it was written by David Mamet, who is one of my favorite screen and drama writers. Every time I’m in a discussion of best written screenplays, I usually list \u003cb>Glengarry Glen Ross\u003c/b>. Then I realized the director was Stuart Gordon, one of the \u003cb>Masters of Horror\u003c/b> directors who also directed \u003cb>The ReAnimator\u003c/b>. He also directed \u003cb>Robot Jox\u003c/b> and \u003cb>Space Truckers\u003c/b>. Nuff said. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Pick of the Week\u003c/b>\u003cbr>Yet another good week for DVDs. I was tempted to pick the second season of the TV series \u003cb>Rescue Me\u003c/b>, but it just wasn’t quite as tight as season one. I liked the Keanu Reeves/Sandra Bullock “magical mailbox” film, \u003cb>The Lake House\u003c/b>. \u003cb>Goal! The Dream Begins\u003c/b> was more interesting than any actual soccer match I’ve seen. \u003cb>I Don’t Know Jack\u003c/b> surprised me with its tragic ending. \u003cb>From Here to Eternity\u003c/b> is an undisputed American classic worth every bit of the hype. The pick this week goes to a totally random selection, \u003cb>Who Am I This Time?\u003c/b>, due to the strength of Christopher Walken’s performance.\u003c/p>\n\u003cp>\u003cb>Who Am I This Time?\u003c/b> is an hour-long film made for \u003cb>American Playhouse\u003c/b>, directed by Johnathan Demme and starring Christopher Walken and Susan Serandon. It’s not a great film, but the performances are so strong, I couldn’t help making it the pick, combined with the fact that you probably haven’t heard of it. Walken plays Harry Nash, a small town hardware store clerk who has trouble communicating with the outside world. However, he’s a genius onstage. Not only does Walken (the epitome of the “strange” actor) play a “strange” actor, he also plays the role that actor plays on stage: Stanley Kowalski in \u003cb>A Streetcar Named Desire\u003c/b>. The scene where Nash auditions for the role with Susan Sarandon’s Helene Shaw is worth the whole film.\u003c/p>\n\u003cp>Helene falls for Harry, but can’t seem to communicate with him off stage. She’s determined to connect with the man that she knows lurks inside his heart. But how? Well, that’s the film for you to watch. Overall, it’s a great date film, but because of its length, I’d recommend getting another film as well… perhaps \u003cb>From Here to Eternity\u003c/b>. \u003c/p>\n\u003cp>\u003cb>The Pace\u003c/b>\u003cbr>Even with all my running around this week, I jammed 10 DVDs in. 380 DVDs in 281 days. 120 DVDs left in the next 84 days for a pace of 9.99 per week. \u003c/p>\n\u003cp>Weirdness: \u003cb>Triumph of the Spirit\u003c/b> showed up, after I reported it as missing. However, a Sam Kinison documentary was sent and recorded as returned by Netflix but I never saw it. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Total Viewing Time: 27 days, 5 hours, 53 minutes\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cb>Week in Review\u003c/b>\u003cbr>\u003cb>Nip/Tuck\u003c/b> is a prime example of why other countries hate the United States, and why I can’t imagine living anywhere else. Our economy is going down the toilet, our energy usage is forty years outdated, and our infrastructure is crumbling, but we make the best pop culture entertainment in history, and it’s only getting more bizarre. I had planned to do a “week in the life” type column for this week, but I saw the third season of Nip/Tuck, and I can’t imagine writing about anything else. It’s trashy, weird, horrific, and campy all at once, and the soundtrack is awesome.\u003c/p>\n\u003cp>\u003cb>Nip/Tuck\u003c/b> runs on FX. It’s currently in its fourth season, airing now. Since I’ve been doing this project, I haven’t watched much television, but I think this show works better seen at once, rather than pieced out over months. \u003cb>Nip/Tuck\u003c/b> started as a family drama about a pair of plastic surgeons who are also best friends. One’s a family man, and the other is a playboy. Set in the trendy and expensive area of South Beach in Miami, the show balanced family struggle against one night stands to keep the stories interesting. Most shows began with the two doctors in the patient interview with the phrase “Tell me what you don’t like about yourself.” What followed was unusual requests that often brought up legal, ethical and moral issues. The show was surprisingly questioning of many surgical procedures, asking, “is it right to do this, just because we can?” The first season was well-scripted, thoughtfully written, and a fresh show to watch. Then came the second season. \u003c/p>\n\u003cp>As with many other innovative shows, the second season looked like it had gone through many production changes. A meanness surfaced in the writing. The surgical requests became more bizarre and unreal. The sex left the condo of the playboy doctor and went into the once-stable family home. But worst of all was the running story arcs of a serial slasher who carved up the bodies of people who had undergone plastic surgery and a transsexual who preyed salaciously upon an underage character. I hadn’t planned on watching a third season, but was strongly urged on by a friend. \u003c/p>\n\u003cp>The third season came back with a roar. It’s somewhat related to the first two seasons, but it’s the most bizarre TV series I’ve ever seen. There were entire scenes and episodes that seemed as if they had been directed by Dario Argento. Moments of pure horror pop up through the storylines that involve vindictive transsexuals (not the same evil one from season two, although she makes a Obi-Wan Kenobi-type appearance), a white power family, trannies vs. Nazis, a couple who think they’re Santa and Mrs. Claus, Latino gang members, a Frankenstein Monster-style corpse, a tragic and vividly enacted plane crash, threesomes and then some sex, the most disgusting facial cream I can’t divulge, and of course, the return of the serial slasher. The soundtrack choices are also more snotty, with picks like “Fat Bottomed Girls” playing during a heiney lipo. \u003c/p>\n\u003cp>I remember when Richard Kern films were considered transgressive, when David Lynch, Nick Zedd, and Ken Russell were the far flung filmmakers whose films incited protest and fury, and were rarely seen, even in film festivals. To see films such as these, one had to trade for grainy VHS dubs or be close to a counter culture video store or know the filmmaker personally. \u003cb>Nip/Tuck\u003c/b> is floating through the basic cable lines, and you can TiVo it. Other shows, like \u003cb>Rescue Me\u003c/b>, \u003cb>The Shield\u003c/b>, \u003cb>The Wire\u003c/b>, \u003cb>The Sopranos\u003c/b>, \u003cb>Curb Your Enthusiasm\u003c/b>, \u003cb>Entourage\u003c/b>, \u003cb>Extras\u003c/b>, \u003cb>The Venture Brothers\u003c/b>, \u003cb>Metalocalypse\u003c/b>, fill our choices, and that’s only a few of the many quality shows. The era of Kill Your TV is over. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the ’80s and through the ’90s, I latched on to the underground literature movement that was burning through the US. I rarely watched TV back then, as it was the era of \u003cb>Melrose Place\u003c/b> and \u003cb>Wings\u003c/b>. Exceptions were made for the \u003cb>X Files\u003c/b>, \u003cb>Seinfeld\u003c/b>, and \u003cb>The Simpsons\u003c/b>. Bukowski, Kathy Acker, Hunter S. Thompson and William S. Burroughs were all still alive then. Jack Micheline loped the length of Valencia Street , a proud old literary lion. Leaving the TV off and going out, I saw the likes of Michelle Tea, Beth Lisick, Daphne Gottlieb, Justin Chin, Lynne Breedlove, and Stephen Elliott before any of them had a published book, reading from manuscripts that would later see print. It would take at least a whole other column to talk about what’s wrong with contemporary literature and the death of the underground reading, and that’s not the point of this column anyway. I stayed up until 4:30am Saturday morning watching the last five episodes of Nip/Tuck Season Three. There was no way I was going to wait another day without knowing the resolution. And it’s not like I was going to sleep with that creepy slasher still on the loose. I rarely stay up reading books anymore.\u003c/p>\n\u003cp>But I guess this is the best segue into \u003ca href=\"http://www.litquake.org/\" target=\"offsite\" rel=\"noopener\">Litquake\u003c/a>, San Francisco’s literary festival. Starting this week, hundreds of authors will gather in pubs, bars, bookstores, and the library to read from the diverse talent pool of writers that live in the San Francisco area. As of today, TV and standup comedy are more interesting than American literature. But here’s hoping for a comeback. \u003c/p>\n\u003cp>\u003cb>Pick of the Week\u003c/b>\u003cbr>If you haven’t seen \u003cb>Nip/Tuck\u003c/b>, queue up Season 1. Do not try to watch them out of sequence.\u003c/p>\n\u003cp>\u003cb>The Pace\u003c/b>\u003cbr>I watched 12 this week. 370 DVDs in 274 days. 130 DVDs left in the next 91 days for a pace of 9.99 per week. Back under 10! Hopefully I will be able to get ahead in the next few weeks, as November and December will be problematic with the holidays. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>r and December will be problematic with the holidays. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>Week in Review\u003c/b>\u003cbr>\u003cb>Nip/Tuck\u003c/b> is a prime example of why other countries hate the United States, and why I can’t imagine living anywhere else. Our economy is going down the toilet, our energy usage is forty years outdated, and our infrastructure is crumbling, but we make the best pop culture entertainment in history, and it’s only getting more bizarre. I had planned to do a “week in the life” type column for this week, but I saw the third season of Nip/Tuck, and I can’t imagine writing about anything else. It’s trashy, weird, horrific, and campy all at once, and the soundtrack is awesome.\u003c/p>\n\u003cp>\u003cb>Nip/Tuck\u003c/b> runs on FX. It’s currently in its fourth season, airing now. Since I’ve been doing this project, I haven’t watched much television, but I think this show works better seen at once, rather than pieced out over months. \u003cb>Nip/Tuck\u003c/b> started as a family drama about a pair of plastic surgeons who are also best friends. One’s a family man, and the other is a playboy. Set in the trendy and expensive area of South Beach in Miami, the show balanced family struggle against one night stands to keep the stories interesting. Most shows began with the two doctors in the patient interview with the phrase “Tell me what you don’t like about yourself.” What followed was unusual requests that often brought up legal, ethical and moral issues. The show was surprisingly questioning of many surgical procedures, asking, “is it right to do this, just because we can?” The first season was well-scripted, thoughtfully written, and a fresh show to watch. Then came the second season. \u003c/p>\n\u003cp>As with many other innovative shows, the second season looked like it had gone through many production changes. A meanness surfaced in the writing. The surgical requests became more bizarre and unreal. The sex left the condo of the playboy doctor and went into the once-stable family home. But worst of all was the running story arcs of a serial slasher who carved up the bodies of people who had undergone plastic surgery and a transsexual who preyed salaciously upon an underage character. I hadn’t planned on watching a third season, but was strongly urged on by a friend. \u003c/p>\n\u003cp>The third season came back with a roar. It’s somewhat related to the first two seasons, but it’s the most bizarre TV series I’ve ever seen. There were entire scenes and episodes that seemed as if they had been directed by Dario Argento. Moments of pure horror pop up through the storylines that involve vindictive transsexuals (not the same evil one from season two, although she makes a Obi-Wan Kenobi-type appearance), a white power family, trannies vs. Nazis, a couple who think they’re Santa and Mrs. Claus, Latino gang members, a Frankenstein Monster-style corpse, a tragic and vividly enacted plane crash, threesomes and then some sex, the most disgusting facial cream I can’t divulge, and of course, the return of the serial slasher. The soundtrack choices are also more snotty, with picks like “Fat Bottomed Girls” playing during a heiney lipo. \u003c/p>\n\u003cp>I remember when Richard Kern films were considered transgressive, when David Lynch, Nick Zedd, and Ken Russell were the far flung filmmakers whose films incited protest and fury, and were rarely seen, even in film festivals. To see films such as these, one had to trade for grainy VHS dubs or be close to a counter culture video store or know the filmmaker personally. \u003cb>Nip/Tuck\u003c/b> is floating through the basic cable lines, and you can TiVo it. Other shows, like \u003cb>Rescue Me\u003c/b>, \u003cb>The Shield\u003c/b>, \u003cb>The Wire\u003c/b>, \u003cb>The Sopranos\u003c/b>, \u003cb>Curb Your Enthusiasm\u003c/b>, \u003cb>Entourage\u003c/b>, \u003cb>Extras\u003c/b>, \u003cb>The Venture Brothers\u003c/b>, \u003cb>Metalocalypse\u003c/b>, fill our choices, and that’s only a few of the many quality shows. The era of Kill Your TV is over. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the ’80s and through the ’90s, I latched on to the underground literature movement that was burning through the US. I rarely watched TV back then, as it was the era of \u003cb>Melrose Place\u003c/b> and \u003cb>Wings\u003c/b>. Exceptions were made for the \u003cb>X Files\u003c/b>, \u003cb>Seinfeld\u003c/b>, and \u003cb>The Simpsons\u003c/b>. Bukowski, Kathy Acker, Hunter S. Thompson and William S. Burroughs were all still alive then. Jack Micheline loped the length of Valencia Street , a proud old literary lion. Leaving the TV off and going out, I saw the likes of Michelle Tea, Beth Lisick, Daphne Gottlieb, Justin Chin, Lynne Breedlove, and Stephen Elliott before any of them had a published book, reading from manuscripts that would later see print. It would take at least a whole other column to talk about what’s wrong with contemporary literature and the death of the underground reading, and that’s not the point of this column anyway. I stayed up until 4:30am Saturday morning watching the last five episodes of Nip/Tuck Season Three. There was no way I was going to wait another day without knowing the resolution. And it’s not like I was going to sleep with that creepy slasher still on the loose. I rarely stay up reading books anymore.\u003c/p>\n\u003cp>But I guess this is the best segue into \u003ca href=\"http://www.litquake.org/\" target=\"offsite\" rel=\"noopener\">Litquake\u003c/a>, San Francisco’s literary festival. Starting this week, hundreds of authors will gather in pubs, bars, bookstores, and the library to read from the diverse talent pool of writers that live in the San Francisco area. As of today, TV and standup comedy are more interesting than American literature. But here’s hoping for a comeback. \u003c/p>\n\u003cp>\u003cb>Pick of the Week\u003c/b>\u003cbr>If you haven’t seen \u003cb>Nip/Tuck\u003c/b>, queue up Season 1. Do not try to watch them out of sequence.\u003c/p>\n\u003cp>\u003cb>The Pace\u003c/b>\u003cbr>I watched 12 this week. 370 DVDs in 274 days. 130 DVDs left in the next 91 days for a pace of 9.99 per week. Back under 10! Hopefully I will be able to get ahead in the next few weeks, as November and December will be problematic with the holidays. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>r and December will be problematic with the holidays. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>About 3/4 of the way through Michel Gondry’s \u003cb>The Science of Sleep\u003c/b>, strange, salty water started leaking from my eyes and running down my cheeks. It was completely involuntary and it happened because somewhere inside myself I knew that \u003cb>The Science of Sleep\u003c/b> would soon come to an end. Imagination is so rarely celebrated — at least in America — and creativity is infrequently as unconstrained — the film is like water to a parched desert, a two-hour downpour, but you know the drought will return when it has come to an end.\u003c/p>\n\u003cp>The film starts deep inside the subconscious of Stéphane (Gael García Bernal), who hosts his own imaginary TV show. He is cooking up a dream, choosing the proper ingredients and showing how they are best prepared. Then the dream/the film begins with flying colors — literally — and it is a love story (with many reversals) between Stéphane and his new neighbor Stéphanie (Charlotte Gainsbourg). It’s the perfect date movie, because you’d have to be made of stone not to be moved, and that stone would need to be thick.\u003c/p>\n\u003cp>But the film is really a romantic ode to the imagination. It is about communication, how we can each be so far inside our own reality that it is almost a miracle when someone else gains entry, when someone else understands us — and that is love. It’s no accident that the protagonists are named Stéphane and Stéphanie, the male and female of the same root, as they are definitely suited to one another, each residing inside his or her own imagination and each holding the key to the other’s.\u003c/p>\n\u003cp>What’s amazing about \u003cb>The Science of Sleep\u003c/b> — other than the hand-crafted wonder of gorgeous, rough-hewn cardboard-cut-out landscapes and floating cotton clouds (in this age of computer-generated explosions) — is how it cares little about the establishment of a clear line between “dream” and “reality.” The film acknowledges its own dream-ness and can’t be bothered to construct a false “real” just to make the audience comfortable or the story plausible. Perhaps this is because the filmmakers have freed themselves from the tyranny of language.\u003c/p>\n\u003cp>While I was watching \u003cb>The Science of Sleep\u003c/b>, I was reminded of the new Brazilian Girls CD, \u003cb>Talk to la Bomb\u003c/b> (\u003ca href=\"http://www.kqed.org/arts/music/index.jsp?id=10462\">Read review\u003c/a>), wherein every song is sung using multiple languages, phrases chosen from each tongue to suit the mood and the moment. English, French, Spanish, German, Portuguese are employed whenever the emotion is best expressed in that particular language. Perhaps the world of international DJ culture has come into its own — globe-trotting polyglots making art that transcends international borders. \u003cb>The Science of Sleep\u003c/b> breaks down the boundaries between reverie and reality, the languages spoken onscreen while asleep and awake are many.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As I left the theater, I wiped the memory of tears from my cheeks. They flowed partially from the sheer joy of watching an original and unbridled imagination run amok, but also a little sadness crept in (as it often does lately) about the state of American culture. It is perplexing that our country’s reaction to globalization has taken such a surreal turn. We struggle to pass laws that declare English our “official” language. We desire a great wall between ourselves and our neighbor to the south. We mortgage away the future of the children who will grow up lacking the language skills and creative education to compete in an ever-shrinking international environment. While France exports \u003cb>The Science of Sleep\u003c/b> — a joyous vision of the life of the creative mind, we export \u003cb>Snakes on a Plane\u003c/b>.\u003c/p>\n\u003cp>OK. We have our equivalents (\u003cb>Being John Malkovich\u003c/b>, \u003cb>I Heart Huckabees\u003c/b>, \u003cb>Rushmore\u003c/b>, Gondry’s own \u003cb>Eternal Sunshine of the Spotless Mind\u003c/b>, etc.), but if we really are in a “war for the hearts and minds” of global citizens, why aren’t these products being used as our not-so-secret weapons? The kinder, gentler films, the ones that portray a quirky and complex American landscape aren’t even distributed to the hinterlands of America, much less marketed beyond our borders. Perhaps people around the globe don’t “hate us because of our freedom,” perhaps they just dislike what we’ve chosen to do with it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Science of Sleep\u003c/b> now playing.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>About 3/4 of the way through Michel Gondry’s \u003cb>The Science of Sleep\u003c/b>, strange, salty water started leaking from my eyes and running down my cheeks. It was completely involuntary and it happened because somewhere inside myself I knew that \u003cb>The Science of Sleep\u003c/b> would soon come to an end. Imagination is so rarely celebrated — at least in America — and creativity is infrequently as unconstrained — the film is like water to a parched desert, a two-hour downpour, but you know the drought will return when it has come to an end.\u003c/p>\n\u003cp>The film starts deep inside the subconscious of Stéphane (Gael García Bernal), who hosts his own imaginary TV show. He is cooking up a dream, choosing the proper ingredients and showing how they are best prepared. Then the dream/the film begins with flying colors — literally — and it is a love story (with many reversals) between Stéphane and his new neighbor Stéphanie (Charlotte Gainsbourg). It’s the perfect date movie, because you’d have to be made of stone not to be moved, and that stone would need to be thick.\u003c/p>\n\u003cp>But the film is really a romantic ode to the imagination. It is about communication, how we can each be so far inside our own reality that it is almost a miracle when someone else gains entry, when someone else understands us — and that is love. It’s no accident that the protagonists are named Stéphane and Stéphanie, the male and female of the same root, as they are definitely suited to one another, each residing inside his or her own imagination and each holding the key to the other’s.\u003c/p>\n\u003cp>What’s amazing about \u003cb>The Science of Sleep\u003c/b> — other than the hand-crafted wonder of gorgeous, rough-hewn cardboard-cut-out landscapes and floating cotton clouds (in this age of computer-generated explosions) — is how it cares little about the establishment of a clear line between “dream” and “reality.” The film acknowledges its own dream-ness and can’t be bothered to construct a false “real” just to make the audience comfortable or the story plausible. Perhaps this is because the filmmakers have freed themselves from the tyranny of language.\u003c/p>\n\u003cp>While I was watching \u003cb>The Science of Sleep\u003c/b>, I was reminded of the new Brazilian Girls CD, \u003cb>Talk to la Bomb\u003c/b> (\u003ca href=\"http://www.kqed.org/arts/music/index.jsp?id=10462\">Read review\u003c/a>), wherein every song is sung using multiple languages, phrases chosen from each tongue to suit the mood and the moment. English, French, Spanish, German, Portuguese are employed whenever the emotion is best expressed in that particular language. Perhaps the world of international DJ culture has come into its own — globe-trotting polyglots making art that transcends international borders. \u003cb>The Science of Sleep\u003c/b> breaks down the boundaries between reverie and reality, the languages spoken onscreen while asleep and awake are many.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As I left the theater, I wiped the memory of tears from my cheeks. They flowed partially from the sheer joy of watching an original and unbridled imagination run amok, but also a little sadness crept in (as it often does lately) about the state of American culture. It is perplexing that our country’s reaction to globalization has taken such a surreal turn. We struggle to pass laws that declare English our “official” language. We desire a great wall between ourselves and our neighbor to the south. We mortgage away the future of the children who will grow up lacking the language skills and creative education to compete in an ever-shrinking international environment. While France exports \u003cb>The Science of Sleep\u003c/b> — a joyous vision of the life of the creative mind, we export \u003cb>Snakes on a Plane\u003c/b>.\u003c/p>\n\u003cp>OK. We have our equivalents (\u003cb>Being John Malkovich\u003c/b>, \u003cb>I Heart Huckabees\u003c/b>, \u003cb>Rushmore\u003c/b>, Gondry’s own \u003cb>Eternal Sunshine of the Spotless Mind\u003c/b>, etc.), but if we really are in a “war for the hearts and minds” of global citizens, why aren’t these products being used as our not-so-secret weapons? The kinder, gentler films, the ones that portray a quirky and complex American landscape aren’t even distributed to the hinterlands of America, much less marketed beyond our borders. Perhaps people around the globe don’t “hate us because of our freedom,” perhaps they just dislike what we’ve chosen to do with it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Science of Sleep\u003c/b> now playing.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cb>Week in Review\u003c/b>\u003cbr>I watched a bad movie about a video game this week, \u003cb>Stay Alive\u003c/b>, and it made me wonder if any movies about video games were any good. I Googled various strings of words, but couldn’t find a list of movies about video games. There were some, like \u003cb>Tomb Raider\u003c/b>, that are based on video games, but few about them. But I came up with a handful, and there are a couple of good ones.\u003c/p>\n\u003cp>\u003cb>Stay Alive\u003c/b>\u003cbr>It’s a bit like \u003cb>A Nightmare on Elm Street\u003c/b>, but with video games instead of dreams. If you die in the game, the Bloody Mary villain kills you in real life. But it fails, as it breaks its own rules. Some who do not die in the game, die in real life as well. And it never explains itself. We need some kind of explanation — that it was written on Satan’s laptop or something; it doesn’t matter if the explanation is stupid, just give us one. Then it steals the ending from \u003cb>The Stuff\u003c/b>.\u003c/p>\n\u003cp>\u003cb>Existenz\u003c/b>\u003cbr>David Cronenberg wrote and directed this film starring Jennifer Jason Leigh and Jude Law. I really liked this “is it real or is it a game” flick in which Cronenberg borrowed effects from the super-creepy \u003cb>Videodrome\u003c/b>. If you were freaked out by the breathing video tape, check this one out.\u003c/p>\n\u003cp>\u003cb>Brainscan\u003c/b>\u003cbr>I saw this stinker in the theater in 1994 and regretted ever taking the free pass. Edward Furlong did this one, and it’s worse than his straight to video work of late. I’m trying to remember what it was about exactly without having to sit through it again. I’m recalling this Dee Snider looking villain that lives within a game, and Furlong plays it and people keep dying… oh forget it. It was horrible.\u003c/p>\n\u003cp>\u003cb>Wargames\u003c/b>\u003cbr>“Would you like to play a game?” John Badham, of \u003cb>Saturday Night Fever\u003c/b> fame, scored again with this one before moving on to utter crap like \u003cb>Short Circuit\u003c/b>. Matthew Broderick plays a young computer hacker who impresses an adorable Ally Sheedy with his computer smarts. Aside from that obvious mistake of reality, the movie is a fast-paced and smart thriller. While hacking around for fun, Broderick accidentally tells a government nuclear missile computer to launch the missles, under the wrong assumption that \u003cb>Thermonuclear War\u003c/b> is just a game. The technology is laughably dated, but it’s a really good example of the ’80s nuclear scare/Russophobia that inspired other films like \u003cb>The Day After\u003c/b> and \u003cb>Red Dawn\u003c/b>. This is the winner of the bunch. If you haven’t seen it, pick it up. I can’t belive it has been 23 years.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Other films that came close:\u003c/b>\u003cbr>\u003cb>Brainstorm\u003c/b>, starring Christopher Walken, and \u003cb>Strange Days\u003c/b>, penned by James Cameron, were both enjoyable films about what could go wrong with Virtual Reality. While not really video games, that’s all Virtual Reality ended up being. I’m sure there must be more. Feel free to send your ideas on the subject to \u003ca href=\"mailto:bucky@kqed.org\">bucky@kqed.org\u003c/a>\u003c/p>\n\u003cp>\u003cb>Pick of the Week\u003c/b>\u003cbr>This week’s DVDs were a much better batch than last week’s. \u003cb>The Klansman\u003c/b> was in that “so bad it’s good category,” featuring OJ Simpson sniping shots at the KKK. The life of the singer featured in \u003cb>The Devil and Daniel Johnston\u003c/b> was more interesting than his actual music. \u003cb>Silver Streak\u003c/b> was a hilarious Richard Pryor/Gene Wilder comedy, that held up from beginning to end. I really enjoyed the dark sci-fi cop drama \u003cb>Outland\u003c/b>, with Sean Connery. But the one that won out was another Sean Connery film, \u003cb>The Great Train Robbery\u003c/b>. \u003c/p>\n\u003cp>Before he was mindlessly typing up his scripts for unimaginative blockbusters, Michael Crichton penned some well thought out stories, and directed a few such as \u003cb>Westworld\u003c/b> and this one, a period piece unlike any of his other films. The more films I see, the more I appreciate a film that’s written and directed by the same person. Crichton, a bit out of character, wrote and directed this suspenseful heist film. Sean Connery is a thief who is intrigued with a gold shipment deemed unstealable by a set of bankers. He recruits fellow thief Donald Sutherland to help out. Together, they meticulously plan the heist.\u003c/p>\n\u003cp>Most of the film is the preparation before the actual robbery, which of course, takes place aboard a train. By the time the train shows up, we’ve seen an hour and a half of careful prep work and planning, all out to the last detail. Yet the heist is not going to come off without a hitch. There are surprises that come up as obstacles to the pair of thieves. But each challenge is resolved with some really clever solutions. Check it out.\u003c/p>\n\u003cp>\u003cb>The Pace\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I only watched 11 this week. 358 DVDs in 267 days. 142 DVDs left in the next 98 days for a pace of 10.14 per week. I’m still over 10, and this week is going to be a social whirlwind. Details in the next update, as I will keep a log of my comings and goings for a different style column.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>Week in Review\u003c/b>\u003cbr>I watched a bad movie about a video game this week, \u003cb>Stay Alive\u003c/b>, and it made me wonder if any movies about video games were any good. I Googled various strings of words, but couldn’t find a list of movies about video games. There were some, like \u003cb>Tomb Raider\u003c/b>, that are based on video games, but few about them. But I came up with a handful, and there are a couple of good ones.\u003c/p>\n\u003cp>\u003cb>Stay Alive\u003c/b>\u003cbr>It’s a bit like \u003cb>A Nightmare on Elm Street\u003c/b>, but with video games instead of dreams. If you die in the game, the Bloody Mary villain kills you in real life. But it fails, as it breaks its own rules. Some who do not die in the game, die in real life as well. And it never explains itself. We need some kind of explanation — that it was written on Satan’s laptop or something; it doesn’t matter if the explanation is stupid, just give us one. Then it steals the ending from \u003cb>The Stuff\u003c/b>.\u003c/p>\n\u003cp>\u003cb>Existenz\u003c/b>\u003cbr>David Cronenberg wrote and directed this film starring Jennifer Jason Leigh and Jude Law. I really liked this “is it real or is it a game” flick in which Cronenberg borrowed effects from the super-creepy \u003cb>Videodrome\u003c/b>. If you were freaked out by the breathing video tape, check this one out.\u003c/p>\n\u003cp>\u003cb>Brainscan\u003c/b>\u003cbr>I saw this stinker in the theater in 1994 and regretted ever taking the free pass. Edward Furlong did this one, and it’s worse than his straight to video work of late. I’m trying to remember what it was about exactly without having to sit through it again. I’m recalling this Dee Snider looking villain that lives within a game, and Furlong plays it and people keep dying… oh forget it. It was horrible.\u003c/p>\n\u003cp>\u003cb>Wargames\u003c/b>\u003cbr>“Would you like to play a game?” John Badham, of \u003cb>Saturday Night Fever\u003c/b> fame, scored again with this one before moving on to utter crap like \u003cb>Short Circuit\u003c/b>. Matthew Broderick plays a young computer hacker who impresses an adorable Ally Sheedy with his computer smarts. Aside from that obvious mistake of reality, the movie is a fast-paced and smart thriller. While hacking around for fun, Broderick accidentally tells a government nuclear missile computer to launch the missles, under the wrong assumption that \u003cb>Thermonuclear War\u003c/b> is just a game. The technology is laughably dated, but it’s a really good example of the ’80s nuclear scare/Russophobia that inspired other films like \u003cb>The Day After\u003c/b> and \u003cb>Red Dawn\u003c/b>. This is the winner of the bunch. If you haven’t seen it, pick it up. I can’t belive it has been 23 years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Other films that came close:\u003c/b>\u003cbr>\u003cb>Brainstorm\u003c/b>, starring Christopher Walken, and \u003cb>Strange Days\u003c/b>, penned by James Cameron, were both enjoyable films about what could go wrong with Virtual Reality. While not really video games, that’s all Virtual Reality ended up being. I’m sure there must be more. Feel free to send your ideas on the subject to \u003ca href=\"mailto:bucky@kqed.org\">bucky@kqed.org\u003c/a>\u003c/p>\n\u003cp>\u003cb>Pick of the Week\u003c/b>\u003cbr>This week’s DVDs were a much better batch than last week’s. \u003cb>The Klansman\u003c/b> was in that “so bad it’s good category,” featuring OJ Simpson sniping shots at the KKK. The life of the singer featured in \u003cb>The Devil and Daniel Johnston\u003c/b> was more interesting than his actual music. \u003cb>Silver Streak\u003c/b> was a hilarious Richard Pryor/Gene Wilder comedy, that held up from beginning to end. I really enjoyed the dark sci-fi cop drama \u003cb>Outland\u003c/b>, with Sean Connery. But the one that won out was another Sean Connery film, \u003cb>The Great Train Robbery\u003c/b>. \u003c/p>\n\u003cp>Before he was mindlessly typing up his scripts for unimaginative blockbusters, Michael Crichton penned some well thought out stories, and directed a few such as \u003cb>Westworld\u003c/b> and this one, a period piece unlike any of his other films. The more films I see, the more I appreciate a film that’s written and directed by the same person. Crichton, a bit out of character, wrote and directed this suspenseful heist film. Sean Connery is a thief who is intrigued with a gold shipment deemed unstealable by a set of bankers. He recruits fellow thief Donald Sutherland to help out. Together, they meticulously plan the heist.\u003c/p>\n\u003cp>Most of the film is the preparation before the actual robbery, which of course, takes place aboard a train. By the time the train shows up, we’ve seen an hour and a half of careful prep work and planning, all out to the last detail. Yet the heist is not going to come off without a hitch. There are surprises that come up as obstacles to the pair of thieves. But each challenge is resolved with some really clever solutions. Check it out.\u003c/p>\n\u003cp>\u003cb>The Pace\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I only watched 11 this week. 358 DVDs in 267 days. 142 DVDs left in the next 98 days for a pace of 10.14 per week. I’m still over 10, and this week is going to be a social whirlwind. Details in the next update, as I will keep a log of my comings and goings for a different style column.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cb>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2006/09/Little_Darlings-1980.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-129131\" alt=\"matt dillon\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2006/09/Little_Darlings-1980.jpg\" width=\"267\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2006/09/Little_Darlings-1980.jpg 267w, https://cdn.kqed.org/wp-content/uploads/sites/2/2006/09/Little_Darlings-1980-200x300.jpg 200w\" sizes=\"(max-width: 267px) 100vw, 267px\">\u003c/a>Week in Review\u003c/b>\u003cbr>\nMatt Dillon recently got his first Oscar nod for the Paul Haggis film \u003cem>Crash\u003c/em>. While not unusual for my taste, that was one of my least favorite Dillon roles. Before \u003cem>Crash\u003c/em>, Dillon made a comeback of sorts in \u003cem>There’s Something About Mary\u003c/em>, where he stole the show, and in the Noir As Teen Flick \u003cem>Wild Things\u003c/em>. Currently, he’s playing the Charles Bukowski alter ego Hank Chinaski in Bent Hamer’s \u003cem>Factotum\u003c/em>. Most people remember him for \u003cem>Singles\u003c/em> or \u003cem>Drugstore Cowboy\u003c/em>.\u003c/p>\n\u003cp>Dillon, in my opinion, made good choices right out of the gate from his first roles on. There were a few bad movies in there as there will be with any actor, but with his longevity, he’s really shown that he has a smart mind for the business. Here, in no particular order, are some Matt Dillon movies that I would recommend as must see movies, that most people I talk to have missed.\u003c/p>\n\u003cp>\u003cem>\u003cb>Over the Edge\u003c/b>\u003c/em>\u003cbr>\nIf my math is right, Dillon was 14 when he made this story about a bunch of kids living a life of boredom in a planned community. They take over the school and lock all the parents inside. Teen anarchy at its best. Makes a nice double feature with \u003cem>Dazed and Confused\u003c/em>, as Linklater borrowed blocking and scenes from Dillon’s debut film.\u003c/p>\n\u003cp>\u003cem>\u003cb>Rumble Fish\u003c/b>\u003c/em>\u003cbr>\nI don’t know too many people who’ve seen this one. It’s based on the SE Hinton novel of the same name. Dillon also starred in Tex and The Outsiders, the two other Hinton novels. Francis Ford Coppola did a wonderful job putting this film together with such great talent as Nicolas Cage, Mickey Rourke, and Dennis Hopper.\u003c/p>\n\u003cp>\u003cem>\u003cb>To Die For\u003c/b>\u003c/em>\u003cbr>\nGus Van Sant, who directed \u003cem>Drugstore Cowboy\u003c/em>, also directed this one. With early roles from Casey Affleck and Joaquin Phoenix, Dillon plays opposite a ruthless Nicole Kidman in, along with \u003cem>Dogville\u003c/em>, one of her best roles. When she’s turned loose she can really deliver, but normally suffers from bad scripts. Dillon plays her husband who gets in the way of her career… a very bad move.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>\u003cb>My Bodyguard\u003c/b>\u003c/em>\u003cbr>\nDillon is the villain, Big Mel in this, one of the last good pre-“guns in high school’ teen thug movies. It looks strangely innocent now, with the fistfighting and the skinny armed Dillon of 16 menacing only because he’s bigger than Chris Makepeace, but whenever it comes on cable, I have to watch some of it. Vincent D’onfrio is also great as the troubled big lug that shows up new to the school.\u003c/p>\n\u003cp>\u003cb>Pick of the Week\u003c/b>\u003cbr>\n\u003cem>Class\u003c/em>. \u003cem>St. Elmo’s Fire\u003c/em>. \u003cem>Pretty in Pink\u003c/em>. \u003cem>Less Than Zero\u003c/em>. Andrew McCarthy was in some of the definitive youth movies of the ’80s. Then he was also in the stinkers \u003cem>Mannequin\u003c/em> and \u003cem>Weekend at Bernies\u003c/em>. That was around the time his career went south. McCarthy continued to act, appearing recently in a recurring role on \u003cem>ER\u003c/em>. But his career has had little to no pop cultural impact since that short, productive time. I wish I had watched one of his really good movies to recommend for you this week. But due to the lack of really anything phenomenal, and that the rest of the movies I watched this week were lousy, the film that gets the nod this week is \u003cem>Kansas\u003c/em>, which pits McCarthy against Matt Dillon.\u003c/p>\n\u003cp>We see McCarthy for the first time as Dillon helps him aboard a freight train. McCarthy tells the story about getting to a friend’s wedding, and doesn’t mention it again until an hour and forty minutes later. Dillon convinces him to hang out with him in Kansas for a while before heading on. What follows is two hours of interesting film, but it’s not without its odd unexplained moments. About halfway through, McCarthy comes upon a woman who has paid him no attention whatsoever, but as they are in a barn and it’s raining out, she makes sweet frightened-horse love to him. There’s a bank robbery, a child going in the river in a car, wisecracking ethnic tokens, a news team that responds with the speed of psychics, and many pints of whiskey. Dillon gets a job as a carny, running a Tilt-O-Whirl or something and immediately shacks up in the trailer home of the carnival’s owner, who just happens to be single, blonde, and beautiful. There are many stupid plot moments, but overall, I still liked the film. Dillon and McCarthy are fun to watch together, and this came out way back in 1988, so you probably haven’t seen it, as it’s too old to be in the videostores, but not old enough to really be a classic. So this is my pick.\u003c/p>\n\u003cp>What fascinates me most about McCarthy is a strange physical characteristic. He’s seemingly able to close his eyes by shutting his lower eyelid upwards. Check it out. Anytime his character has a moral crisis, his alien eyelids snap north.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Pace\u003c/b>\u003cbr>\nI only watched 7 this week. 347 DVDs in 260 days. 153 DVDs left in the next 105 days for a pace of 10.2 per week. I’m back over 10. It’s mostly my fault. I am missing one DVD, \u003cem>Triumph of the Spirit\u003c/em> was due over a week ago. But I left Wednesday night’s movies on the kitchen table rather than throwing them in the mail on Thursday. I noticed them Friday evening after the mail pickup. Had I gotten them in the mail, I most likely would’ve gotten them replaced on Saturday. I should have \u003cem>The Klansman\u003c/em> coming on Monday, so maybe I’ll hit 11 or 12 next week.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2006/09/Little_Darlings-1980.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-129131\" alt=\"matt dillon\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2006/09/Little_Darlings-1980.jpg\" width=\"267\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2006/09/Little_Darlings-1980.jpg 267w, https://cdn.kqed.org/wp-content/uploads/sites/2/2006/09/Little_Darlings-1980-200x300.jpg 200w\" sizes=\"(max-width: 267px) 100vw, 267px\">\u003c/a>Week in Review\u003c/b>\u003cbr>\nMatt Dillon recently got his first Oscar nod for the Paul Haggis film \u003cem>Crash\u003c/em>. While not unusual for my taste, that was one of my least favorite Dillon roles. Before \u003cem>Crash\u003c/em>, Dillon made a comeback of sorts in \u003cem>There’s Something About Mary\u003c/em>, where he stole the show, and in the Noir As Teen Flick \u003cem>Wild Things\u003c/em>. Currently, he’s playing the Charles Bukowski alter ego Hank Chinaski in Bent Hamer’s \u003cem>Factotum\u003c/em>. Most people remember him for \u003cem>Singles\u003c/em> or \u003cem>Drugstore Cowboy\u003c/em>.\u003c/p>\n\u003cp>Dillon, in my opinion, made good choices right out of the gate from his first roles on. There were a few bad movies in there as there will be with any actor, but with his longevity, he’s really shown that he has a smart mind for the business. Here, in no particular order, are some Matt Dillon movies that I would recommend as must see movies, that most people I talk to have missed.\u003c/p>\n\u003cp>\u003cem>\u003cb>Over the Edge\u003c/b>\u003c/em>\u003cbr>\nIf my math is right, Dillon was 14 when he made this story about a bunch of kids living a life of boredom in a planned community. They take over the school and lock all the parents inside. Teen anarchy at its best. Makes a nice double feature with \u003cem>Dazed and Confused\u003c/em>, as Linklater borrowed blocking and scenes from Dillon’s debut film.\u003c/p>\n\u003cp>\u003cem>\u003cb>Rumble Fish\u003c/b>\u003c/em>\u003cbr>\nI don’t know too many people who’ve seen this one. It’s based on the SE Hinton novel of the same name. Dillon also starred in Tex and The Outsiders, the two other Hinton novels. Francis Ford Coppola did a wonderful job putting this film together with such great talent as Nicolas Cage, Mickey Rourke, and Dennis Hopper.\u003c/p>\n\u003cp>\u003cem>\u003cb>To Die For\u003c/b>\u003c/em>\u003cbr>\nGus Van Sant, who directed \u003cem>Drugstore Cowboy\u003c/em>, also directed this one. With early roles from Casey Affleck and Joaquin Phoenix, Dillon plays opposite a ruthless Nicole Kidman in, along with \u003cem>Dogville\u003c/em>, one of her best roles. When she’s turned loose she can really deliver, but normally suffers from bad scripts. Dillon plays her husband who gets in the way of her career… a very bad move.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cb>My Bodyguard\u003c/b>\u003c/em>\u003cbr>\nDillon is the villain, Big Mel in this, one of the last good pre-“guns in high school’ teen thug movies. It looks strangely innocent now, with the fistfighting and the skinny armed Dillon of 16 menacing only because he’s bigger than Chris Makepeace, but whenever it comes on cable, I have to watch some of it. Vincent D’onfrio is also great as the troubled big lug that shows up new to the school.\u003c/p>\n\u003cp>\u003cb>Pick of the Week\u003c/b>\u003cbr>\n\u003cem>Class\u003c/em>. \u003cem>St. Elmo’s Fire\u003c/em>. \u003cem>Pretty in Pink\u003c/em>. \u003cem>Less Than Zero\u003c/em>. Andrew McCarthy was in some of the definitive youth movies of the ’80s. Then he was also in the stinkers \u003cem>Mannequin\u003c/em> and \u003cem>Weekend at Bernies\u003c/em>. That was around the time his career went south. McCarthy continued to act, appearing recently in a recurring role on \u003cem>ER\u003c/em>. But his career has had little to no pop cultural impact since that short, productive time. I wish I had watched one of his really good movies to recommend for you this week. But due to the lack of really anything phenomenal, and that the rest of the movies I watched this week were lousy, the film that gets the nod this week is \u003cem>Kansas\u003c/em>, which pits McCarthy against Matt Dillon.\u003c/p>\n\u003cp>We see McCarthy for the first time as Dillon helps him aboard a freight train. McCarthy tells the story about getting to a friend’s wedding, and doesn’t mention it again until an hour and forty minutes later. Dillon convinces him to hang out with him in Kansas for a while before heading on. What follows is two hours of interesting film, but it’s not without its odd unexplained moments. About halfway through, McCarthy comes upon a woman who has paid him no attention whatsoever, but as they are in a barn and it’s raining out, she makes sweet frightened-horse love to him. There’s a bank robbery, a child going in the river in a car, wisecracking ethnic tokens, a news team that responds with the speed of psychics, and many pints of whiskey. Dillon gets a job as a carny, running a Tilt-O-Whirl or something and immediately shacks up in the trailer home of the carnival’s owner, who just happens to be single, blonde, and beautiful. There are many stupid plot moments, but overall, I still liked the film. Dillon and McCarthy are fun to watch together, and this came out way back in 1988, so you probably haven’t seen it, as it’s too old to be in the videostores, but not old enough to really be a classic. So this is my pick.\u003c/p>\n\u003cp>What fascinates me most about McCarthy is a strange physical characteristic. He’s seemingly able to close his eyes by shutting his lower eyelid upwards. Check it out. Anytime his character has a moral crisis, his alien eyelids snap north.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Pace\u003c/b>\u003cbr>\nI only watched 7 this week. 347 DVDs in 260 days. 153 DVDs left in the next 105 days for a pace of 10.2 per week. I’m back over 10. It’s mostly my fault. I am missing one DVD, \u003cem>Triumph of the Spirit\u003c/em> was due over a week ago. But I left Wednesday night’s movies on the kitchen table rather than throwing them in the mail on Thursday. I noticed them Friday evening after the mail pickup. Had I gotten them in the mail, I most likely would’ve gotten them replaced on Saturday. I should have \u003cem>The Klansman\u003c/em> coming on Monday, so maybe I’ll hit 11 or 12 next week.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This year marks the tenth anniversary of the \u003cb>MadCat Women’s Film Festival\u003c/b>, so tunnel into your coziest sweater, step out, and brave the fog because this festival features the very best new avant-garde films made by women. This year, as always, there’s a wide variety of stuff to see: narratives, documentaries, animated shorts, political films, and unique combinations of these.\u003c/p>\n\u003cp>For instance \u003cb>Program #4\u003c/b>, the animation show, features Marie-Jose Saint-Pierre’s animated documentary about (and homage to) Canadian film innovator Norman McLaren, entitled \u003cb>McLaren’s Negatives\u003c/b>. The film is absolutely gorgeous, making use of McLaren’s own techniques of painting directly on and scratching the surface of the emulsion to create beautiful images that wriggle and dance across the screen. Saint-Pierre also integrates real footage of McLaren and clips of his own films, all accompanied by a cool, jazzy soundtrack of original music. This film is visual poetry. See it!\u003c/p>\n\u003cp>Also outstanding is Stacy Steers’ \u003cb>Phantom Canyon\u003c/b>, an animated short painstakingly composed from nearly four thousand collages. This film tells the strange and erotic story of a bare-breasted woman who’s plagued by giant beetles that crawl from beneath the sheets of her floating bed. While battling these insects with giant scissors, she falls off the bed and down, down, down to a room inhabited by a nude man with bat wings. He pursues the bare-breasted woman, they make love, and for a very short time all goes well. . .\u003c/p>\n\u003cp>The look of \u003cb>Phantom Canyon\u003c/b> was oddly familiar to me. Once the end credits rolled I learned that the collages were pieced together from figures in Edward Muybridge’s \u003cb>Human and Animal Locomotion\u003c/b>. I wouldn’t say we can call Speers’ piece an homage to Muybridge as father-of-the-anatomy-of-motion, but it certainly acknowledges him; mainly, though, it realizes something deep about the female psyche — as we follow the main character to various interiors the story takes on the mythic quality of Persephone’s descent to Hades, or Alice’s to Wonderland. This re-construction of Muybridge’s work is wickedly and delightfully subversive.\u003c/p>\n\u003cp>Another film you shouldn’t miss is \u003cb>Maquilopolis\u003c/b>, by Vicky Funari and Sergio De La Torre. “Maquilopolis” is a Spanish word meaning “city of factories.” This nicely understated documentary tells the story of assemblers in Mexico’s Tijuana, eighty percent of whom are female. For companies such as Sony and Sanyo, they put together the components for televisions, batteries, and many other products that are subsequently shipped to U.S. markets.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s lots to love about this film, beginning with the creative use of fast-motion still shots. But the real strength of \u003cb>Maquilopolis\u003c/b> is its emotional balance — while we despise the corporations that don’t even try to hide that they’re dumping chemicals into the river flowing through their employees’ village, while we’re horrified to see the resulting rashes and sores (not to mention the birth defects and the kidney problems), while we cheer when the subjects of the documentary band together to sue Sanyo for the severance pay they’re owed by law, in the end we’re left with the feeling that the workers’ small victory barely scratches the surface. Tijuana can’t possibly recover from the damage that’s been done and its residents are losing their factory jobs because Asian labor is cheaper. Missing, then, is the triumphant ending typical in current Hollywood film, but despite this we recognize that a small victory is victory nonetheless.\u003c/p>\n\u003cp>And that’s exactly what I like about \u003cb>MadCat\u003c/b>. It’s INSPIRING that these filmmakers (who in some cases you might get to meet after a showing) are doing something brand-new with their medium, both formally and with their particular messages. Because these films don’t try very hard to manipulate us — and let’s face it, manipulation is insulting — their makers seem to understand us. In other words, these artists acknowledge that their audience is capable. And if the audience is capable, perhaps we, too, can make films. Which is a call to everyone: check out \u003cb>MadCat\u003c/b>, then pick up your cameras (or whatever you use) and create!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The tenth annual MadCat Women’s Film Festival runs September 12-27, 2006 at various venues. \u003ca href=\"http://www.madcatfilmfestival.org/festival_info.html\" target=\"offsite\" rel=\"noopener\">Visit the festival’s web site\u003c/a> for more information.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This year marks the tenth anniversary of the \u003cb>MadCat Women’s Film Festival\u003c/b>, so tunnel into your coziest sweater, step out, and brave the fog because this festival features the very best new avant-garde films made by women. This year, as always, there’s a wide variety of stuff to see: narratives, documentaries, animated shorts, political films, and unique combinations of these.\u003c/p>\n\u003cp>For instance \u003cb>Program #4\u003c/b>, the animation show, features Marie-Jose Saint-Pierre’s animated documentary about (and homage to) Canadian film innovator Norman McLaren, entitled \u003cb>McLaren’s Negatives\u003c/b>. The film is absolutely gorgeous, making use of McLaren’s own techniques of painting directly on and scratching the surface of the emulsion to create beautiful images that wriggle and dance across the screen. Saint-Pierre also integrates real footage of McLaren and clips of his own films, all accompanied by a cool, jazzy soundtrack of original music. This film is visual poetry. See it!\u003c/p>\n\u003cp>Also outstanding is Stacy Steers’ \u003cb>Phantom Canyon\u003c/b>, an animated short painstakingly composed from nearly four thousand collages. This film tells the strange and erotic story of a bare-breasted woman who’s plagued by giant beetles that crawl from beneath the sheets of her floating bed. While battling these insects with giant scissors, she falls off the bed and down, down, down to a room inhabited by a nude man with bat wings. He pursues the bare-breasted woman, they make love, and for a very short time all goes well. . .\u003c/p>\n\u003cp>The look of \u003cb>Phantom Canyon\u003c/b> was oddly familiar to me. Once the end credits rolled I learned that the collages were pieced together from figures in Edward Muybridge’s \u003cb>Human and Animal Locomotion\u003c/b>. I wouldn’t say we can call Speers’ piece an homage to Muybridge as father-of-the-anatomy-of-motion, but it certainly acknowledges him; mainly, though, it realizes something deep about the female psyche — as we follow the main character to various interiors the story takes on the mythic quality of Persephone’s descent to Hades, or Alice’s to Wonderland. This re-construction of Muybridge’s work is wickedly and delightfully subversive.\u003c/p>\n\u003cp>Another film you shouldn’t miss is \u003cb>Maquilopolis\u003c/b>, by Vicky Funari and Sergio De La Torre. “Maquilopolis” is a Spanish word meaning “city of factories.” This nicely understated documentary tells the story of assemblers in Mexico’s Tijuana, eighty percent of whom are female. For companies such as Sony and Sanyo, they put together the components for televisions, batteries, and many other products that are subsequently shipped to U.S. markets.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s lots to love about this film, beginning with the creative use of fast-motion still shots. But the real strength of \u003cb>Maquilopolis\u003c/b> is its emotional balance — while we despise the corporations that don’t even try to hide that they’re dumping chemicals into the river flowing through their employees’ village, while we’re horrified to see the resulting rashes and sores (not to mention the birth defects and the kidney problems), while we cheer when the subjects of the documentary band together to sue Sanyo for the severance pay they’re owed by law, in the end we’re left with the feeling that the workers’ small victory barely scratches the surface. Tijuana can’t possibly recover from the damage that’s been done and its residents are losing their factory jobs because Asian labor is cheaper. Missing, then, is the triumphant ending typical in current Hollywood film, but despite this we recognize that a small victory is victory nonetheless.\u003c/p>\n\u003cp>And that’s exactly what I like about \u003cb>MadCat\u003c/b>. It’s INSPIRING that these filmmakers (who in some cases you might get to meet after a showing) are doing something brand-new with their medium, both formally and with their particular messages. Because these films don’t try very hard to manipulate us — and let’s face it, manipulation is insulting — their makers seem to understand us. In other words, these artists acknowledge that their audience is capable. And if the audience is capable, perhaps we, too, can make films. Which is a call to everyone: check out \u003cb>MadCat\u003c/b>, then pick up your cameras (or whatever you use) and create!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The tenth annual MadCat Women’s Film Festival runs September 12-27, 2006 at various venues. \u003ca href=\"http://www.madcatfilmfestival.org/festival_info.html\" target=\"offsite\" rel=\"noopener\">Visit the festival’s web site\u003c/a> for more information.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Q-500 Experiment: Dinner and a movie?",
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"content": "\u003cp>Whenever I’m looking for a movie in the theater, I check to see if it’s playing at The Empire down in West Portal. The theater isn’t much better than the other fine independent theaters in the Bay Area, but its proximity to the Bull’s Head restaurant makes it a priority. \u003c/p>\n\u003cp>Have you noticed the lack of good dinner places by most theaters in San Francisco? Ever see something at the Embarcadero on the weekend and have to choose between Taco Bell and 7-11? Or get the horrible slice of pizza across from the Balboa? Or take the long walk from the Bridge to the Lucky Penny? Kinda kills the dinner and a movie date idea for San Francisco.\u003c/p>\n\u003cp>Sure, there’s Tommy’s Joint by the AMC on Van Ness, but then you’re stuck with Adam Sandler or Colin Ferrell. There’s Escape From New York Pizza on Haight near the Red Vic, but it’s not a great place to be on a first date, unless you want to give the impression that you’re really broke. 16th Street has the Roxie, but the programming there is not the usual date fare, unless you have an unusual date. The Metreon, The Lumiere, and The Opera Plaza cinemas are all stuck in the middle of “I’d Rather Go Hungry” Land.\u003c/p>\n\u003cp>Some of you think maybe you can drive from one place to another, and visit entirely different neighborhoods. But the problem with most San Francisco eateries is that they shut down the kitchens at 9pm, which makes it impossible to see the 7pm film then get to dinner. So if you want the movie first, you have to go at 5 pm. Often with a dinner first, and transportation and parking time, You’re lucky to make the 11pm movie, which gets out at 1am. All very awkward for people in the early stages of dating.\u003c/p>\n\u003cp>The Empire, though, is right down the street from the Bull’s Head, the home of my favorite burger in town. Nothing quite like loading up on a half pound of ground buffalo before a flick. There’s also the Squat & Gobble, but I can’t bear to eat there when there is the wonderland of meat so nearby. Afterwards, there is plenty of coffee and tea to put a top on the meal before the film. And if you are the kind of person to sneak in your own snacks, there is a Walgreen’s wilth all kinds of munchies nearby, though I neither endorse nor encourage violating theater rules.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On Saturday afternoon, I went to see \u003cb>The Illusionist\u003c/b>. I had the half pounder garlic burger with Buffalo meat. Not only is buffalo meat better for you than turkey or beef, it’s also better for you than ostrich. Yep, it says so right there on the menu.\u003c/p>\n\u003cp>The movie was a little odd, since magic tricks filmed just always look like special effects, not actual illusions. Ed Norton and Paul Giamatti give great performances in a mediocre film. I’d recommend it for a matinee viewing: it’s smart, but not too heavy so that it’ll warp your day. When it first came out, I saw \u003cb>Requiem for a Dream\u003c/b> at noon, and when I got out at 2pm, the rest of the day had a bizarre filter over it.\u003c/p>\n\u003cp>The only drawback to the whole day was I ended up sitting right behind an old lady who, it seemed, brought her plastic bag collection to sort while she was watching the film. There was constant rustling throughout the entire movie. There were lots of seniors there, some of whom loudly explained to their neighbor exactly what had just happened moments before. I think I was one of five people in the theater under sixty.\u003c/p>\n\u003cp>Feel free to email me with your dinner and a movie combos, I’m sure I’m missing something, or maybe you have a secret spot.\u003c/p>\n\u003cp>\u003cb>Pick of the Week\u003c/b>\u003cbr>Is it weird to recommend two ventriloquist movies in a row? I’m having to do this, due to the lackluster films I saw this week. Some were good, but not great. John Water’s \u003cb>Cry-Baby\u003c/b> is fun, but not as good as \u003cb>Hairspray\u003c/b> or \u003cb>Pecker\u003c/b>. \u003cb>Kinky Boots\u003c/b> was fun but predictable. \u003cb>Pure\u003c/b> was a good British junky film. The Don Delilo-penned \u003cb>Game 6\u003c/b> is worth a watch. I loved Rob Zombie’s \u003cb>The Devil’s Rejects\u003c/b>, but I really fell for \u003cb>Devil Doll\u003c/b> just a wee bit more.\u003c/p>\n\u003cp>\u003cb>Devil Doll\u003c/b> was recommended by Netflix after I put both \u003cb>Magic\u003c/b> and \u003cb>The Great Gabbo\u003c/b> in my queue. Sure, I thought, the more psychotic ventriloquists the merrier.\u003c/p>\n\u003cp>Executive producer Richard Gordon made his living importing and exporting horror films between the United States and England. He also took his turn at producing films as well. This DVD comes with both the international and domestic cuts of the film, as well as a really awesome commentary track by Gordon.\u003c/p>\n\u003cp>The film itself is about The Great Vorelli, who has a doll that not only talks up a storm, but can walk across the stage and is kept in a cage at night. Is it a trick? or is it frighteningly real? I won’t give away the explanation, but I will tell you it is a beautiful nightmare of a film out of the 19 DVDs I have viewed in the last two weeks.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Pace\u003c/b>\u003cbr>340 DVDs in 253 days. 160 DVDs left in the next 112 days for a pace of 9.99 per week. I was a little ahead, but because of the day without mail, lost a DVD so now I’m back to the 10 minimum. I should have a couple of DVDs coming on Monday, which is not the usual. So maybe I’ll get ahead again.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Whenever I’m looking for a movie in the theater, I check to see if it’s playing at The Empire down in West Portal. The theater isn’t much better than the other fine independent theaters in the Bay Area, but its proximity to the Bull’s Head restaurant makes it a priority. \u003c/p>\n\u003cp>Have you noticed the lack of good dinner places by most theaters in San Francisco? Ever see something at the Embarcadero on the weekend and have to choose between Taco Bell and 7-11? Or get the horrible slice of pizza across from the Balboa? Or take the long walk from the Bridge to the Lucky Penny? Kinda kills the dinner and a movie date idea for San Francisco.\u003c/p>\n\u003cp>Sure, there’s Tommy’s Joint by the AMC on Van Ness, but then you’re stuck with Adam Sandler or Colin Ferrell. There’s Escape From New York Pizza on Haight near the Red Vic, but it’s not a great place to be on a first date, unless you want to give the impression that you’re really broke. 16th Street has the Roxie, but the programming there is not the usual date fare, unless you have an unusual date. The Metreon, The Lumiere, and The Opera Plaza cinemas are all stuck in the middle of “I’d Rather Go Hungry” Land.\u003c/p>\n\u003cp>Some of you think maybe you can drive from one place to another, and visit entirely different neighborhoods. But the problem with most San Francisco eateries is that they shut down the kitchens at 9pm, which makes it impossible to see the 7pm film then get to dinner. So if you want the movie first, you have to go at 5 pm. Often with a dinner first, and transportation and parking time, You’re lucky to make the 11pm movie, which gets out at 1am. All very awkward for people in the early stages of dating.\u003c/p>\n\u003cp>The Empire, though, is right down the street from the Bull’s Head, the home of my favorite burger in town. Nothing quite like loading up on a half pound of ground buffalo before a flick. There’s also the Squat & Gobble, but I can’t bear to eat there when there is the wonderland of meat so nearby. Afterwards, there is plenty of coffee and tea to put a top on the meal before the film. And if you are the kind of person to sneak in your own snacks, there is a Walgreen’s wilth all kinds of munchies nearby, though I neither endorse nor encourage violating theater rules.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Saturday afternoon, I went to see \u003cb>The Illusionist\u003c/b>. I had the half pounder garlic burger with Buffalo meat. Not only is buffalo meat better for you than turkey or beef, it’s also better for you than ostrich. Yep, it says so right there on the menu.\u003c/p>\n\u003cp>The movie was a little odd, since magic tricks filmed just always look like special effects, not actual illusions. Ed Norton and Paul Giamatti give great performances in a mediocre film. I’d recommend it for a matinee viewing: it’s smart, but not too heavy so that it’ll warp your day. When it first came out, I saw \u003cb>Requiem for a Dream\u003c/b> at noon, and when I got out at 2pm, the rest of the day had a bizarre filter over it.\u003c/p>\n\u003cp>The only drawback to the whole day was I ended up sitting right behind an old lady who, it seemed, brought her plastic bag collection to sort while she was watching the film. There was constant rustling throughout the entire movie. There were lots of seniors there, some of whom loudly explained to their neighbor exactly what had just happened moments before. I think I was one of five people in the theater under sixty.\u003c/p>\n\u003cp>Feel free to email me with your dinner and a movie combos, I’m sure I’m missing something, or maybe you have a secret spot.\u003c/p>\n\u003cp>\u003cb>Pick of the Week\u003c/b>\u003cbr>Is it weird to recommend two ventriloquist movies in a row? I’m having to do this, due to the lackluster films I saw this week. Some were good, but not great. John Water’s \u003cb>Cry-Baby\u003c/b> is fun, but not as good as \u003cb>Hairspray\u003c/b> or \u003cb>Pecker\u003c/b>. \u003cb>Kinky Boots\u003c/b> was fun but predictable. \u003cb>Pure\u003c/b> was a good British junky film. The Don Delilo-penned \u003cb>Game 6\u003c/b> is worth a watch. I loved Rob Zombie’s \u003cb>The Devil’s Rejects\u003c/b>, but I really fell for \u003cb>Devil Doll\u003c/b> just a wee bit more.\u003c/p>\n\u003cp>\u003cb>Devil Doll\u003c/b> was recommended by Netflix after I put both \u003cb>Magic\u003c/b> and \u003cb>The Great Gabbo\u003c/b> in my queue. Sure, I thought, the more psychotic ventriloquists the merrier.\u003c/p>\n\u003cp>Executive producer Richard Gordon made his living importing and exporting horror films between the United States and England. He also took his turn at producing films as well. This DVD comes with both the international and domestic cuts of the film, as well as a really awesome commentary track by Gordon.\u003c/p>\n\u003cp>The film itself is about The Great Vorelli, who has a doll that not only talks up a storm, but can walk across the stage and is kept in a cage at night. Is it a trick? or is it frighteningly real? I won’t give away the explanation, but I will tell you it is a beautiful nightmare of a film out of the 19 DVDs I have viewed in the last two weeks.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Pace\u003c/b>\u003cbr>340 DVDs in 253 days. 160 DVDs left in the next 112 days for a pace of 9.99 per week. I was a little ahead, but because of the day without mail, lost a DVD so now I’m back to the 10 minimum. I should have a couple of DVDs coming on Monday, which is not the usual. So maybe I’ll get ahead again.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Laurent Cantet’s \u003cb>Heading South\u003c/b> is an intense little film about colonialism and sexuality and about the ugliness of capitalism in the third world. From the very first scene, where a woman offers her young daughter to a stranger in the airport, it is clear that the picture will be both tawdry and dispassionate.\u003c/p>\n\u003cp>Essentially a story of sexual tourists who summer in Haiti, \u003cb>Heading South\u003c/b> is languid, but with a bite. The teeth are supplied by Charlotte Rampling, whose Ellen plays the cold-eyed realist. She audaciously states what everyone in her group of wealthy, white, middle-aged women is thinking and does it with wit and a hard, hard sense of humor. Naturally, the façade falls away toward the end of the film and we see that it has been protecting something much more delicate inside.\u003c/p>\n\u003cp>In contrast, Brenda (Karen Young) is apparently all surface emotion. An American woman whose first visit to Haiti, with her then husband, literally climaxes in shattering orgasmic sex on the beach with Legba, a 15-year-old native boy. Brenda returns to the island three years later seeking to rekindle her relationship with Legba only to discover that he has become the preferred gigolo among the female tourists. Being the greedy American, Brenda wants Legba to herself, but that’s not what drives the tension in the film.\u003c/p>\n\u003cp>The main characters, including Legba, Alfred, the concierge of the resort and Sue, another of the tourists, talk directly to the camera when they are on their own, retelling the stories they tell themselves, prejudices and self-delusions on vivid display. When Alfred speaks, his brief history of colonialism pierces the dark core of the film. “Americans,” he says, “have returned to the island with weapons stronger than guns. They have dollars, and with them everything they touch turns to garbage.” The island has become a waste dump and while the Haitians are exploited by the Europeans and Americans who visit, they brutalize one another. They have been made into a low-cost commodity by the foreigners and then scramble amongst themselves to define their own relative value.\u003c/p>\n\u003cp>Which made me think of Cuba and of what will happen to that island when Castro is no more. It is as though his regime has kept the land secure so that it will be that much sadder when it is overrun by wealthy Americans and covered in tract home developments. A few weeks ago, when Castro announced that he had transferred power to his brother, the reporters of NPR fanned out to get Cuban reaction. The most horrifying thing I heard that week was a young man talking about how his grandmother, a Cuban exile, wants to return to the island — and open a McDonald’s.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Everything these days is just a commodity waiting to be exploited. Why should people be any different? In fact, they’re not. Look around. The Gap shirt I’m wearing as I write is proof that I care more for cheap goods than I do for the welfare of the laborer. I can’t pretend I didn’t hear Ms. Magazine’s story about the Marianas Islands, which demonstrated how closely the garment and sex trades are related. (\u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=5408446\" target=\"offsite\" rel=\"noopener\">Listen to the story\u003c/a> on \u003cb>Fresh Air\u003c/b>.)\u003c/p>\n\u003cp>\u003cb>Heading South\u003c/b> could have been twice as long and I wouldn’t have minded watching its clear-eyed view of a world that has “gone south.” Leave it to the French! I only wish American movies had the compassion and intelligence to tackle difficult subjects with the fierce courage the French do regularly. The characters were so rich, the situation so ripe with tension that it was strange to watch the narrative devices that would lead to the climax and ending of the film kick in. The “dramatic” ending felt almost forced.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ultimately, is \u003cb>Heading South\u003c/b> shocking because women are openly exploiting the island men for their own sexual gratification? Or is the subject only acceptable BECAUSE they are women? As I thought about the way the film was sending subtle shocks through my system, I realized that it would be un-watchable if the genders were reversed — as they are much more often in real life. Whatever the gender, this kind of exploitation is so true to life, the final moments of the film feel like they are coming straight out of a horror movie. You know the kind where everyone has relaxed because the killer has been vanquished, but he jumps up and continues the rampage at the end. In this case the sexual tourist, now with a taste for the third world, is determined to broaden her palette and, in true American spirit, she is able to rationalize her actions, just like Norman Bates does at the end of \u003cb>Psycho\u003c/b>. Flies beware.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Laurent Cantet’s \u003cb>Heading South\u003c/b> is an intense little film about colonialism and sexuality and about the ugliness of capitalism in the third world. From the very first scene, where a woman offers her young daughter to a stranger in the airport, it is clear that the picture will be both tawdry and dispassionate.\u003c/p>\n\u003cp>Essentially a story of sexual tourists who summer in Haiti, \u003cb>Heading South\u003c/b> is languid, but with a bite. The teeth are supplied by Charlotte Rampling, whose Ellen plays the cold-eyed realist. She audaciously states what everyone in her group of wealthy, white, middle-aged women is thinking and does it with wit and a hard, hard sense of humor. Naturally, the façade falls away toward the end of the film and we see that it has been protecting something much more delicate inside.\u003c/p>\n\u003cp>In contrast, Brenda (Karen Young) is apparently all surface emotion. An American woman whose first visit to Haiti, with her then husband, literally climaxes in shattering orgasmic sex on the beach with Legba, a 15-year-old native boy. Brenda returns to the island three years later seeking to rekindle her relationship with Legba only to discover that he has become the preferred gigolo among the female tourists. Being the greedy American, Brenda wants Legba to herself, but that’s not what drives the tension in the film.\u003c/p>\n\u003cp>The main characters, including Legba, Alfred, the concierge of the resort and Sue, another of the tourists, talk directly to the camera when they are on their own, retelling the stories they tell themselves, prejudices and self-delusions on vivid display. When Alfred speaks, his brief history of colonialism pierces the dark core of the film. “Americans,” he says, “have returned to the island with weapons stronger than guns. They have dollars, and with them everything they touch turns to garbage.” The island has become a waste dump and while the Haitians are exploited by the Europeans and Americans who visit, they brutalize one another. They have been made into a low-cost commodity by the foreigners and then scramble amongst themselves to define their own relative value.\u003c/p>\n\u003cp>Which made me think of Cuba and of what will happen to that island when Castro is no more. It is as though his regime has kept the land secure so that it will be that much sadder when it is overrun by wealthy Americans and covered in tract home developments. A few weeks ago, when Castro announced that he had transferred power to his brother, the reporters of NPR fanned out to get Cuban reaction. The most horrifying thing I heard that week was a young man talking about how his grandmother, a Cuban exile, wants to return to the island — and open a McDonald’s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Everything these days is just a commodity waiting to be exploited. Why should people be any different? In fact, they’re not. Look around. The Gap shirt I’m wearing as I write is proof that I care more for cheap goods than I do for the welfare of the laborer. I can’t pretend I didn’t hear Ms. Magazine’s story about the Marianas Islands, which demonstrated how closely the garment and sex trades are related. (\u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=5408446\" target=\"offsite\" rel=\"noopener\">Listen to the story\u003c/a> on \u003cb>Fresh Air\u003c/b>.)\u003c/p>\n\u003cp>\u003cb>Heading South\u003c/b> could have been twice as long and I wouldn’t have minded watching its clear-eyed view of a world that has “gone south.” Leave it to the French! I only wish American movies had the compassion and intelligence to tackle difficult subjects with the fierce courage the French do regularly. The characters were so rich, the situation so ripe with tension that it was strange to watch the narrative devices that would lead to the climax and ending of the film kick in. The “dramatic” ending felt almost forced.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ultimately, is \u003cb>Heading South\u003c/b> shocking because women are openly exploiting the island men for their own sexual gratification? Or is the subject only acceptable BECAUSE they are women? As I thought about the way the film was sending subtle shocks through my system, I realized that it would be un-watchable if the genders were reversed — as they are much more often in real life. Whatever the gender, this kind of exploitation is so true to life, the final moments of the film feel like they are coming straight out of a horror movie. You know the kind where everyone has relaxed because the killer has been vanquished, but he jumps up and continues the rampage at the end. In this case the sexual tourist, now with a taste for the third world, is determined to broaden her palette and, in true American spirit, she is able to rationalize her actions, just like Norman Bates does at the end of \u003cb>Psycho\u003c/b>. Flies beware.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cb>Week in Review\u003c/b>\u003cbr>What’s not creepy about dolls, clowns, and puppets? Pupaphobia (the fear of puppets), Coulrophobia (the fear of clowns), and Pediophobia are all recognized phobias. It’s only natural that these would appear in films, usually in a horrorific situation. There’s one very specific phobia that I want to focus on: Automatonophobia. This is the fear of ventriloquist’s dummies, wax figures, animatronic creatures, and anything else that is made to represent a sentient being.\u003c/p>\n\u003cp>One of the first \u003cb>Twilight Zones\u003c/b> I ever saw was \u003cb>The Dummy\u003c/b>. That’s the one in which a ventriloquist has a dummy that is alive. The effects are hokey, nothing more than a PA carrying the dummy off screen to make it walk across the room, but the results effectively induce the willies. That episode freaked me out, and I ran to my parents, half in horror, half in excitement of one of the coolest things I had ever seen, and tried to explain the episode, but as it came out of my seven-year-old mouth, I realized it made no sense at all. \u003c/p>\n\u003cp>Shortly thereafter, another film came out that I just saw last Tuesday: \u003cb>Magic\u003c/b>, starring Anthony Hopkins. The trailers for television remain one of the most evil looking things I have ever seen on TV. There’s a bit of it on the menu screen of the DVD. It was little more than a dummy looking at me through the screen reciting this little rhyme: “Abra Cadabra, I play with his head. Presto Chango, now he’s me. Hocus Pocus, we take her to bed, Magic is fun … we’re dead.” Although I remember it as “Magic is fun … WHEN YOU’RE DEAD.” \u003c/p>\n\u003cp>I begged and pleaded to see it and my parents, to their credit, did not allow me to go. If they had relented, I am sure that by now I would not be blogging for KQED — I would be painting puppet pictures while on death row. I did finally see \u003cb>Magic\u003c/b> as a teenager and it was almost too much for me to handle (and that was back when I was in my gore phase!)\u003c/p>\n\u003cp>So I checked the film out recently, to see if it still had the same sting. Sure enough, it was still creepy. But the added level of Anthony Hopkins’ performance was much more noticeable this time. Hopkins plays a ventriloquist on the brink of success. Right before the big deal comes through, he bolts for his little hometown in upstate New York. Burgess Meredith, his streetwise agent, comes to look for him. Hopkins’ portrayal of his character’s fear and failure is perfect.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I’m not sure how I would categorize this film, but I’m going to go with the thriller genre. But as much as I loved \u003cb>Magic\u003c/b>, there was another dummy film that I have to recommend if I must pick one.\u003c/p>\n\u003cp>\u003cb>Pick of the Week\u003c/b>\u003cbr>\u003cb>The Great Gabbo\u003c/b> is a 1929 talkie starring Erich Von Stroheim as a ventriloquist who seems to hate everyone except for Otto, his dummy. What really creeped me out about the whole film is Otto’s mouth moves the whole time. It’s not a “the doll … is alive!” film, but it kinda looks that way. It took me a while to figure out that no one else in the film’s world worries that Otto can move his mouth even when sitting across the table from The Great Gabbo.\u003c/p>\n\u003cp>The film is set in a Vaudeville/Broadway setting, and the sets, costumes, dance numbers, and songs are worth watching by themselves. Add to this Stroheim’s remarkable performance and the likelihood that you’ve never seen this, and it’s my pick of the week. \u003cb>The Simpsons\u003c/b> paid homage to this film by naming a dummy Gabbo, when in the original that was the name of the ventriloquist. This misnomer is much like the name \u003cb>Frankenstein\u003c/b> being applied to the monster, not the doctor. But that’s the nerd in me talking. And speaking of nerds…\u003c/p>\n\u003cp>\u003cb>My Comedy Nerd Weekend\u003c/b>\u003c/p>\n\u003cp>I saw Patton Oswalt do four sets this weekend. Patton is currently in a supporting role in the sitcom \u003cb>King of Queens\u003c/b> as Spence Olchin. He also had a series this past year called \u003cb>The Comedians of Comedy\u003c/b> on Comedy Central, as well as a concert movie of the same name. Next year, he will be the main voice in the year’s big Pixar release, \u003cb>Ratatouille\u003c/b>, in which he plays a rat who wants to be a chef, from what I can gather. Patton has an incredible amount of material bouncing around in his head, and the ability to work spontaneously as well. But his delivery is so smooth and natural, that it’s impossible to tell whether or not he just made something up right then or if it’s a tried-and-true bit. Best of all, Patton always enjoys himself on stage, unlike many other comics that sleepwalk through the same sets over and over.\u003c/p>\n\u003cp>Patton sold out all of his Cobb’s shows, as well as another show he did for AK Press in Oakland. He has one more show in town, before he comes back later this year, an 826 Valencia benefit that includes the talents of Sarah Vowell and Aimee Mann. \u003ca href=\"http://www.826valencia.org/news/004822\" target=\"offsite\" rel=\"noopener\">Learn more\u003c/a> about the \u003cb>Revenge of the Book Eaters\u003c/b> benefit for 826 Valencia. For those of you who can’t make it, or if it’s sold out, queue up his comedy special, \u003cb>Patton Oswalt: No Reason to Complain\u003c/b> and \u003cb>Comedians of Comedy: The Movie\u003c/b>. They would both rate highly on this year’s blog, but I already saw them last year, so I didn’t re-queue them.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Pace\u003c/b>\u003cbr>I watched 10 DVDs this week. 321 DVDs in 239 days. 179 DVDs left in the next 126 days for a pace of 9.94 per week.\u003c/p>\n\n",
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"excerpt": "\u003cb>Week in Review\u003c/b>\u003cbr />What's not creepy about dolls, clowns, and puppets? Pupaphobia (the fear of puppets), Coulrophobia (the fear of clowns), and Pediophobia are all recognized phobias. It's only natural that these would appear in films, usually in a horrorific situation. There's one very specific phobia that I want to focus on: Automatonophobia. This is the fear of ventriloquist's dummies, wax figures, animatronic creatures, and anything else that is made to represent a sentient being.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>Week in Review\u003c/b>\u003cbr>What’s not creepy about dolls, clowns, and puppets? Pupaphobia (the fear of puppets), Coulrophobia (the fear of clowns), and Pediophobia are all recognized phobias. It’s only natural that these would appear in films, usually in a horrorific situation. There’s one very specific phobia that I want to focus on: Automatonophobia. This is the fear of ventriloquist’s dummies, wax figures, animatronic creatures, and anything else that is made to represent a sentient being.\u003c/p>\n\u003cp>One of the first \u003cb>Twilight Zones\u003c/b> I ever saw was \u003cb>The Dummy\u003c/b>. That’s the one in which a ventriloquist has a dummy that is alive. The effects are hokey, nothing more than a PA carrying the dummy off screen to make it walk across the room, but the results effectively induce the willies. That episode freaked me out, and I ran to my parents, half in horror, half in excitement of one of the coolest things I had ever seen, and tried to explain the episode, but as it came out of my seven-year-old mouth, I realized it made no sense at all. \u003c/p>\n\u003cp>Shortly thereafter, another film came out that I just saw last Tuesday: \u003cb>Magic\u003c/b>, starring Anthony Hopkins. The trailers for television remain one of the most evil looking things I have ever seen on TV. There’s a bit of it on the menu screen of the DVD. It was little more than a dummy looking at me through the screen reciting this little rhyme: “Abra Cadabra, I play with his head. Presto Chango, now he’s me. Hocus Pocus, we take her to bed, Magic is fun … we’re dead.” Although I remember it as “Magic is fun … WHEN YOU’RE DEAD.” \u003c/p>\n\u003cp>I begged and pleaded to see it and my parents, to their credit, did not allow me to go. If they had relented, I am sure that by now I would not be blogging for KQED — I would be painting puppet pictures while on death row. I did finally see \u003cb>Magic\u003c/b> as a teenager and it was almost too much for me to handle (and that was back when I was in my gore phase!)\u003c/p>\n\u003cp>So I checked the film out recently, to see if it still had the same sting. Sure enough, it was still creepy. But the added level of Anthony Hopkins’ performance was much more noticeable this time. Hopkins plays a ventriloquist on the brink of success. Right before the big deal comes through, he bolts for his little hometown in upstate New York. Burgess Meredith, his streetwise agent, comes to look for him. Hopkins’ portrayal of his character’s fear and failure is perfect.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I’m not sure how I would categorize this film, but I’m going to go with the thriller genre. But as much as I loved \u003cb>Magic\u003c/b>, there was another dummy film that I have to recommend if I must pick one.\u003c/p>\n\u003cp>\u003cb>Pick of the Week\u003c/b>\u003cbr>\u003cb>The Great Gabbo\u003c/b> is a 1929 talkie starring Erich Von Stroheim as a ventriloquist who seems to hate everyone except for Otto, his dummy. What really creeped me out about the whole film is Otto’s mouth moves the whole time. It’s not a “the doll … is alive!” film, but it kinda looks that way. It took me a while to figure out that no one else in the film’s world worries that Otto can move his mouth even when sitting across the table from The Great Gabbo.\u003c/p>\n\u003cp>The film is set in a Vaudeville/Broadway setting, and the sets, costumes, dance numbers, and songs are worth watching by themselves. Add to this Stroheim’s remarkable performance and the likelihood that you’ve never seen this, and it’s my pick of the week. \u003cb>The Simpsons\u003c/b> paid homage to this film by naming a dummy Gabbo, when in the original that was the name of the ventriloquist. This misnomer is much like the name \u003cb>Frankenstein\u003c/b> being applied to the monster, not the doctor. But that’s the nerd in me talking. And speaking of nerds…\u003c/p>\n\u003cp>\u003cb>My Comedy Nerd Weekend\u003c/b>\u003c/p>\n\u003cp>I saw Patton Oswalt do four sets this weekend. Patton is currently in a supporting role in the sitcom \u003cb>King of Queens\u003c/b> as Spence Olchin. He also had a series this past year called \u003cb>The Comedians of Comedy\u003c/b> on Comedy Central, as well as a concert movie of the same name. Next year, he will be the main voice in the year’s big Pixar release, \u003cb>Ratatouille\u003c/b>, in which he plays a rat who wants to be a chef, from what I can gather. Patton has an incredible amount of material bouncing around in his head, and the ability to work spontaneously as well. But his delivery is so smooth and natural, that it’s impossible to tell whether or not he just made something up right then or if it’s a tried-and-true bit. Best of all, Patton always enjoys himself on stage, unlike many other comics that sleepwalk through the same sets over and over.\u003c/p>\n\u003cp>Patton sold out all of his Cobb’s shows, as well as another show he did for AK Press in Oakland. He has one more show in town, before he comes back later this year, an 826 Valencia benefit that includes the talents of Sarah Vowell and Aimee Mann. \u003ca href=\"http://www.826valencia.org/news/004822\" target=\"offsite\" rel=\"noopener\">Learn more\u003c/a> about the \u003cb>Revenge of the Book Eaters\u003c/b> benefit for 826 Valencia. For those of you who can’t make it, or if it’s sold out, queue up his comedy special, \u003cb>Patton Oswalt: No Reason to Complain\u003c/b> and \u003cb>Comedians of Comedy: The Movie\u003c/b>. They would both rate highly on this year’s blog, but I already saw them last year, so I didn’t re-queue them.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Pace\u003c/b>\u003cbr>I watched 10 DVDs this week. 321 DVDs in 239 days. 179 DVDs left in the next 126 days for a pace of 9.94 per week.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cb>Week in Review\u003c/b>\u003cbr>It’s Anthony Mann week! Strap yourself to the couch and get ready for a parade of double-crossing cowboys, gold digging (literally) rednecks, Rock Hudson playing an Indian Chief who speaks broken English, town drunks, Jimmy Stewart tougher than you’ve ever seen him, half-brothers in a gunfight, the heartbreaking beauty of Tina Louise, Janet Leigh, Shelly Winters, Sophia Loren, and June Allyson, and Buddy Hackett’s sage advice about the secret powers of albinos. It’s high crimes and white-knuckled Westerns, with a couple of epics thrown in.\u003c/p>\n\u003cp>Anthony Mann’s entire life was spent in the performing arts, even though he got somewhat of a late start in the film business. Mann was primarily a stage director until his thirties when he went to work directing noir pictures for Paramount, and shifted the rest of his life to Hollywood. He later worked for RKO, Universal, and Republic. His career took several notable turns.\u003c/p>\n\u003cp>Throughout the ’40s, Mann directed B crime pictures. Even though he had no big stars with whom to work, and scripts that seem to have been written with the forethought of a Choose-Your-Own-Adventure novel, Mann somehow crafted a few real gems. \u003cb>Strange Impersonation\u003c/b> is one of these.\u003c/p>\n\u003cp>During the ’50s, Mann switched to Westerns. What makes him notable in the genre is how he carried the darkness of noir from the ’40s into the ’50s Western. Mann’s Westerns are cruel, violent, and often amoral. Any Western has its share of killing and fights, but Mann’s, while not as explicit as today’s films, portray the violence more brutally than their predecessors. One of the best filmed fistfights of all time is near the beginning of \u003cb>The Man From Laramie\u003c/b>.\u003c/p>\n\u003cp>With the rise of television, Mann turned to the epic. The 70mm films were Hollywood’s attempt to get America off the couch and into the theater. Now we are much more likely to see a quality film on the couch than in the theater. I really enjoyed the self righteous hero \u003cb>El Cid\u003c/b>, played magnanimously by Charlton Heston, but was less than impressed with \u003cb>The Fall of the Roman Empire\u003c/b>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Anthony Mann never won a major film award, but nonetheless he is thought of as a master of the American Western. He’s one of those directors whose individual films are bigger than his own notoriety. I wanted to rewatch \u003cb>The Man From Laramie\u003c/b>, as I hadn’t seen it since I was a kid. Some Western fans I know rate it and \u003cb>The Tin Star\u003c/b> as two of the best of the genre. When I looked at his list films, I realized I had heard of many of them but couldn’t remember specifically seeing them. So, in true bingeing fashion, I loaded up my Netflix queue with them. After watching a few, I decided to dedicate an entire week to watching nothing but Anthony Mann films.\u003c/p>\n\u003cp>Mann directed around 40 films in his career, but sadly, only 16 of them are available through Netflix. You probably only want to see one or two at a time, unless you’re as obsessive as I am. Here, in order of my own personal taste are the 16 films rated for you, with a teaser line to help you decide what to watch.\u003c/p>\n\u003cp>1. \u003cb>God’s Little Acre\u003c/b>: Mann’s only comedy stars Buddy Hackett, Tina Louise, and a bunch of hicks digging for gold.\u003cbr>2. \u003cb>The Tin Star\u003c/b>: Henry Fonda in a rare antihero appearance.\u003cbr>3. \u003cb>The Man From Laramie\u003c/b>: Jimmy Stewart demands his just rewards, and has one of the best fistfights in the whole genre.\u003cbr>4. \u003cb>Winchester ’73\u003c/b>: Mann’s transition from crime to Western is a dark, violent, and brutal black and white film.\u003cbr>5. \u003cb>The Glenn Miller Story\u003c/b>: See how much better the biopics were in the ’50s (than they are now) in this sweet and heartbreaking story of the bandleader.\u003cbr>6. \u003cb>El Cid\u003c/b>: Charlton Heston is perfect as the hero of Spain in this beautifully shot epic.\u003cbr>7. \u003cb>The Naked Spur\u003c/b>: Jimmy Stewart’s a bounty hunter who will stop at nothing to claim his reward.\u003cbr>8. \u003cb>The Far Country\u003c/b>: A rare Alaskan Western with amazing scenery and the brutality of the wilderness.\u003cbr>9. \u003cb>Bend of the River\u003c/b>: Stewart’s Pacific Northwest settlers battle gold rushers for their winter’s food.\u003cbr>10. \u003cb>The Last Frontier\u003c/b>: Victor Mature is a trapper turned US Cavalry scout.\u003cbr>11. \u003cb>Strange Impersonation\u003c/b>: Weird plastic surgery noir flick that’s worth a watch.\u003cbr>12. \u003cb>The Border Incident\u003c/b>: Ricardo Montalban investigates the world of illegal border crossing 30 years before Fantasy Island.\u003cbr>13. \u003cb>The Fall of the Roman Empire\u003c/b>: The scenery and the sets are great, and Alec Guiness’ performance is worth the film, but unfortunately, the story drags.\u003cbr>14. \u003cb>Men in War\u003c/b>: This WWII B-movie is set in the Pacific and filmed in San Bernadino.\u003cbr>15. \u003cb>The T-Men\u003c/b>: A documentary-style crime flick about the Treasury Department fighting counterfeiters.\u003cbr>16. \u003cb>Railroaded\u003c/b>: A standard, by-the-numbers, crime noir frame up.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Pace\u003c/b>\u003cbr>I watched 11 DVDs this week. 311 DVDs in 232 days. 189 DVDs left in the next 133 days for a pace of 9.94 per week. Next up: a slew of movies new to DVD. My internet access came back Sunday afternoon. It was our router, if you care.\u003c/p>\n\n",
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"excerpt": "\u003cb>Week in Review\u003c/b>\u003cbr />It's Anthony Mann week! Strap yourself to the couch and get ready for a parade of double-crossing cowboys, gold digging (literally) rednecks, Rock Hudson playing an Indian Chief who speaks broken English, town drunks, Jimmy Stewart tougher than you've ever seen him, half-brothers in a gunfight, the heartbreaking beauty of Tina Louise, Janet Leigh, Shelly Winters, Sophia Loren, and June Allyson, and Buddy Hackett's sage advice about the secret powers of albinos. It's high crimes and white-knuckled Westerns, with a couple of epics thrown in.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>Week in Review\u003c/b>\u003cbr>It’s Anthony Mann week! Strap yourself to the couch and get ready for a parade of double-crossing cowboys, gold digging (literally) rednecks, Rock Hudson playing an Indian Chief who speaks broken English, town drunks, Jimmy Stewart tougher than you’ve ever seen him, half-brothers in a gunfight, the heartbreaking beauty of Tina Louise, Janet Leigh, Shelly Winters, Sophia Loren, and June Allyson, and Buddy Hackett’s sage advice about the secret powers of albinos. It’s high crimes and white-knuckled Westerns, with a couple of epics thrown in.\u003c/p>\n\u003cp>Anthony Mann’s entire life was spent in the performing arts, even though he got somewhat of a late start in the film business. Mann was primarily a stage director until his thirties when he went to work directing noir pictures for Paramount, and shifted the rest of his life to Hollywood. He later worked for RKO, Universal, and Republic. His career took several notable turns.\u003c/p>\n\u003cp>Throughout the ’40s, Mann directed B crime pictures. Even though he had no big stars with whom to work, and scripts that seem to have been written with the forethought of a Choose-Your-Own-Adventure novel, Mann somehow crafted a few real gems. \u003cb>Strange Impersonation\u003c/b> is one of these.\u003c/p>\n\u003cp>During the ’50s, Mann switched to Westerns. What makes him notable in the genre is how he carried the darkness of noir from the ’40s into the ’50s Western. Mann’s Westerns are cruel, violent, and often amoral. Any Western has its share of killing and fights, but Mann’s, while not as explicit as today’s films, portray the violence more brutally than their predecessors. One of the best filmed fistfights of all time is near the beginning of \u003cb>The Man From Laramie\u003c/b>.\u003c/p>\n\u003cp>With the rise of television, Mann turned to the epic. The 70mm films were Hollywood’s attempt to get America off the couch and into the theater. Now we are much more likely to see a quality film on the couch than in the theater. I really enjoyed the self righteous hero \u003cb>El Cid\u003c/b>, played magnanimously by Charlton Heston, but was less than impressed with \u003cb>The Fall of the Roman Empire\u003c/b>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Anthony Mann never won a major film award, but nonetheless he is thought of as a master of the American Western. He’s one of those directors whose individual films are bigger than his own notoriety. I wanted to rewatch \u003cb>The Man From Laramie\u003c/b>, as I hadn’t seen it since I was a kid. Some Western fans I know rate it and \u003cb>The Tin Star\u003c/b> as two of the best of the genre. When I looked at his list films, I realized I had heard of many of them but couldn’t remember specifically seeing them. So, in true bingeing fashion, I loaded up my Netflix queue with them. After watching a few, I decided to dedicate an entire week to watching nothing but Anthony Mann films.\u003c/p>\n\u003cp>Mann directed around 40 films in his career, but sadly, only 16 of them are available through Netflix. You probably only want to see one or two at a time, unless you’re as obsessive as I am. Here, in order of my own personal taste are the 16 films rated for you, with a teaser line to help you decide what to watch.\u003c/p>\n\u003cp>1. \u003cb>God’s Little Acre\u003c/b>: Mann’s only comedy stars Buddy Hackett, Tina Louise, and a bunch of hicks digging for gold.\u003cbr>2. \u003cb>The Tin Star\u003c/b>: Henry Fonda in a rare antihero appearance.\u003cbr>3. \u003cb>The Man From Laramie\u003c/b>: Jimmy Stewart demands his just rewards, and has one of the best fistfights in the whole genre.\u003cbr>4. \u003cb>Winchester ’73\u003c/b>: Mann’s transition from crime to Western is a dark, violent, and brutal black and white film.\u003cbr>5. \u003cb>The Glenn Miller Story\u003c/b>: See how much better the biopics were in the ’50s (than they are now) in this sweet and heartbreaking story of the bandleader.\u003cbr>6. \u003cb>El Cid\u003c/b>: Charlton Heston is perfect as the hero of Spain in this beautifully shot epic.\u003cbr>7. \u003cb>The Naked Spur\u003c/b>: Jimmy Stewart’s a bounty hunter who will stop at nothing to claim his reward.\u003cbr>8. \u003cb>The Far Country\u003c/b>: A rare Alaskan Western with amazing scenery and the brutality of the wilderness.\u003cbr>9. \u003cb>Bend of the River\u003c/b>: Stewart’s Pacific Northwest settlers battle gold rushers for their winter’s food.\u003cbr>10. \u003cb>The Last Frontier\u003c/b>: Victor Mature is a trapper turned US Cavalry scout.\u003cbr>11. \u003cb>Strange Impersonation\u003c/b>: Weird plastic surgery noir flick that’s worth a watch.\u003cbr>12. \u003cb>The Border Incident\u003c/b>: Ricardo Montalban investigates the world of illegal border crossing 30 years before Fantasy Island.\u003cbr>13. \u003cb>The Fall of the Roman Empire\u003c/b>: The scenery and the sets are great, and Alec Guiness’ performance is worth the film, but unfortunately, the story drags.\u003cbr>14. \u003cb>Men in War\u003c/b>: This WWII B-movie is set in the Pacific and filmed in San Bernadino.\u003cbr>15. \u003cb>The T-Men\u003c/b>: A documentary-style crime flick about the Treasury Department fighting counterfeiters.\u003cbr>16. \u003cb>Railroaded\u003c/b>: A standard, by-the-numbers, crime noir frame up.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Pace\u003c/b>\u003cbr>I watched 11 DVDs this week. 311 DVDs in 232 days. 189 DVDs left in the next 133 days for a pace of 9.94 per week. Next up: a slew of movies new to DVD. My internet access came back Sunday afternoon. It was our router, if you care.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"order": 9
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"airtime": "SUN 7:30pm-8pm",
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"tagline": "Where conversation and cultura meet",
"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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"order": 15
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"order": 18
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"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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"source": "American Public Media"
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"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"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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"imageAlt": "KQED MindShift: How We Will Learn",
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
"id": "morning-edition",
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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": {
"id": "onourwatch",
"title": "On Our Watch",
"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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"order": 11
},
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"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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},
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"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
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"order": 14
},
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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.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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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",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"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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