San Francisco Weekly June 27, 2012 : Page 18sfweekly.com “One of the most delightful things about ‘To Rome With Love’ is how casually it blends the plausible and the surreal, and how unabashedly it revels in pure silliness.” -A.O. Scott, THE NEW YORK TIMES “‘To Rome With Love’ has pleasures galore.” -Peter Travers, ROLLING STONE coNtENts “It’s hard not to fall under the movie’s spell and indulge in some picturesque escapism.” -Claudia Puig, USA TODAY WED 06/27 city -Karen Durbin, ELLE FrEE “So assured and Allen’s plotting so intricate it’s hard not to marvel at it. I marveled.” -David Edelstein, NEW YORK MAGAZINE sucka Artist: (circle one:) Heather Staci Freelance 2 Philip WOODY ALLEN ALEC BALDWIN ROBERTO BENIGNI PENÉLOPE CRUZ JUDY DAVIS JESSE EISENBERG GRETA GERWIG ELLEN PAGE ART APPROVED AE APPROVED CLIENT APPROVED “Funny and silly and packed with crisscrossing story lines about love and desire played out by a terrific cast. Like a gracious host, Woody Allen sends us out of the theater with the sense that we’ve been to a really good party with people we’d like to see again and again.” T O R OME W ITH L OVE WRITTEN AND DIRECTED BY WOODY ALLEN J une 27-J uly 3, 2012 ROBERTO BENIGNI PENÉLOPE CRUZ JUDY DAVIS JESSE EISENBERG GRETA GERWIG ELLEN PAGE CASTING BY JULIET TAYLOR PATRICIA DICERTO BEATRICE KRUGER COSTUME DESIGNER SONIA GRANDE EDITOR ALISA LEPSELTER PRODUCTION DESIGNER ANNE SEIBEL, ADC DIRECTOR OF PHOTOGRAPHY DARIUS KHONDJI, ASC , AFC CO -EXECUTIVE PRODUCER JACK ROLLINS CO -PRODUCERS HELEN ROBIN DAVID NICHOLS PRODUCED BY LETTY ARONSON STEPHEN TENENBAUM GIAMPAOLO LETTA FARUK ALATAN WRITTEN AND DIRECTED BY WOODY ALLEN WWW.SONYCLASSICS.COM © 2012 GRAVIER PRODUCTIONS, INC. SONY PICTURES CLASSICS PRESENTS A MEDUSA FILM & GRAVIER PRODUCTION A PERDIDO PRODUCTION “TO ROME WITH LOVE” WOODY ALLEN ALEC BALDWIN STARTS FRIDAY, JUNE 29th LANDMARK’S EMBARCADERO 1 Embarcadero Center (415) 267-4893 SUNDANCE KABUKI 1881 Post Street at Filmore (415) 346-3243 ALSO PLAYING AT: CENTURY 16 PLEASANT HILL CINEARTS@PLEASANT HILL LANDMARK ALBANY CINEARTS@PALO ALTO CINEARTS@SANTANA ROW CENTURY REGENCY VIEW THE TRAILER AT WWW.TOROMEWITHLOVE.COM 18 SFWEEKLY.COM century, is the animation studio’s first film with officers, not unit commanders — a change a female protagonist, a defiant lass who acts that will hopefully lead to more prosecutions. as a much-welcome corrective to retrograde (M.A.) Disney heroines of the past and the company’s S OC87 A largely first-person documentary about living with a range of disorders, OC87 unstoppable pink-princess merchandising. Of is also, in a sense, about a long hiatus from course, Merida’s insurrectionary spirit can last moviemaking. Nearly three decades ago, Bud only so long in a House of Mouse vehicle; the Clayman was majoring in radio, television, majority of Brave ’s running time after her up-and film at Temple University when his mental rising is devoted to restoring the sanctity of the health began deteriorating; a drawn-out nuclear family after her wish to be free from chain of diagnoses followed (enumerated in tradition and arranged marriages goes wrong. the film’s mock-epic subtitle: The Obsessive Still, despite some distracting, convoluted plot Compulsive, Major Depression, Bipolar, points — there’s too much tomfoolery among Asperger’s Movie ), as did an eight-year stay the King, the lords from the other clans, and in a residential treatment facility. Now running their scions, perhaps to broaden the film’s ap-his Philadelphia-based family’s foundation and peal to boys — Brave is, well, brave. (M.A.) living on his own at middle age, Clayman (who S Goodbye First Love Writer-director Mia Hansen-Love’s third feature, Goodbye co-directed OC87 with doc pros Glenn Holsten First Love begins in 1999, when protagonist and Scott Johnston) says early on he wants Camille (Lola Creton), a highly emotional high “to show the hell that goes on in my mind.” In school girl in love, is 15 and tracks her through a few scattered day-to-day scenes (morning her mid twenties as she’s establishing a shave, bus ride to work, etc.) he narrates an career. We first follow Camille through her all-approximation of his self-castigating train of consuming romance with Sullivan (Sebastian thought, in which he’s constantly chiding him-Urzendowsky), a slightly older dreamboat. He self for “inappropriate” thoughts and actions. scoots around Paris on a bike and visits her by But the tone here is generally path-to-recovery appearing, suddenly, at her bedroom window. optimistic: Clayman reunites with important He adores her but remains enigmatic; while figures from his past, interviews quasi-she lives for their moments together, he’s look-celebrities who have gone public about their ing to his future. When Sullivan takes off on a struggles with mental illness (a Bay Area radio backpacking trip to South America and leaves personality, a General Hospital cast member), Camille behind to finish high school, she’s and does karaoke. He also logs periodic devastated; their attempts to keep in touch video diaries, often about time spent with his only push Camille deeper into depression. She parents. To be sure, there are more artful and hits bottom, and then with a cut, Hansen-Løve focused documentaries, but OC87 still stands jumps a few years ahead. Now an architecture as moving evidence that Clayman’s trust in student living in a romantically the value of the filmmaking cramped garret apartment, process ultimately outweighed Camille starts seeing Lorenz the extreme difficulty he says (Magne-Havard Brekke), her for-he has making even the small-tysomething bohemian-genius est decisions. (B.M.) Seeking a Friend for the prof who helps to awaken her End of the World What’s intellect, much as Sullivan missing from first-time direc-flipped a switch and turned on tor Lorene Scafaria’s Steve her feelings. “I have a vocation,” Carell — vehicle misfire is Camille writes in her diary. “Isn’t the one element any apoca-that enormous?” Emboldened lypse narrative suffocates by this new “reason to live,” T h IS CODE without — urgency. Scafaria, Camille puts the past behind her. to download the FREE screenwriter of the chipper, And then the past, in the form sf weekly inexplicably lauded Nick and of Sullivan, comes back. Like iPhone/Android APP Norah’s Infinite Playlist , has Hansen-Love’s last film, Father for more films or visit created an end-times comedy of My Children , Goodbye First sfweekly.com that’s by turns bizarrely affect-Love loosely fictionalizes lived less and prattlingly manic, experience (the director’s) in much like its dual protagonists, insurance order to capture the ineffable — in this case, salesman Dodge Petersen (Carell at his most emotional maturation or, as Sullivan phrases it, downcast) and his perky neighbor Penny (a “becom[ing] a real person.” (K.L.) seriously unwound Keira Knightley), who light S The Invisible War In The Invisible War , Kirby Dick lays bare the scandalous epidemic out together — along with a charming terrier of rape in the U.S. armed forces — the war on — days before an asteroid is set to destroy the women who fight wars. Told through an array planet. Their goals: to track down his first love of talking heads — including servicewomen and a flight to the U.K., so Penny can spend (and a few servicemen) who recount their doomsday with the folks. The reckonings and attacks, military psychiatrists, NCIS agents, realizations fly once Seeking a Friend for the attorneys, journalists, and obtuse Department End of the World hits the road, and for all of Defense employees — and intertitles the absurdity of these characters achieving revealing appalling facts (20 percent of female perfectly articulated peace with their past veterans have been sexually assaulted while demons as the world ends (I’m guessing serving; 25 percent of women in the military pants-shitting panic would be more the norm), don’t report rape because the person to notify it’s a relief after the excruciatingly unfunny first in their chain of command is the rapist), act in which Scafaria (who also wrote the film) Dick’s film unveils an environment that, in floats the notion that sticking to routine in the the words of one Army shrink, is “target rich presence of overwhelming chaos is a way of for predators.” A septet of women details giving life meaning. That’s fair, but she conveys their rapes and the gross indifference and this with so little irony or insight that Dodge’s victim-blaming displayed by their superiors workmates, domestic servant, and a T.G.I. after they reported the crimes. Tiny, wiry Kori Friday’s — esque waitstaff come off more Cioca, whose assailant broke her jaw when as morons than heroes. Seeking a Friend she was attacked in 2005 while serving in achieves the colorless tedium of a safe, dozy the Coast Guard, reveals the dozens of meds, dream of catastrophe instead of anything like some highly toxic when combined, the VA the real deal. (M.H.) has prescribed for her PTSD and severe facial-nerve damage — surgery for which the agency repeatedly denies her. Interview after interview, statistic after statistic, Dick’s advocacy project thoroughly incenses — and Arthouse listings compiled by Anna Pulley. To appears to be having results. Two days after submit a listing (at least 10 days before is-Dick screened The Invisible War for Secretary sue date), e-mail film@sfweekly.com. of Defense Leon Panetta on April 14, the DOD head announced plans requiring, as The The Castro Theatre. Pina and Cave of New York Times reported, that all sexual as-Forgotten Dreams : A documentary double sault complaints be handled by more-senior SAN FRANCISCO WEEKLY DUE MON 4PM sCan Film feature about German dance choreographer Pina Bausch and Werner Herzog’s expedition to the Chauvet Cave in France. Through June 27. $7.50-$10. Barbarella and Cherry 2000 : A double feature about the French comic strip character, and a futuristic comedy about a mercenary in 2017. Thu., June 28, 7 p.m. $7.50-$10. Grease sinG-a-LonG: A sing-a-long to the 1970s movie. Starting June 29. Mondays, Tuesdays, Thursdays-Sundays. Through July 5. $10-$15. 429 Castro (at Mar-ket), 621-6120, www.castrotheatre.com. Clay Theatre. The Rocky Horror Picture Show : A musical spoof of Hollywood horror movies. Sat., June 30. 2261 Fillmore (at Clay), 267-4893, www.landmarktheatres.com. Dark Room Theater. Twilight Zone Live: Season 9 : Two episodes per weekend, performed live. Includes: “Nick of Time,” “From Agnes with Love,” “Dead Run,” and “16 mm. Shrine.” Fridays, Saturdays, 8 p.m. Through June 30. $20. The Fast and the Furious : An undercover cop infiltrates an underworld subculture of Los Angeles street racers looking to bust a hijacking ring. Part of Bad Movie Night. Sun., July 1, 8 p.m. $6.99. 2263 Mission (at 18th St.), 401-7987, www.darkroomsf.com. de Young Museum. Kika : Satire about murder, sex and the media. Fri., June 29, 6:30 p.m. free. 50 Hagiwara Tea Garden (at JFK, in Golden Gate Park), 750-3600, www.deyoungmuseum.org. San Francisco Film Society | New People Cinema. Found Memories : A meditation on aging and memory in a Brazilian town. Through June 28. $8-$11. Corpo CeLeste: Reviewed on page 18. June 29-July 5. $8-$11. The Story of Film: An Odyssey : A documentary about film, told in eight parts. Saturdays, noon. Through July 21. $8. 1746 Post (at Webster), 525-8630, www.sffs.org. Oddball Films. stranGe sinema 53: KinetiCa: This monthly screening features a mix of kinetic, motion-oriented art and sounds from the 20th century. Films include Kinetic Art in Paris (1971), The Dreamer That Remains (1973), and Arabesque (1975). Thu., June 28, 8 p.m. $10; RSVP to programming@oddballfilm.com. portrait Films that explore women’s issues, Includ-ing Woman Speaks (1940s), The Fur Coat Club (1973), and Alice’s Adventures in Wonderland (1981). Fri., June 29, 8 p.m. $10; RSVP: programming@oddballfilm. com. 275 Capp (at 18th St.), 558-8112, www.oddballfilms.com. Roxie Theater. Ultrasonic : A music teacher and his brother investigate a noise they think is a government conspiracy. Through June 28. $6.50-$10. The War Around Us : Part of the Arab Film Fest. A documentary about Western journalists in Gaza. Features a Q&A with director Abdallah Omeish. Wed., June 27, 7:30 p.m. $15. Gerhard Richter Painting : Documentary about the artist. Mondays, Tuesdays, Thursdays. Through June 28. $6.50-$10. Marley : A documentary about Bob Marley. Mondays, Tuesdays, Thursdays. Through June 28. $6.50-$10. The Connection : 35mm restored print of Shirley Clarke’s 1962 film about a group of eight anxious junkies awaiting the arrival of their connection. June 29-July 5. $6.50-$10. Beyond the Black Rainbow : A young girl is kept captive, her mind controlled by a sinis-ter technology. Through July 5. $6.50-$10. 3117 16th St. (at Valencia), 863-1087, www.roxie.com. San Francisco Museum of Modern Art. spirits of the dead: Three-story compila-tion film based on Edgar Allen Poe’s works. Thu., June 28, 7 p.m. free-$5. Seeking the Monkey King : An abstract audiovisual film that plays tricks on the viewer. Tue., July 3, noon. Free. 151 Third St. (at Minna), 357-4000, www.sfmoma.org. Yerba Buena Center for the Arts. Guilty Pleasures : Directed by Julie Moggan. Thu., June 28, 7:30 p.m. $8. 701 Mission (at Third St.), 978-2787, www.ybca.org. of a Lady: the fashionabLe struGGLe: | LEttErs | | AE: (circle one:) Angela Maria Josh Night+Day Eat | | Books Music | 3.65” X 10.5” Jay Emmett Steve Tim | McCool SF Weekly Confirmation #: | Aurelio Deadline: | Film Showtimes Film ShowtimesSons Of Fathers
Publication List Using a screen reader? Click Here |
