Page 43

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0Č?É&#x2022;É&#x2022;É&#x201E;Č˝É&#x2022; 3ZIV]IEVWI\TIVMIRGI 'PEWWMGEPNE^^VSGOFPYIW FSSKMIVEKXMQIWEPWE 'SQTSWMXMSRMQTVSZMWEXMSR :SMGIžYXIHVYQPIWWSRW EVIEPWSEZEMPEFPI 'SRZIRMIRXP]PSGEXIH 7ERXE'VY^WXYHMS

1/7<3C<AB/0:3!Njdibfm!Dbjof!jt!b!nbo!po!uif!fehf!jo!Ă&#x2022;Ibssz!Cspxo-Ă&#x2013;!pqfojoh!Gsjebz/ 6=BBC0B7;3 ;/167<3(R; 100 min.)

Sublime, but not dainty. Due to a wormhole, observed by a hot tub repairman or a Time Lord or something (Chevy Chase), three idiots (Craig Robinson, Rob Corddry and the ever soulful John Cusack) are transported back to their happier past at a ski resort in 1986. Accidentally transported with them is 24-yearold Jacob (the hilarious Clark Duke), a depressed middle-aged-man-intraining whose life may depend on the events of the night to come. Certainly the funniest and grimiest film since The Hangover, but Hot Tub Time Machineâ&#x20AC;&#x2122;s editing is ruthless, almost to the point of resembling a coming-attractions reel. Rather than looking like a frenzied mess, however, it is more like there was some brilliant four-hour version that was cut down to a ragged but right shape. Director Steve Pink scripted High Fidelity; Cusack and Corddry do things here that you will still be laughing about 10 years from now: examples being Corddryâ&#x20AC;&#x2122;s violent unplugging of himself from a hospital bed or Cusackâ&#x20AC;&#x2122;s monologue about the day life went wrong for him, a tale as funny as the story in Gremlins about the Santa who ruined Christmas. (RvB) 9719/AA (R; 117 min.) Dave, a home-brewed costumed vigilante

(Aaron Johnson), meets up with real professionals in the field: a Batman and Robinâ&#x20AC;&#x201C;esque father-anddaughter team (Nicolas Cage, and the excellent Chloe Moretz, who was the wise little girl in (500) Days of Summer). Entertaining in parts, but director Matthew Vaughn has no feeling for the romance and mystery and vigilante lore: the movie has a nasty fan-boy quality, a hermetic focus that doesnâ&#x20AC;&#x2122;t see anything beyond the purpose of beating bad guys bloody. Cage carries the movieâ&#x20AC;&#x2122;s ambiguity deftlyâ&#x20AC;&#x201D;heâ&#x20AC;&#x2122;s enough of a serious comic book reader that he knows itâ&#x20AC;&#x2122;s a dreadful thing when a father bends his child to revenge. Bloody-minded little girls (thank heaven for them) may like Moritz. Itâ&#x20AC;&#x2122;s nuts to call Kick-Ass the next Watchmen. The slamming violence and the dullard noms de guerre these superheroes pick for themselves show a comicbook tradition at the end of a line. (RvB) :/;7AA7=< (R; 125 min.) Che (Benjamin Bratt) is an S.F. Muni conductor, a hobby mechanic and an ex-con, single-parenting his son, Jesse (Jeremy Ray Valdez). What he doesnâ&#x20AC;&#x2122;t know is that Jesse has a secret lifeâ&#x20AC;&#x201D;and a boyfriend who lives in St. Francis Wood. Cheâ&#x20AC;&#x2122;s outright rage at his sonâ&#x20AC;&#x2122;s sexuality is tempered by the attentions of his lovely new neighbor Lena (Erika

Alexander). Any positive representation of Aztlan has to be applauded; the scenes of highly polished lowriders gliding through the Mission make their own statement of beauty and pride. Bratt is the definition of movie-star gravity: a man doing nothing but thinking about stuff and making it look interesting. The film, then, is a celebration of San Francisco. Problem is, San Francisco may be San Francisco, but it is still a city. So some hardto-credit idealization mixes uneasily with real, street-level violence. (And itâ&#x20AC;&#x2122;s one thing to make a Sundance movie, another to openly filch a scene from Butch Cassidy and the Sundance Kid.) La Mission is a kind of overexemplified view of San Francisco as a city of healing and refuge: a vision of a place where everyone is wounded, and almost everyone heals each other. (RvB) B63:=A3@A (PG-13; 98

min.) A CIA covert ops team is betrayed and left for dead in the Bolivian jungle, then has to battle an unseen enemy. Zoe Saldana, Jason Patric, Idris Elba. =13/<A(G; 100 min.) The dearth of narrative thrust and useful informational tidbits are a downsideâ&#x20AC;&#x201D;the creatures swimming by are sometimes identified, sometimes not. Theyâ&#x20AC;&#x2122;re arranged by cuteness, color and shape rather than by districts of the

ocean, as in the sturdy zonal structure of Earth. Bruno Coulais, the rising composer whose work was key to the success of The Secret of Kells and Coraline, is adept with musical scoring: the organ is never too heavy and the harp is never too light. Youâ&#x20AC;&#x2122;ll want to miss most of the text; because this is Disney, the anthropomorphic angle is heavy; narrator Pierce Brosnan salutes the ancient wisdom of a sheepshead wrasse, the smoochiness of a walrus and the smiling face of our friend the Great White Shark. Oceansâ&#x20AC;&#x2122; cuteness is, you know, for the kids; itâ&#x20AC;&#x2122;s moments to clutch like a blanket when seeing the bottomless appetites underwater: a horrorsequence of a school of sardines under Scud attack by plummeting cormorants, frigate birds picking off a beachful of baby tortoises as if they were popcorn and a vicious crab/langouste bout thatâ&#x20AC;&#x2122;s as bad as any streetfight. (RvB) B63A31@3B7<B637@ 3G3A (R; 127 min.) The

story of an investigator who becomes obsessed by a case of a young woman who was raped and murdered, director Juan JosĂŠ Campanellaâ&#x20AC;&#x2122;s 2009 drama won an Oscar for best foreign film. With Ricardo DarĂ­n and Soledad Villamil. B63E/@:=@2A(R;

133 min.) See review, page 41.

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The difference between male and female brains still eludes scientists, but you wouldn’t know it from a rash of new books on the subject p...