Film Review

A decade of DocFest

Gamers, rappers, heroes, and more at SF's quirkiest festival

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A new England

Weekend's gay romance is remarkably unremarkable

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arts@sfbg.com

FILM Recent urban unrest in London and elsewhere induced the same shocked response England has rolled out some years now at signs of what's been termed "Broken Britain" — as if it were a complete surprise that the poor won't always be content to suffer in polite near-silence. Propriety and gentility may be shrinking in the U.K., but they still have a powerful grip on the nation's sense of itself.Read more »

Twang on

Prepare to giggle (and gag) at Tucker and Dale vs. Evil

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cheryl@sfbg.com

FILM Hillbilly horror is nothing new. Some might mark its heyday as the 1970s, a decade containing Deliverance (1972), The Texas Chain Saw Massacre (1974), The Hills Have Eyes (1977), and I Spit On Your Grave (1978). Others might point to Herschell Gordon Lewis' immortal Two Thousand Maniacs! (1964), probably cinema's most persuasive example of why Yankees road-tripping below the Mason-Dixon Line should never, for any reason, detour off the main highway.Read more »

Difficult loves

In praise of Raúl Ruiz's elaborate Mysteries of Lisbon

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Twee of life

Gus Van Sant's Restless delivers cute overload

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arts@sfbg.com

FILM For a while there it looked like Gus Van Sant, one of the most interesting U.S. directorial sensibilities of the last quarter-century, was going to settle for cashing the checks that have lured many an "edgy" artist over to the dull dark side. His mainstreaming began with the mixed rewards of 1995's To Die For, peaking commercially with 1997's Good Will Hunting; Finding Forrester (2000) and Psycho (1998) weren't justifiable choices on any terms.Read more »

Original sin

Skip the inevitable American remake: Alain Corneau's final film offers snappy pulp fun

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arts@sfbg.com

FILM Early this year came the announcement that Brian De Palma was hot to do an English remake of Alain Corneau's Love Crime, saying "Not since Dressed to Kill have I had a chance to combine eroticism, suspense, mystery, and murder into one spellbinding cinematic experience." Apparently he thinks his intervening decades' meh-to-awful "erotic thrillers" Body Double (1984), Raising Cain (1992), Femme Fatale (2002), and Black Dahlia (2006) don't compare (a good call, that).Read more »

Roeg, warrior

A new print of The Man Who Fell to Earth tugs the offbeat director back into the spotlight

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Chicago hope

An innovative anti-violence program takes flight in The Interrupters

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Fortress of meh

Griff the Invisible's less-than-super heroics

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FILM Unless you're between the ages of approximately 8 and 16 (mental as well as actual years applicable), it's been difficult to avoid a serious case of superhero fatigue at the movies lately. If a particular weekend doesn't bring yet another comic book to life at several thousand multiplex screens near you, it's providing the same favor to a toy, video game, or some pre-existing movie franchise that might as well have originated from one of the above.

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Once upon a time in the Bronx

A father comes to terms with his son's sexuality in Gun Hill Road

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arts@sfbg.com

FILM Though the visibility of gays and lesbians in cinema remains (largely) confined to independent film, Rashaad Ernesto Green, in his debut feature Gun Hill Road, uses the creative freedom afforded by that closeting to explore issues of race and confused sexuality amid the Latino population of the Bronx.Read more »