Been working too hard? Lose your blues this Friday at the Metreon, where Paramount Pictures will host a free sneak preview of Craig Brewer's Footloose remake, starring Kenny Wormald (Center Stage: Turn It Up), Julianne Hough (Burlesque) and Dennis Quaid. Following the screening, fans can share their reactions on Twitter using the hashtag #Footloose.
When Sheila Nevins, president of HBO Documentary Films, approached longtime directing duo Fenton Bailey and Randy Barbato (Party Monster, The Eyes of Tammy Faye) about chronicling the history of the U.S. military’s infamous “don’t ask, don’t tell” policy, their response was initially tepid.
“We didn’t understand what the big deal was,” says Bailey, who, with Barbato, hosted the world premiere of The Strange History of Don’t Ask, Don’t Tell on Sept. 14 at the Castro Theatre. “What was there to tell? We didn’t completely understand the nonsense at the heart of the law.
Reluctant to buy into the Moneyball hype? Not a problem. There is no shortage of worthy alternatives to be found this week in the city, including the San Francisco Irish Film Festival (playing through Sunday at the Roxie) and these fine offerings:
1. The Long Goodbye
Where: Castro Theatre, 429 Castro St., 415-621-6120
When: Sept. 28
Don't expect Kevin Smith, the soon-to-retire (but hardly retiring) director of seminal '90s comedies Clerks and Mallrats, to be shaking hands and signing autographs this Sunday at the Balboa, where his first horror film, Red State, will make its one-night-only Bay Area debut. But that doesn't mean you can't engage the uncommonly candid filmmaker in a battle of wits.
Smith will host two screenings of State, his blood-soaked indictment of religious fanaticism and all-around hypocrisy, via live interactive broadcast from the New Beverly Cinema in Los Angeles, rapping with fans and critics alike after each show.
The following is a transcript of a phone call that may or may not have taken place between Sony Pictures chairman Michael Lynton and Oakland A’s general manager Billy Beane, the subject of Bennett Miller’s new sports drama Moneyball. It could have taken place in July 2009, not long after the movie’s original director, Steven Soderbergh, was given the hook in favor of ace relievers Miller and script specialist Aaron Sorkin.
BB: “Michael, it’s Billy, calling to talk Moneyball. I know the movie’s in trouble. There’s speculation that the distribution deal is falling apart.”
In Drive, the hypnotic new thriller from Bronson and Valhalla Rising director Nicolas Winding Refn, Ryan Gosling remains preternaturally calm even as he stomps a mobster’s flunky to a bloody pulp. Rarely does his voice rise above a whisper, much less betray any emotion. He is the essence of cool, breaking a sweat only when his passions boil over in short, shocking outbursts. We all go a little mad sometimes.
Hot and bothered? Head to the Castro next Thursday, Sept. 22, for the sixth annual IXFF Indie Erotic Film Festival, hosted by Peaches Christ and Dr. Carol Queen, and featuring the most titillating shorts from around the globe. The festivities will be preceded by a "pre-party" party at the Barbary Coast, with live music, bawdy burlesque, door prizes and (of course) cocktails. Until then:
Where: Embarcadero Center Cinema, 1 Embarcadero Ctr., 415-352-0835
It might seem odd to find Ryan Gosling, the onetime Oscar nominee best known for critically acclaimed indies including Half Nelson (2006) and Lars and the Real Girl (2007), cracking skulls in the riveting new thriller Drive, playing the kind of role once reserved for iconic tough guys like Clint Eastwood and Steve McQueen.
Yet for Gosling, who grew up watching “four movies a day,” it is the culmination of an ambition born, much to the chagrin of his concerned parents, after watching Sylvester Stallone in First Blood as an impressionable preteen.
While Sam Peckinpah’s Straw Dogs challenged viewers either to embrace Dustin Hoffman’s passive mathematician as a man of non-violent principle or deride him as cowardly and hypocritical, Rod Lurie’s remake, which replaces Hoffman with James Marsden as a mild-mannered screenwriter bullied by brutish hillbillies, dispenses with the ambiguities and – ta-da! – misses the point.
If homage, like imitation, is the sincerest form of flattery, Jean-Luc Godard should welcome BAND, New York-based artist Adam Pendleton’s touring collaboration with San Francisco experimental rockers Deerhoof, which arrives Thursday evening at the city’s Museum of Modern Art.
Godard, who chronicled the Rolling Stones studio sessions that would ultimately produce the lead track of their 1968 classic Beggars Banquet in his documentary Sympathy for the Devil, used early rehearsals of that album’s biggest hit as the backdrop for a series of visual meditations on the Black Panthers, consumerism, Marxism, democracy and the revolutionary spirit of the late ’60s.
Essential SF knowledge in your inbox
Sign up for our email newsletters to keep up on events, restaurants and SF haps.