film

Film listings are edited by Cheryl Eddy. Reviewers are Robert Avila, Meryl Cohen, David Fear, Dina Gachman, Susan Gerhard, Dennis Harvey, Johnny Ray Huston, Patrick Macias, and Chuck Stephens. See Rep Clock and Movie Clock, for theater information. Opening

*A Decade under the Influence See Movie Clock. (1:48)

*Finding Nemo When his beloved son Nemo is whisked from the ocean by a scuba diver, neurotic clown fish Marlin (Albert Brooks) launches a Great Barrier Reef-sized quest to track him down, running into a huge assortment of oceanic perils (sharks, shipwrecks, weird-looking deep-sea fish, seagulls) and pals (notably a forgetful fish named Dory, who, as voiced by Ellen DeGeneres, gets the film's biggest laughs) along the way. Meanwhile, Nemo hatches elaborate escape plans with the creatures dwelling in his new home – a dentist's office aquarium. Though the search-and-rescue plot of this latest computer-animated adventure from Disney-Pixar (Toy Story, A Bug's Life, Monsters, Inc.) will play pretty routine to the grown-ups, pint-sized audiences will be in suspense to the end; adult audiences can enjoy the film's more subtle, clever touches (the dental-office scenes are particularly ingenious). (1:41) Grand Lake, Orinda. (Eddy)

The Italian Job Audiences who went into 1969's The Italian Job got a silly little caper film breezing past inanity, thanks to its post-mod '60s panache, the novelty of those British Minis racing around Turin, and Michael Caine's cucumberlike coolness. This title-borrowing retread, however, simply reheats a stock revenge plot with Angeleno aesthetic slickness, plenty of advertising for this year's Cooper model, and a Mark Wahlberg who's now officially one lousy remake over the line of good will; suffice to say, today's Cineplex hounds get a much rawer deal. The supporting cast supersizes the usual heist suspects – the computer nerd, the demolition expert, the getaway driver – for maximum background noise while pretty boy Wahlberg and prodigal son Edward Norton mouth a screenwriter's idea of tough-guy-speak over millions worth of gold, car-chase shenanigans, Charlize Theron, etc. Director F. Gary Gray (The Negotiator) does exactly what he's paid to do, tying all the pretty bows tight on a film that's a Hollywood nocturnal emission – efficiently sleek and essentially soulless. (1:43) (Fear)

*The Sea The elderly fishing magnate (Gunnar Eyjólfsson) of a small Icelandic town gathers his children together on the eve of publishing his memoirs. Once his clan and their significant others arrive, the "joyous" reunion quickly turns sour as family feuds, childhood wounds, and age-old bitterness reach a boiling point. The second film from filmmaker Baltasar Kormákur (101 Reykjavik) represents a major leap forward in storytelling chops, as the director crafts a family portrait balancing the iciness of a Bergman psychodrama with the hellish irreverence of a Bosch painting. As all of the hallmarks of dysfunctional kin-meltdown narrative (infidelities, incest, rape, betrayal, plain ol' piss-poor parenting) fall into place, Kormákur's long-day journey into night suddenly turns rural Iceland into a nuclear winter of discontent, where the only thing colder than the frozen tundra are the hearts of blood relations. See it with someone you loathe. (1:49) (Fear)

Together See "Music Lessons," page 37. (1:46)

Wisegirls Leaving a troubled past behind her in the Midwest, med-school dropout Meg Kennedy (Mira Sorvino) heads to Staten Island for a fresh start. She finds a job waiting tables at an upscale Italian restaurant and makes fast friends with the other waiters (Mariah Carey, Melora Walters). Before long, though, things soon become less Mystic Pizza, more The Sopranos, as the eatery's Mafioso owners and pistol-packin' clientele draw the naive Meg deeper into their unseemly world. Though there's nothing particularly original about Wisegirls' gangster moments – the mob characters are stereotypical Corleone knockoffs – it's the heartfelt relationship between the three women that make the film stand out. Sorvino, who's been hit-and-miss since winning her Oscar, does nice work as a wounded good girl who struggles to find her inner toughness. But let's be honest – the only reason anyone's bound to take note of Wisegirls is the presence of Carey. Truth be told, it'd be a shame if Glitter really has sullied her acting career for all time, because she turns in a pretty decent supporting performance here. (1:36) Roxie. (Eddy)

Wrong Turn Clearly Eliza Dushku, Desmond Harrington, and the rest of the kids in this cast never saw The Texas Chainsaw Massacre, or The Hills Have Eyes, otherwise they'd keep to the main road, dammit! (1:21)

Ongoing

Anger Management (1:41)

L'auberge espagnole A sheltered French youth (Romain Duris) heeds the advice to "go southwest, young man" and becomes an economics exchange student in Barcelona. He ends up in an apartment with six other twentysomething Euro-expatriates and steps into a whole new world of liberating drinking, loving, and touchy-feely dorm room epiphanies. Director Cédric Klapisch (When the Cat's Away...) peppers this Candide-lite comedy with so much postcard photography and "This was the semester that changed my life" narration that any bigger picture musings are buried underneath a cringe-worthy sense of schmaltz. There's a certain naive undergrad charm in the film's view of pan-Europeanism as nothing more than a hostel takeover, where nations of all stripes would get along if they all just chilled out, smoked a doob, and sang along to Bob Marley. After two hours of clichéd soul-searching amongst the college sophomore set, however, the movie's title (slang for "euro pudding") takes the culinary metaphor to the extreme: It goes from slightly delectable to a little too sweet, far too sticky, and hardly worthy of being considered a full meal. (1:56) (Fear)

*Bend It like Beckham With a witty screenplay, feel-good story, and kick-ass soundtrack, Gurinder Chadha's Bend It like Beckham (named, by the way, for the soccer star who's also known as Mr. Posh Spice) has already broken box-office records in the U.K. and arrives in the United States with a worldwide $50 million gross already under its belt. Jess, Beckham's protagonist, is a reluctant challenger who's driven by her passion for soccer to deviate from the expectations of her old-world family. Beckham pointedly punctures English, Indian, and immigrant foibles despite a few jokes that are broad enough to hit the side of a barn. But its pseudo-lesbian subplot is unlikely to ruffle viewers of any lifestyle. More satisfyingly, the film's climactic wedding scene erupts into high drama with mistaken-identity mischief delicious enough to ensure it won't be mistaken for Monsoon Wedding. (1:42) (B. Ruby Rich)

*Better Luck Tomorrow Ben (Parry Shen) is your archetypal Asian studyholic – but despite his academic prowess he's completely invisible. Ben's crew does its best to tweak the stereotypes: there's Virgil (Jason Tobin), the "other smart guy at school" and a goofy, squeaky spaz; Virgil's brother Han (Sung Kang), a cool would-be greaser with a muscle car; and Daric (Roger Fan), an obnoxious Max Fischer archetype who has his hand in every school club and, later, every scam. Director-cowriter-producer Justin Lin's Better Luck Tomorrow succeeds at infusing the secret life of the Asian nerd with an unprecedented level of sexiness and humor; we can all imagine what would happen if the culture's tenacity, skills, and pressure to excel were applied to crime instead of tests and study sessions. Like its characters, though, Better Luck Tomorrow comes off like an early acceptance-style academic overachiever. It makes all the right moves and is ready for the big leagues with MTV backing, yet is still a little too eager to please. (1:38) (Kimberly Chun)Blue Car Blue Car begins promisingly, as a narrative refreshingly focused on the creative process of a young woman who is neither insane nor suffering some other catastrophe. Too bad writer-director Karen Moncrieff lets it all hit the fan later on, in unusually large amounts. Eighteen-year-old Meg (Agnes Bruckner) expresses frustrations about a neglectful mother, absentee father, and unstable younger sister through some not terrible poetry. An English teacher (David Straitharn) steps up to play creative mentor, espousing weak nuggets like "You can go deeper" – which do serve to inspire Meg. However, what starts as an earnest teacher-student relationship is ruined by creepy betrayal; Montcrieff also places enough obstacles in young Meg's life to fuel three other movies. Bruckner's honest and believable performance is Blue Car's highlight. (1:28) (Koh)

*Bowling for Columbine (1:59)

Bruce Almighty When the endless why-me whining of frustrated TV fluff-news reporter Bruce Nolan ("I'll never be an anchorman! I have no credibility!") becomes more than even God wants to hear, the deity Himself (Morgan Freeman) decides to shut the crybaby yuppie up by letting him "play God" for a while, to see how he likes it. At first, Bruce really, really does – and this hit-and-miss take on a good fantasy-comedy idea scores at least a few great set pieces as Bruce (Jim Carrey) exults in his newly unlimited power. But eventually he must be taught that individual self-interest is bad for society as a whole (unpleasantly, the movie suggests it directly leads to looting and rioting scenes featuring the lion's-share of the cast's minority actors) and that only God can do God's job. (Needless to say, this not a film inclined to question whether S/He/It is doing a good job.) At that cynical, then mawkish third-act juncture, Bruce Almighty stops being a decent-enough excuse for displays of Carrey's unmanageable genius. Instead, it becomes very recognizable as the latest force-feeding of bogus sentimental slop by the director who gave us Patch Adams. For which God still has some 'splaining to do. (1:41) Grand Lake. (Harvey)

Charlotte Sometimes (1:28)

*City of Ghosts Matt Dillon's directorial debut is as surprising an announcement of an actual artistic sensibility as George Clooney's was with Confessions of a Dangerous Mind. Dillon also stars as Jimmy, a U.S. insurance executive pursuing an agent who's disappeared into southeast Asia after pocketing funds that should have gone to hurricane-devastated claimants. The trail to elusive Marvin (James Caan) leads Jimmy to Bangkok, then to Phnom Penh, where a bar-hotel run by a hilariously tantrum-prone Gerard Depardieu magnetizes all tourists, expatriate strays, drunks, and shady dealers. Multimillion-dollar investment scams, quicksilver violence, the military's heavy hand, and ghosts of the dread Khmer Rouge layer Dillon and East Bay author Barry Gifford's somewhat messy screenplay. But if it doesn't fully satisfy as an old-fashioned tale of exotic intrigue, Ghosts more than compensates with innumerable surprise observances, sweet ironies, and dense textural pleasures. (1:57) (Harvey)

Confidence (1:38)

*'The Cremaster Cycle' A shoe fetish that dreamed it was an opera, Matthew Barney's Cremaster Cycle is one of the grandest – well, costliest anyway – acts of artistic folly ever committed to celluloid: a five-part, multihour, phantasmically overdesigned and fabulously well-financed extrapolation on themes variously related to the musculature that controls – based on data from internal emotions and external temperatures – the rising and the falling of the testicles. Who says modern art is afraid to put its balls to the wall? Perversion with a pedigree, the Cremaster films gussy up all of the black-and-white demonology and hunk lusting of Kenneth Anger and Gregory Markopoulos's 1950s psychodramas in pink plaids, fuzzy scrotal headgear, and healthy latherings of petroleum jelly – retro avant-gardistry for the age of Agnes B., if you know what I mean. And if you don't, that's probably even better. A gallery installation that dreamed it was a Hollywood blockbuster, The Cremaster Cycle works, despite its plethora of indecipherables, in multiplex terms as well. (3:02) Castro. (Stephens)

Daddy Day Care (1:30)

The Dancer Upstairs John Malkovich finally gives directing a whirl with The Dancer Upstairs. Nicholas Shakespeare's screenplay (based on his novel) was inspired by the 1991 arrest of philosophy professor and Maoist Abimal Guzman, leader of Peru's Shining Path revolt – but Shakespeare removes context and dogma from the real life events, placing the story in an unnamed Latin American country. Violent acts are committed in devotion to a mysterious leader called Ezequiel, but where's the revolution? Javier Bardem (Before Night Falls) turns in a solid performance as the weary yet determined Detective Rejas obsessed with finding Ezequiel. Toward the end Malkovich shifts the narrative focus from Rejas's relentless hunt to a far less substantial subplot involving the detective's romance with his daughter's dance instructor. The move deflates an otherwise thoughtful directorial debut. (2:09) (Koh)

Down with Love New York, 1962: Sinatra and Esquivel are spinning on the hi-fi, the suits are pure gray flannel, martinis are considered lunch, and all of the Big Apple is bustling over Down with Love, the new book from "It Girl" author Barbara Novak (Renée Zellweger) that tells women how to "liberate" themselves from love through sexual empowerment and massive chocolate consumption. She's the protofeminist bookend to cad supreme Catcher Block (Ewan McGregor), the star journalist of Know magazine who decides to beat Barbara at her own game. Director Peyton Reed (Bring It On) and his cast play the pastiche shell game to the hilt, paying homage to those smutty yet wholesome Hudson-Day sex comedies of yesteryear by replicating their candy-coated color schemes, period-fashion parades, and double entendres. The result is a pretty piece of metafluff that aims to wink knowingly and be as laughably lame as the mediocre originals it adores, a near perfect forgery of a cinematic Big Mac. (1:42) Oaks, Orinda. (Fear)

*Friday Night It would take a large essay to advance the thesis that Claire Denis is one of the most overrated directors of the past two decades. So let's just say Friday Night is surprisingly charming and crush-worthy, despite, or perhaps because of, the slight, Eurotrashy subject matter. Its story of a one-night affair is practically a parody of an American's stereotypical view of French film romance. Agnès Godard's cinematography and Dickson Hinchcliffe's score do all the talking for the film's lovers – in fact, theirs is the true love story. He answers her luminous visual beauty (nighttime Parisian skyline still lifes, streetlights reflected in raindrops, a morning-after glimpse that overtly re-creates a Nan Goldin photo) with music that moves from nervous, pizzicato flirtation to glowing, sonorous exhilaration. (1:30) (Huston)

Holes (1:51)

House of Fools Inspired by an actual incident in which asylum inmates were briefly abandoned by staff, Andrei Konchalovsky's movie is much less a realistic drama than an antiwar whimsy à la The King of Hearts. It's at its least when hewing closest to that '60s-grounded belief in the superior wisdom of crazy people in a world gone mad, with speech-defected but otherwise waif-perfect Janna (Julia Vysotsky), the accordion-playing sweetest little lunatic in the whole wacky bunch. Her big delusion is that aging MOR hunk Bryan Adams is her fiancé – as visualized in several music video-like sequences where the somewhat ravaged-looking Adams himself croons to her. Konchalovsky (mis-)spent several years abroad directing English-language films (Tango and Cash, Shy People, Runaway Train), so you'd think he would know that Adams isn't a gently retro-amusing choice but a merely shlocky one. Once the skittish doctors and nurses flee their psychiatric hospital, leaving the residents to greet successive Chechen, then Russian occupying forces, House of Fools does frequently transcend its more banal ideas to provide striking, poignant scenes that crystallize the absurdity of institutionalized warfare – not to mention the mordant, never-ending human disaster zone that is Mother Russia herself. (1:44) (Harvey)

Identity (1:35)

The In-Laws Jerry Peyser (Albert Brooks) is a fanny pack-toting podiatrist who likes to have everything under control. Steve Tobias (Michael Douglas) is a deep-cover CIA operative with a warehouse full of guns. Brought together by their children's engagement, this odd duo end up entangled in a top-secret international arms deal with the FBI hot on their trail. In remaking Arthur Hiller's 1979 comedy of the same name, director Andrew Flemming closely adhered to Hiller's big-name-stars formula (Alan Arkin and Peter Falk played the mismatched pair in the original) but updated the screenplay to reflect contemporary society. He did so despite the fact that Andrew Bergman, the original screenwriter, is a master of making silly jokes into smart films, as he did on such classics as Fletch and Blazing Saddles. Flemming's modernized script may feature cell phones and laptops, but it's also clichéd and predictable and retains precious little of Bergman's wit. (1:35) (Cohen)

The Lizzie McGuire Movie (1:40)

*Man on the Train A mysterious stranger (Johnny Hallyday) breezes into a small French burg and attracts the attention of a local poetry teacher (Jean Rochefort), who offers the out-of-towner room and board. It turns out that the stranger is a career criminal with his eye on the local bank and that the local is desperately looking for one last chance at excitement to set off a long life of dullness and regrets. It's the duo's gentle, tentative stabs at friendship before tragedy inevitably rears its head that make the latest meditation by director Patrice Leconte (The Hairdresser's Husband) on the melancholia of loners and losers so quietly moving. Thanks to the alchemy of legendary Gallic rocker Hallyday's steel-flint gaze and Rochefort's matronly kindness, what should be a normal iconographic noir essayed in gun-metal shades of blue gray takes the road less traveled, gracefully morphing into an elegy of missed opportunities and misaligned lives. (1:30) (Fear)

*The Man Without a Past In the dark and in the park, a solitary, silent man – the title character – is viciously beaten by strangers. He seems dead, but no, he's just deadpan, and thus at home in the Finland of Aki Kaurismäki, where comedy and poverty are married whether they like it or not, yet are still capable of a fine romance. The Grand Prize winner at the 2002 Cannes Film Festival, this film is dramatically expansive and stylistically extroverted by Kaurismäki standards – invoking melodrama in particular – but a Salvation Army-style DIY sensibility is still in effect. Along with cosmic twin Jim Jarmusch, Kaurismäki has a silent-film sensibility: he's fond of sight gags (the anti-antics of an allegedly vicious dog are this movie's comic highlight), and his camera has never met a droll face it didn't want to have a love-laced staring war with. (1:37) Smith Rafael. (Huston)

*Manic Anger management is no joke for suburban teen Lyle (Joseph Gordon-Levitt), whose latest violent explosion on a baseball diamond lands him in a juvenile lockdown facility. Waking up groggy and furious, he at first disdains communication with the counselors (chief among them Don Cheadle) and fellow patients. Eventually, however, personalities break through his wall: bipolar rich kid Chad (Michael Bacall), 12-year-old child molester Kenny (Cody Lightning), bully Mike (Elden Henson), and self-mutilating shrinking violet Tracy (Zooey Deschanel). While tricked out with a Dogma-like improvisational style and handheld video camera work, Jordan Melamed's feature (written by two of the cast members) leaps clear of stylistic trendiness, let alone angsty-youth-in-trouble clichés. This intense, unsensationalized drama conveys the boredom, volatility, and medicated vagueness of institutional life, always keeping the kids' unvarnished emotions at center stage. The effect isn't always pleasant, but it is riveting. Don't worry: after five minutes you'll forget Gordon-Levitt is the kid from that leading '90s cultural crime, 3rd Rock from the Sun. (1:40) (Harvey)

The Matrix Reloaded The gang in black are back for more bullet time, kung fu, and supposedly deep philosophical musings. Only this time, the adventure is shapeless, overlong, and dangerously incoherent. Now fully strapped with the "superman thing," Neo, a.k.a. "the One" (Keanu Reeves), races through both real and unreal worlds in order to find the Oracle, the Keymaker, and the Architect (presumably, the Butcher and the Baker will pop up in November's Matrix Revolutions), all of whom must be confronted in order to save the last remnant of humanity. Unfortunately, what they've got to say doesn't make a hell of a lot of sense, nor does the relentless exposition qualify as a fun time at the movies. Happily, some of these problems are mitigated by the requisite jaw-on-the-floor action scenes, at least one of which (Neo versus an army of Agent Smiths), has to rank as one of the finest ever filmed. (2:18) Grand Lake, Orinda. (Macias)

*A Mighty Wind The latest from Christopher Guest (Best in Show) and his ensemble of comics and character actors is another high-concept parody: when the legendary folk music impresario Irving Steinbloom passes away, his son organizes a tribute show featuring the crème de la crème of the 1960s Bleecker Street scene. The event heralds the return of such seminal acts as the Folksmen (Guest, Michael McKean, and Harry Shearer) and the reunited Mitch and Mickey (Eugene Levy, Catherine O'Hara). Wind features the genius comic turns (Levy's shell-shocked Brian Wilson impersonation vies with Fred Willard's unctuous band manager for the show-stealing throne) and deadpan shtick that's become synonymous with the all-star collective. But although Wind is still far funnier and more inventive than most of what passes for yukfests these days, this experiment in without-a-net creative comedy never quite gels; one senses that not even the editing room could turn what's essentially a number of disparate, fragmented laugh-riot ideas into the cohesive tour de force their legacy demands. (1:27) (Fear)

Nowhere in Africa (2:18) Smith Rafael.

*The Pianist (2:28)

Pokemon Heroes (1:15)

*The Quiet American (1:52)

*Raising Victor Vargas Set in the Latino blocks of New York City's Lower East Side one hot summer, Peter Sollett's film at first blush looks like a classic tale of teenage stud-male hubris taken down a few pegs by innate female superiority – the usual lesson in humility ending with the usual conciliatory kiss. Which indeed is part of the agenda here, but only part. Victor (Victor Rasuk) is a 16-or-so-year-old with a smile like melting butter and a body whose muscles he's wont to flex, even if they're not much more than a figment of his overconfident imagination. Caught about to boink "Fat Donna" (Donna Maldonado) upstairs, he seizes on the conquest of model-looking, wildly uninterested Judy (Judy Marte) as the ticket to salvage his temporarily tainted reputation as a high-end ladies' man. Toeing a line between high comedy and near tragedy that's utterly natural throughout, Raising Victor Vargas is a tiny yet well-crafted story. With its warm photography, exceptional nonpro actors, and frequent hilarity, this very small movie is an almost perfectly realized joy. (1:40) (Harvey)

Spellbound A frightening, often comedic look into the family lives of the nation's top young spellers, Jeff Blitz's documentary too easily balances the oddities of overachievers: if there's an obsessed speller, there's also a nonchalant one; some families are wealthy, some are poor. There's diversity, love, faith, and most predictably, a fight against the odds. Though the film builds tension as it reaches various humiliating climaxes at the microphone, it suffers the same malady as its subjects: it feels far more stage-managed than earned or lived. (1:36) Smith Rafael. (Gerhard)

The Trip (1:43)

*Waiting for Happiness While Mauretanian director Abderrahmane Sissako's Waiting for Happiness is not a comedy, it does offer up some serious punch lines on the meaning of life. In a sleepy port town, an old man makes his living by hooking up the power; accompanied by the orphaned boy who's his apprentice, he travels by foot from house to house with the magical wire that brings light. And if the light is material, it's also certainly symbolic: of knowledge, progress, illusion, and life itself. Waiting for Happiness is a film bound to take your breath away and deposit you back on the 16th Street sidewalk changed irrevocably or at least – hey, I'm a realist – for a few hours. A heart-stopping chronicle of life and death in a small town at the end of the road and the start of the sea, it's a lyrical ode by a natural poet whose every cadence is a cinematic one. (1:35) Roxie. (Rich)

*Winged Migration Its unassuming title and topic (migratory birds) notwithstanding, Jacques Perrin's documentary Winged Migration is of a feather with the greatest of action movies: the only time the screen is not occupied with ambushes, crash landings, gunshots, daring escapes, murderous crustaceans, and crumbling icebergs, is when it follows the birds in pure, sensational flight. Five crews of more than 450 people, with 17 pilots and 14 cinematographers, were involved in filming these birds in flight, and still the resulting sequences are so close, so immediate, so lacking in artifice, that you would swear they were filmed by another bird. And it's a running theme that while the humans are so ingenious as to bring the film off – traveling across 40 countries in all seven continents, from the Eiffel Tower to Monument Valley, the Arctic to the Amazon – the indefatigable birds themselves are even more astounding. (1:29) Smith Rafael. (Amir Baghdachi)

*X2: X-Men United Everyone's favorite mutants are back, with the same director (Bryan Singer), cast (Patrick Stewart, Hugh Jackman, Ian McKellan, Halle Berry, Famke Janssen), and thankfully, a sequel that's far more satisfying and action-packed than the first X-Men installment. Brian Cox joins the fray as the sinister Stryker, an antimutant crusader hellbent on using Professor X (Stewart) as a pawn in his scheme to make Earth a humans-only environment; as the title suggests, X-Men (and women) good and bad must join forces to protect their kind. This go-round, we get plenty of scenes where individuals get to display their awesome powers (including new face Alan Cumming, as the teleporting Nightcrawler) and more attention to character development than you'd expect from a comic book-based movie with a huge ensemble cast – not to mention a meatier plot that's pretty much nonstop action. Good stuff, and an auspicious start to the summer movie season. (2:15) (Eddy)

Rep picks

The Travellers: This Land Is Your Land "From Bonavista, to Vancouver Island / From the Arctic Circle, to the Great Lake waters ..." Are you familiar with this version of Woody Guthrie's "This Land Is Your Land?" Chances are slim, unless you are Canadian and remember the country's premiere folk group of the 1950s and '60s, the Travellers, who are profiled in Robert Cohen's doc. The four-person troupe got their start at a Jewish Communist summer camp singing traditional Yiddish and Canadian folks songs in the name of socialist reform. The Travellers became successful, but eventually broke up over their politics and differing views about Stalin's persecution of Jews. The members tell their own stories, captured in a style that makes the film seem like an eerie and depressing A Mighty Wind. The group is full of fondness for the music and barely concealed bitterness about each other. Still, The Travellers is a worthwhile look at the folk movement that occurred in those neighboring borders to the North. (1:12) Yerba Buena Center for the Arts. (Koh)