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

Hidden in Plain Sight As this straightforward documentary illustrates with ample, relentless evidence (including footage of weeping children, limbless children, and dead children, all victims of military violence), some really, really bad elements emerged from the School of the Americas, a.k.a. the School of Assassins. The school is ostensibly a military training facility for Latin American soldiers to help enforce "democracy" in their countries (including Colombia and El Salvador), but Hidden in Plain Sight aims to expose the true consequences of the school's teachings. The SOA's many well-spoken detractors (including Noam Chomsky, Christopher Hitchens, and Rep. Barbara Lee) and passionate protesters all lend their voices here, though it's the stories of the victims of brutality wrought by SOA "graduates" that are the most haunting. Most eye-rolling fact: the oft-maligned SOA finally closed, only to reopen at the same location (Fort Benning, Ga.) with the ludicrous new name of Western Hemisphere Institute for Security Cooperation. Sounds fishy, eh? The Castro hosts a one-night screening, a benefit for Hidden's production company and the Film Arts Foundation, with filmmakers John Smihula and Vivi Letsou, Global Exchange's Medea Benjamin, and author Michael Parenti in person. (1:11) Castro. (Eddy)

The League of Extraordinary Gentlemen Sean Connery stars as Allan Quartermain, leader of a Victorian-era gang of literary figures (including Captain Nemo, Mina Harker, and Dr. Jekyll) called upon to stop a villain from taking over the world. (1:52) Century Plaza, Century 20, Jack London.

*Madame Satã See "Wild Sides," page 48. (1:45) Lumiere, Opera Plaza, Shattuck.

Pirates of the Caribbean: The Curse of the Black Pearl See Movie Clock. (2:23) Century Plaza, Century 20, Grand Lake, Jack London.

Ongoing

L'auberge espagnole (1:56) California, Embarcadero.

Alex and Emma (1:40) Kabuki.

*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) Lumiere, Opera Plaza, Shattuck. (B. Ruby Rich)

Bruce Almighty (1:41) 1000 Van Ness.

*Capturing the Friedmans Pegged as the lurid must-see of this year's Sundance Film Festival, Andrew Jarecki's documentary is definitely a fly in the ointment of any belief that documentary cinema (let alone legal process) necessarily equals truth. This movie leaves so many unpleasant questions unanswered you'll be positively itchy with the sense of being soiled-by-association. Tipped by postal inspectors, police raided the home of one Arnold Friedman, a well-liked schoolteacher and father of three teenage sons. They found stores of "kiddie porn" (or at least teen porn); this led to interviews with students in Mr. Friedman's after-school computer classes, held in the family's basement. The stories that emerged described horrific, sometimes quite literally beyond-belief sexual abuse of boys by both Friedman and youngest son Jesse. Were the purported victims' testimonies influenced and inflamed by the zealousness of investigators, not to mention the wildfire outrage that ran through local parents? (Some class attendees still insist nothing happened at all, but their voices were overwhelmed during the resulting media and prosecutorial onslaught.) What's perhaps most disturbing about this one-of-a-kind document is that hysteria becomes indistinguishable from truth, even (or especially) among the Friedmans themselves – a family that recorded itself endlessly via home videos (amply excerpted here), to a remarkable and unflattering degree. Watching them tear themselves apart under pressure – with self-appointed mother-of-all-martyrs Elaine quite possibly inflicting more damage than press, community, law, and still-questionable sex crimes combined – is an experience you won't soon forget. (1:47) Act I and II, Embarcadero, Empire. (Harvey)

Charlie's Angels: Full Throttle Cameron Diaz, Drew Barrymore, and Lucy Liu return, this time involved in reclaiming missing Witness Protection Program rosters. Major impediments are Justin Theroux as Barrymore's satanic ex-boyfriend, and Demi Moore (who's not on-screen that much, despite the impression given by the ads) as a former angel gone bad. The first Angels, also directed by McG, raised the discourse level of megamall franchise flicks by more than a few notches: it was funny, spectacular, knowingly ridiculous, and ironic in all the right ways. This sequel falls into that shrug-inducing cinematic category known as Just More of the Same. Which ain't a bad thing necessarily, though the freshness is definitely edging toward day-old-doughnut here. The action sequences are now so far outside the realm of physical possibility that they're just silly – a dirt biking set piece is one iota short of simply being fully animated. There are so many cameos (Bruce Willis, Jaclyn Smith, Pink, the Olsen twins, etc.) that some more desirable talents with actual roles – notably Crispin Glover – get scarcely more screen time. Bernie Mac is a poor substitute for Bill Murray's inspirational weirdness as the new Bosley, while Moore's stony posturing is the worst piece of overhyped, overpaid celebrity supervillain casting since Schwarzenegger as Mr. Freeze in Batman and Robin. Despite these flaws, there's enough color, kitsch, and miscellaneous swirling motion to warrant giving Full Throttle OK marks as a fun if immediately forgettable way to spend $9.50. (1:45) Century Plaza, Century 20, Jack London, Kabuki, Metreon, 1000 Van Ness. (Harvey)

*Chicago (1:47) Balboa.*City of God (2:10) Four Star.

Down with Love (1:42) Balboa, Oaks.

*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) Century Plaza, Century 20, Grand Lake, Jack London, Kabuki, Metreon, 1000 Van Ness, Orinda, Shattuck. (Eddy)

The Hard Word (1:42) Opera Plaza, Shattuck.

Holes (1:51) Oaks.

Hulk Emotional, talky tales involving repressed memories and bad parenting surely have their place – but in a movie based on a comic book, not so much. Way long, pretentious, and with jarring transitions that imitate comic strip panels, Ang Lee's foray into summer blockbuster-land is as disappointing as you thought it would be when you saw those previews during the Super Bowl – except the special effects are the pretty much least sucky thing here. After scientist Bruce Banner (Eric Bana) is zapped in a lab accident, he begins having serious anger management issues, complicating the lives of his ex-girlfriend (a weepy Jennifer Connelly), assorted government heavies, and his long-lost nut of a father (Nick Nolte). When Banner goes green, the leaping, smashing, and crashing (but only killing one really, really bad guy) almost make up for the rest of Hulk's turgidness. But not quite. (2:18) Century 20, Kabuki, Metreon, 1000 Van Ness. (Eddy)

The Italian Job (1:43) Century 20, Kabuki, Metreon, 1000 Van Ness, Shattuck.

Jet Lag In the middle of a "typical" French transit strike, a neurotic gourmet entrepreneur (Jean Reno) and an insecure beautician (Juliette Binoche) find themselves sharing a cell phone while stranded in Charles De Gaulle Airport. The mismatched duo end up at the businessman's Hilton suite, hashing out their life problems and eventually sparking a tentative romance. That's the simplistic premise of this romantic dramedy by writer-director Danièle Thompson (La bûche), and what starts off as a Gallic screwball in the making quickly fizzles into a somewhat stale, stagy take on a two-person theater piece. What Binoche does with her half of the burden, however, is another matter entirely; fleshing her sketchy character out with any number of subtly nuanced moments (a single, silent shot of her thinking turns into a performance unto itself), her ability to play bitter, brittle, and blithe at once stands out like a truffle amid what's essentially a mediocre farce. (1:43) Opera Plaza. (Fear)

*Legally Blonde 2: Red, White, and Blonde Blonder than ever, Reese Witherspoon returns as Elle Woods, notorious Beverly Hills bimbette turned shrewd attorney. In this sequel, Elle takes on animal testing, the beauty industry, and Capitol Hill, all to reunite her beloved lapdog, Bruiser, with his imprisoned mom. It's hard to follow a hit comedy, but it helps that favorite characters from the first film are back (including Luke Wilson as the perfect hubby to be). While the script isn't as fresh this time around, Witherspoon carries the film with ease; her revival of the beloved blond with smile-and-the-world-smiles-back naïveté, stubborn charm in the face of adversity and mocking, and of course, a dazzling pink wardrobe that Barbie would die for, are as hilarious as ever. Toss in a mean Southern senator whose dog turns out to be a leather daddy, an army of sorority sisters, and cheerleading interns choreographed by Toni Basil and, really, what's not to love? Double snaps. (1:34) Century Plaza, Century 20, Jack London, Kabuki, Metreon, 1000 Van Ness, Orinda, Presidio. (Sabrina Crawford)

*The Legend of Suriyothai Even in truncated form, Prince Chatri Chalerm Yukol's tale of monarchs and martyrs still washes ashore as one eye gouge of an epic, regal pustules and all. Second kings still covet power, severed heads still roll, courtesans and concubines still jockey for position, and the titular princess (M.L. Piyapas Bhiromhakdi) continues pachyderm-bound toward her destiny. Whether the prince or his old friend Francis Ford Coppola is responsible for the film's tendency to ramrod its way through historical incidents quicker than a flip book and rely on abundant narration and intertitles to fill in the gaps is uncertain. Regardless of the movie's sprint-pacing faults, it's easy to see why Suriyothai became such a cause célèbre in its native land; rarely has the birth of a nation seemed so garishly opulent and stone-facedly reverent simultaneously. Even audiences unfamiliar with Thailand's legacy (either literal or cine-literal) will find familiar purchase here, as Prince Chatri's grand filmmaking sweep and narrative instantly bring to mind elements of Cecil B. DeMille, MacBeth, and Akira Kurosawa's battlefield choreography. (2:22) Act I and II, Embarcadero. (Fear)

*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) Balboa, Opera Plaza, Shattuck. (Fear)

The Matrix Reloaded (2:18) Century 20, Metreon, 1000 Van Ness.

*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) California, Lumiere, Opera Plaza. (Fear)

Nowhere in Africa (2:18) Shattuck, Smith Rafael.

Postmen in the Mountains Before he retires, a father (Teng Rujun) teaches his mail route to his son (Ye Liu). The 112-mile trek is mountainous to say the least – the perilous pilgrimage puts the United States Postal Service to shame. As the son embarks on his first journey through the Chinese countryside, he discovers his connection to the village communities he serves – and reaffirms the unbreakable bond that links father to son – in a film loaded with metaphor (for better and for worse). Postmen in the Mountains is not a perfect film; the subtitles (translated from Mandarin to English) seem to fall short of conveying the intended dialogue, and at times the script (adapted from the book by Peng Jianming) tells rather than shows. Postmen is at its best when simply showing, as when director Huo Jianqi frames a gorgeous ensemble of shots filmed in the rolling green utopia of south Hunan. (1:33) Four Star. (Pham)

*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) Shattuck. (Harvey)

Respiro (1:35) Opera Plaza, Shattuck.

Rugrats Go Wild (1:21) Century 20, Kabuki.

Sinbad: Legend of the Seven Seas DreamWorks' latest animated tale follows pirate extraordinaire Sinbad (Brad Pitt) as he's enlisted by goddess of chaos Eris (Michelle Pfeiffer) to steal the Book of Peace so that her reign of destruction can begin. Trouble arises when Eris herself snags the tome from Sinbad's childhood friend Proteus (Joseph Fiennes), who then shoulders the criminal sentence. The sailor of the seven seas must steal back the book with some help from his crew and Proteus's plucky fiancée, Marina (Catherine Zeta-Jones), or his pal gets the axe. Borrowing liberally from Greek mythology and the Ray Harryhausen epics of the '50s, Sinbad: Legend of the Seven Seas couches its morality tale in a hybrid of traditional cell animation and the latest computer-driven innovations. Pitt's flat Midwestern twang seems curiously wrong for the swarthy, handsome hero, but even minus a proper lead and with minimum swashbuckling, there's enough diverting derring-do here to keep kids giggling. (1:26) Century Plaza, Century 20, Grand Lake, Jack London, Kabuki, Metreon, Oaks, 1000 Van Ness, Orinda. (Fear)

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) Embarcadero, Shattuck, Smith Rafael. (Gerhard)

*Swimming Pool Charlotte Rampling plays Sarah Morton, an author in the Patricia Highsmith mold – with an emphasis on mold – who ventures to a vine-laced villa in the south of France to begin work on the latest addition to her musty mystery series. Ludivine Sagnier plays Julie, the slutty daughter of Sarah's publisher, and an unwelcome surprise guest at Sarah's writer's retreat. The two don't waste any time invading each other's privacy. Whether that privacy is typed on a laptop or penned in girlie cursive, it's a key to asserting power over the other. Swimming Pool's "secrets" tease audiences; ultimately, the film is a poison-lensed love letter to director François Ozon's producer. It's time for this mildly naughty boy to make a wildly rude film that pleases no one but himself. (1:54) Albany, Clay, Piedmont. (Huston)

Terminator 3: Rise of the Machines The terms "unnecessary cash-in" and "soulless retread" come to mind; even the film's catchphrases are straight from the recycling bin. With James Cameron and Linda Hamilton out of the picture, the weight of T3 rests on Schwarzenegger's meaty shoulders and director Jonathan Mostow's ability to dole out the film's mounting battles and explosions. A robotic assassin from the future (Kristanna Loken) is sent to kill John Conner (Nick Stahl), because he's the one who'll eventually lead the resistence movement after machines take over the world, blah, blah, blah. Thank gawd a Terminator turned protector (you know who) is also on the case. The superior Terminator 2: Judgement Day told the same story, with a female lead far more powerful and multidimensional than T3's milquetoast Claire Danes and Loken's steely "Terminatrix" combined. As for the FX, remember how everyone shat themselves back in 1991 when Robert Patrick's character did all that melting-morphing business? There's nothing so thrilling this go-round. (1:49) Century Plaza, Century 20, Grand Lake, Jack London, Metreon, 1000 Van Ness. (Eddy)

Together (1:46) Four Star, Shattuck.

*28 Days Later Early in Danny Boyle's 28 Days Later, a patient named Jim (Cillian Murphy) awakes from a coma only to find the hospital, the streets, the surrounding buildings, and possibly – probably – the entire world, completely, nightmarishly deserted. The culprit? "Rage," a highly contagious blood virus accidentally unleashed on London by a group of well-intentioned animal rights activists. Symptoms, which manifest in 20 seconds or less, include red eyes, projectile vomiting, and the uncontrollable urge to viciously attack everyone around you. Thanks to the use of digital video, a trembling pop soundtrack, and British slang, 28 Days Later is pretty arty for a genre film. Still, horror is the main event, and like all truly scary movies, this one neatly plays off current events (SARS, for one) to increase the oh-shit-this-might-really-happen vibe. Though this heavily Romero-influenced film isn't overflowing with original ideas, the timing of its release is impeccable. Who isn't afraid of catching a horrible disease, or of waking up to find an entire city wiped out by a scary, unknown event? (1:48) Century 20, Jack London, Metreon, 1000 Van Ness. (Eddy)

*Whale Rider Director Niki Caro's adaptation of New Zealand author Witi Ihimaera's 1986 novel combines familiar coming-of-age elements with Maori mysticism to exceptionally engaging effect. Pubescent Pai (Keisha Castle-Hughes) has been raised by her strict but loving grandfather Koro (Rawiri Paratene) and more easygoing grandma (Vicky Haughton) since her artist dad left to travel the world. The latter (Cliff Curtis) was and is too grief-stricken to stay in the community – his wife died giving birth to Pai, and tribal chief Koro still pressures him to deliver a male grandchild who might one day "lead our people out of the darkness" that modern, Westernized life has imposed. But that ain't happening, so granddad opens a "sacred school" to educate local boys in "the old ways – the qualities of a chief." These involve everything from religious ritual to martial arts instruction. Koro is so rigidly tradition-minded that he insists girls are "worthless" in these capacities – though it's increasingly clear to everyone else that Pai possesses talent and discipline far beyond any male peers. The resulting, painful rift between child and grandparent reaches a climactic point of catastrophe and supernatural redemption that would be ludicrous in any less psychologically level-headed, stylistically astute context. A rare movie that should play just as well for eight-year-olds as it does for art-house grownups. (1:55) California, Bridge, Empire, Piedmont. (Harvey)

*Winged Migration (1:29) Albany, Embarcadero, Empire, Piedmont, Smith Rafael.

Rep picks

*'The Good Old Naughty Days' Dating more or less from 1905 to 1930 (though most titles were made in the '20s), the 12 silent French shorts packaged here were primarily designed to be shown in the waiting rooms of brothels, amusing patrons – and no doubt giving them some ideas – as they awaited their girl. Due to the hardcore sex acts filmed, they were anonymously made, often by professionals secretly moonlighting from their day jobs on "legitimate" films (and frequently borrowing the other movies' sets and costumes). Vintage porn is always cool; these black-and-white antiques are charmingly even more so. What's really surprising about them is that while the scenarios are predictable fantasy ones – monk spies on, then joins naughty nuns; teacher must spank naughty schoolgirls, which leads to other "punishments," etc. – the sex acts are a lot more diverse than they would have been in standard American porn, then or now. In short, everybody does everybody. That means that there's not just your typical "lesbian" stuff, but also that whenever more than one man is involved in the high jinks, he invariably (if briefly) fucks the other one. Quelle surprise! And nobody blinks, just as pussy eating is indulged quite as enthusiastically (and indeed somewhat more frequently) as cock sucking. Add to those delights the intermittent explanatory cards deploying archaic sex slang (men "exercise the ferret," have "beef bayonets," and a "Rumpleforeskin"), and you can keep your freedom fries – it's still Vive la France for me. Red Vic. (Harvey)

The Good, the Bad, and the Ugly Sergio Leone, padrone of the spaghetti western, used spaces – Spanish landscapes posing as American Southwestern ones, stretched extralong across the TechniScope rectangle – wider and more open than anybody else. His idiosyncratic style briefly revivified the fading western genre, sparked a thousand imitations, and basically created Clint Eastwood. Now we get Leone's 1966 The Good, the Bad, and the Ugly, restored to its full three-hour length after years of being trimmed by as much as 50 minutes. Offering a tale of greed and vengeance not unlike The Treasure of Sierra Madre or Monte Hellman's The Shooting – albeit without their palpable horror at dehumanized behavior – it's a three-way stare-down incongruously pumped up by massive scenes of Civil War slaughter and dying-soldier landscape straight out of Gone with the Wind's South. "Good" Eastwood, a.k.a. "Blondie," is the Man with No Name, a drifter-con man; "Ugly" Tuco (Eli Wallach) is a bandito betrayed by Blondie; and "Bad" Angel Eyes (Lee Van Cleef, with his commanding smirk) is a remorseless bounty hunter cum soldier only interested in a certain stolen box of gold coins. In the end, The Good, the Bad, and the Ugly is a shaggy-dog anecdote masquerading as a saga, its unconvincing pauses for sentiment and spectacle far less integral than the private drollery that allows Eastwood to be not so much tough under pressure as simply amused. (3:00) Castro, Smith Rafael. (Harvey)

*'Kung Fu Movie Madness' and 'Midnites for Maniacs' This week's martial arts double feature is the over-the-top Storm Riders (Lau, 1998) and She Shoots Straight (Yuen, 1990); for maniacs, there's Paul Verhoeven's truly insane 1997 Starship Troopers (giant bugs, Denise Richards, Doogie Howser ...) Four Star.

*Rivers and Tides Building elaborate installation pieces out of Mother Nature's flotsam and jetsam in its own "natural" habitat (open fields, seashores, riverbanks), artist Andy Goldsworthy spends hours altering the landscape or working his elemental materials into man-made paths and patterns of harmonious grace. A finished work can last for as long as a few days or as short as a minute before a light breeze or an eddying tide picks it apart like carrion; in Goldsworthy's art, deconstruction is as much a part of his vision as construction. German documentarian Thomas Riedelshiemer's affectionate, awestruck look at the man and his mission to tap into a frequency of symmetrical order in terra firma's chaos is as hypnotically dazzling as his subject's abstract expressionist products. Fluently gliding around Goldsworthy's struggle to complete a fragile twig leitmotiv before it collapses under its own weight or pulling far back to reveal a sidewinder pattern snaking around a forest glen, Riedelshiemer's camera becomes the subject's partner, capturing the artist's attempts to channel the ebb and flow of organic life for posterity in a gorgeous, wide-screen, 35mm time capsule. (1:30) Balboa. (Fear)