LA CityBeat Vol. 06 Issue 08 by Diana James

Andy Klein Oscar Losing Streak (pg. 14)

Getting louder with the Magnetic Fields

Yvonne Burke Medical Malpractice (pg. 5)

(pg.27)

. 6, N0. 8 l o V H 8 200 y 21-27, r a u r b Fe

www

bea acity

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e) Free (lov

*is Ricky Really a Sex OffenDer?

californiaâ&#x20AC;&#x2122;s registry for life may soon include promiscuous kids ~ By Hanna Ingber Win ~

CITYBEAT

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STAFF EDITORIAL Editor Steve Appleford stevea@lacitybeat.com News Editor Alan Mittelstaedt alanm@lacitybeat.com

P C ON T E N T W W W. L A C I T Y B E A T . C O M

VO L U M E 6 ~ N O . 8

Senior Editor Kevin Uhrich Film Editor Andy Klein andyk@lacitybeat.com Calendar Editor Alfred Lee alfredl@lacitybeat.com Editorial Contributors Donnell Alexander, Paul Birchall, Michael Collins, André Coleman, Cole Coonce, Mark Cromer, Perry Crowe, Samantha Dunn, Annlee Ellingson, Dan Epstein, Mick Farren, Richard Foss, Ron Garmon, Andrew Gumbel,Tom Hayden, Erik Himmelsbach, Bill Holdship, Jessica Hundley, Chip Jacobs, Mark Keizer, Carl Kozlowski, Wade Major, Richard Meltzer, Allison Milionis, Anthony Miller, Chris Morris, Natalie Nichols, Amy Nicholson, Donna Perlmutter, Joe Piasecki, Ted Rall, Charles Rappleye, Dennis Romero, Craig Rosen, Erika Schickel, Don Shirley, Kirk Silsbee, Brent Simon, Joshua Sindell, Annette Stark, Don Waller

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THIRD DEGREE

Writer and activist RAJMOHAN GANDHI talks about continuing his grandfather’s legacy of love and resistance.

IS RICKY REALLY A SEX OFFENDER?

Editorial & Letters 4 Left Coast by Ted Rall 4

California’s registry for life may soon include promiscuous kids.

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~BY HANNA INGBER WIN~

MICK’S MEDIA 29 War of the Machines. Blu-ray won this battle, but it’s only one skirmish in the ongoing struggle for your entertainment dollar. By MICK FARREN.

EAT 30 Neighborhood Exotic. Tangier offers an ambitious kitchen and fine service. By RICHARD FOSS.

Calendar Assistant Ayse Arf Editorial Interns Greg Katz, Matthew Mundy, Abigail Palmer, Saharra White, Hanna Ingber Win

FRONTLINES

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ART Art Director Matt Ansoorian artdirector@lacitybeat.com

FILM 14

Web & Print Production Manager Meghan Quinn Advertising Art Director Sandy Wachs Classified Production Artists Tac Phun, Brian Van Gorder Contributing Artists and Photographers David Butow, Jordan Crane, Scott Gandell, Max S. Gerber, Alexx Henry, Alix Lambert, Maura Lanahan, Gary Leonard, Melodie McDaniel, Nathan Ota, Ethan Pines, Gregg Segal, Elliott Shaffner, Bill Smith, Ted Soqui, Brian Stauffer, Sean Tejaratchi, Nathaniel Welch ADVERTISING Advertising Director Joe Cloninger Co-op Advertising Director Spencer Cooper Music & Entertainment Sales Manager Jon Bookatz Account Executives Todd Nagelvoort, Dina Takouris, Susan Uhrlass, Junior Account Executives Vannessa Aguilar, John Bogris, Parra Martinez

5 Friends Don’t Slap Friends. ALAN MITTELSTAEDT asks why Bernard Parks couldn’t tell Yvonne Burke to stuff it, in L.A. SNIPER.

Counterfeit Reality. In the Austrian Oscar nominee, a forger is caught in an unreal reallife dilemma. By ANDY KLEIN. Also, a new collection brings together Academy-approved animated shorts, in DVD EYE.

Latest Reviews 18 Movie Showtimes 20 Special Screenings 22

6 The Wrong Prescription. Clinic-closing plan sickens county supervisors in their postKing-Harbor convalescence. By EMMA GALLEGOS.

Classified Sales Supervisor Michael Defilippo

Classified Account Executives Sarah Fink, Jason Rinka, Brian Sutherin, Daphne Marina

Green Like Me. Questioning the masquerade of Barack Obama. By DAVID EHRENSTEIN.

SOUNDS 27 Social Distortion. CHRIS MORRIS writes that the Magnetic Fields find the melody and romance amid the searing shoegaze noise, in SONIC NATION.

✭ STAGE 31

Shooting Range. DON SHIRLEY writes that Cartoon and The Monkey Jar examine the subject of school violence.

7 DAYS & LISTINGS 32 Classifieds 39 BackBeat 47

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Controller Michael Nagami Human Resources Manager Andrea Baker andreab@southlandweeklies.com Accounting Ginger Wang, Archie Iskaq, Stephanie Reyes, Tracy Lowe, Christie Lee, Angela Wang (Supervisor) Circulation Supervisor Andrew Jackson Front Office Managers Jennifer Craker, Sheila Mendez Executive Publisher Charles N. Gerencser charlesg@lacitybeat.com Los Angeles CityBeat newspaper is published every Thursday and is available free at locations throughout Los Angeles and the San Fernando Valley. Circulation: 100,000. One copy per reader, additional copies are $10 each. Copyright: No articles, illustrations, photographs, or other editorial matter or advertisements herein may be reproduced without written permission of copyright owner. All rights reserved, 2007.

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FEBRUARY 21~27, 2008

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Word Play .......................................

ords can get you into trouble in presidential politics, and there is no mercy for an honest slip of the tongue. Back in 1992, Hillary Clinton learned this the hard way during her husband’s presidential bid when she dared to make the offhand remark that she wasn’t the type to stay home and “bake cookies,” nor was she “some Tammy Wynette standing by my man.” The public reaction was not only predictably bad, but soon Hillary was moved to start sharing her delicious cookie recipes. So you might think the former first lady would have some sympathy for Michelle Obama, who made the ill-advised comment in Milwaukee this week that, “for the first time in my adult life, I am proud of my country. Not just because Barack is doing well, but I think people are hungry for change.” Nothing horribly wrong about that, but talk radio, the blogosphere, and Clinton loyalists made the most – and the worst – of it. As every candidate and every candidate’s spouse must finally understand, the presidential campaign is no place for subtlety or words that are easily attacked. Michelle Obama’s unfortunate moment will pass, as it should. Even Hillary Clinton supporters are calling this a non-issue. Expect more non-issues like this one to dominate the infinite news cycles through November. Words during a campaign are also rich with irony. Bill Clinton was once “the man from Hope,” the young candidate singing along with Fleetwood Mac: “Don’t stop thinking about tomorrow ... ” He was a clear break from the past. Now he’s perceived as the silver-haired hothead wagging his finger at anyone not on the Hillary bandwagon. And the junior senator from Illinois is the candidate wielding “hope” as his weapon of choice, while Senator Clinton falls further and further behind claiming “experience” as her key strength, like Bob Dole in ’96 or John McCain this time around. In this election year, the words that matter most are those that will clear a path toward some kind of national redemption after eight years of horror and ineptitude from the Bush administration. If Obama borrows a few good lines from his friend, Massachusetts Gov. Deval Patrick, it may become fodder for the increasingly desperate Clinton campaign, but it doesn’t explain the doubling of Democratic voter turnout or his 10 straight victories. In 2008, words of hope and clarity are sounding better and better. ✶

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Hillary’s Mind Games

Hanging with Don

Close the Libraries!

[Re: American Babylon, “No Guilt Trip, Please,” Feb. 14] Bravo to Andrew Gumbel for his perceptive assessment of Hillary Clinton. I can offer only my own personal point of view, of course, but from that position, this piece was so well laid out and so excellently delivered that I can only wish I had a gold frame in hand to put around it. I have to thank Gumbel for great work in demographic analysis, political commentary, penetrating thinking, and brilliant writing.

I just wanted to say that the article entitled, “Hanging with Hill’s Pals” [Feb. 7] by Don Shirley was awesome! I really enjoyed reading it. It was informative and quite fun as well. Thanks so much for the article and props to Don Shirley.

[Re: “The Crushing Blow of Howard Jarvis,” Jan. 23] Some people believe that Jesus Christ is their personal savior. I believe that Howard Jarvis was my personal savior; that is, my economic savior. I remember when Prop. 13 passed in 1978. It allowed me and my family to keep our home and to remain in Southern California. In 1975, my real estate taxes were $400 per year. In 1976 my taxes doubled to $800 per year; in 1977, my taxes doubled again to $1,600 per year. In 1978, I went to the Board of Equalization in Culver City and asked what would my tax bill be if Proposition 13 failed to pass. I was told it would be over $2,400. I saw many people in tears knowing that if Proposition 13 did not pass, they would lose their homes and be forced to leave Southern California. If the Assembly had given us a tax break, Prop. 13 would have never occurred. These Democrat, liberal, bigot, poverty pimps know that by raising taxes on us, and re-distributing our money via welfare to poor people, they will get their votes come election time. I remember the propaganda from Governor “Moonbeam” Jerry Brown who was against Prop. 13. After it passed, Jerry did a flip-flop and said he supported it. As far as libraries are concerned,

KATHARINE CHEN BOSTON

Be Scared

Ah, 2000 is busting out all over, and the alternative-media brain trust is telling us mainstream Dems offer us “no change” from the Republicans. Scream it from Baghdad and New Orleans! Gumbel feigns a half-hearted attempt at sizing Hillary Clinton up objectively, but, as usual, the cherries must be picked and laid by the gilded lilies on the stacked deck. Worst is his charge of the Clinton campaign’s race-baiting; a totally manufactured slur from a press corps out to do in the Clintons at any cost. But this is where, in Clintonville, mainstream and alternative media have always shaken hands and lied without shame.

Maybe all the young people who are voting for Obama because Hillary is the oldest, and all the men who are voting against Hillary because she is a woman, should consider who Obama’s opponent will be if he wins the primary. John McCain is not the best orator nor does he ask you to “believe,” but he is the son and grandson of distinguished Navy Admirals, the Naval Liaison to the U.S. Senate, a 22- year career Naval aviator, a re-enlisted Vietnam POW who not only earned a Purple Heart but four other military medals of honor. Can Obama stand up to that? The Republicans will tear Obama to pieces over his lack of experience in foreign affairs. McCain will keep the war going strong on his entire terms, which means that all of your sons will possibly be drafted just because you felt the need to elicit age and gender discrimination against Hillary.

GREG WALL LOS ANGELES

CAROLYN DOSWELL STUDIO CITY

RICHARD HEBERT BURBANK

Welcome to Clintonville

CITYBEAT

FEBRUARY 21~27, 2008

they are almost obsolete since the introduction of the Internet. They don’t need to build any more. From the “Save Prop. 13/Howard Jarvis” group I get an update several times a year. I see that this year, about 30 years since Prop. 13 passed and I have saved $137,000. This amounts to about a little over $4,400 a year. What better way to keep liberal bigots from using the government robber-barons from stealing money from me? My real estate tax bill this year was $1,000 because Howard Jarvis wrote into this law that the government can only raise my taxes by 2 percent per year. Hallelujah, and thank you again Howard, baby, wherever you are! RONALD L. NELSON CULVER CITY

ttttt SEND LETTERS! Letters to the editor should include a return address and telephone number. All correspondence becomes property of Los Angeles CityBeat and may be edited for space. Send to LETTERS, CityBeat, 5209 Wilshire Blvd., Los Angeles, CA 90036. Or by fax (323) 938-1661 or e-mail: editor@lacitybeat.com.

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PHOTOGRAPH BY GARY LEONARD

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~ THE QUEEN OF BRENTWOOD ANOINTS A FAVORITE SON ~

Friends Don’t Slap Friends Why Bernard Parks couldn’t tell Yvonne Burke to stuff it ~ B Y A L A N M I T T E L S TA E D T ~ ASIDE FROM THE BEASTLY TRAFFIC noise and exhaust, we loved County Supervisor Yvonne Burke’s choice of venue to announce her long-awaited endorsement of Bernard Parks. What better place to stand than right outside the Temple Street entrance to the Hall of Administration? It gave voters a chance to savor the reality that Burke would soon be out of the building for good. Too bad she didn’t bring all of her bags. We could have easily shoved away a TV truck or two to make room for the moving vans. “Usually I don’t read a statement, but today I’m going to read this statement because I want to make sure everybody understands what I have to say,” said the 75-year-old Burke, who, by our conservative count, should have left the public eye a decade or more ago. Her most telling line for us – and one that could have rocked the grave of Edith Rodriguez, the 43-year-old mother who died on King-Harbor’s emergency-room floor last May, and dozens of others like her, was this one: “County supervisor is primarily an administrative position.” Let’s update a supe’s job description right now to include attending the funerals of anyone who dies because of a bad decision at a county hospital. Forget the lawyers, and go anyway. Maybe, then, the true nature of the job might poke a few holes in the veneer of the most out-of-touch pol. Managing doesn’t mean hanging out in eighthfloor offices when people are dying in your hospital. It means showing up in the ER in

the middle of the night and demanding answers and accountability. You don’t need a medical degree to ask: Why are you ignoring that woman writhing in pain? In a way, we hate to beat up on Burke and her legacy. But her tenure has been bad for the people. We remember the cover of Jet magazine on July 13, 1967, showing a trailblazing young black woman. Soak in the promise of this headline: “Yvonne Braithwaite: Los Angeles lawmaker may become the first Negro woman elected to the U.S. Congress.” She was so good at her prime in the state Assembly and later in Congress – even as a county supervisor, when first elected in 1992 – but she insisted on staying too damn long. We know Burke and Parks are pals going way back, so we won’t hold the endorsement against the former police chief. Who doesn’t have a mediocre friend or two, or know a well-meaning duff who should have retired a decade or more ago? It’s not like Burke has a rap sheet. She’s an unindicted sitting supervisor not known to have been under investigation in the past year for anything more serious than snubbing her constituents by living outside of her district. It’s not like she killed anybody, at least not outside of King-Harbor Medical Center. We suspect a nod from the Brentwood Chamber of Commerce would sway about as many voters as Burke’s endorsement. But it’s not as if Osama bin Laden, or Erwin Chemerinsky for that matter, backed Mike Antonovich in the FEBRUARY 21~27, 2008

June primary. It’s more like President Bush supporting John McCain. It carries some risks, with a net gain in votes. But if we were Parks, we sure wouldn’t be seen communing at too many South L.A. churches with Burke. The endorsement we’re waiting for is when powerbroker Congressman Maxine Waters anoints her choice. An endorsement by Waters, who came to the defense of Chief Parks when he was sent packing by James Hahn six years ago, could be what it takes to sew up this race. It, along with a parade of endorsements from black ministers, could put Parks in the county job. A Waters staffer said Tuesday that the congresswoman hasn’t yet decided when to wave her wand. Of course, this race could just as easily be won by Mark Ridley-Thomas. He’s got the backing of L.A. labor, from the County Fed and SEIU to a battery of police unions, including the Los Angeles Protective League, which soured early on the no-nonsense Parks. They cared for him about as much as a drunken, belligerent woman likes the police officer who shows up to arrest her for disrupting her son’s soccer game. And maybe there will be another ballot snafu and all the votes will go to long-shot candidate Morris Griffin. We hope the candidate wins who most effectively sells himself as the man most likely to blow the place up. Could that be Parks? Asked last Thursday if King-Harbor would have shut down if he had been a county supervisor a decade ago, Parks said: “Well, that’s almost impossible to answer … I don’t know if anybody has that answer. What we’re not going to do is speculate. My energies will be to open it as a first-class emergency room.” Fine, then how would you critique Burke’s performance on King-Harbor? “The supervisor has done a great job. In her last election 87 percent of the people thought she should return to office. You’ve got people who can be critical of every decision that’s made. If you take a composite of her achievements, there is no public official in the last 30 years who you could say has done a better job.” Now, with term limits, Parks, or whoever replaces Burke, can only hang around 12 years. “Hopefully, by the time of my third term I’ll be able to say, ‘I’m going to go sit down somewhere.’” SUBWAYS FOR BREAKFAST Some 100 transit fanatics and others gathered downtown last Friday at The Regency Club for an 8 a.m. breakfast to talk trains, cars, and congestion with the Westside Urban Forum. They heard County Supervisor Zev Yaroslavsky; L.A.’s Deputy Mayor of Transportation Jaime de la Vega, and transportation guru Denny Zane, the ex-Santa Monica mayor who’s pushing a possible November ballot measure to raise money to build our way out of congestion with an array of transit and road projects. If you think traffic sucks now, stick around another 20 or 30 years. Projections call for 3 million more people to move here by 2030. The estimated tab for transit projects needed over the same period: $60 billion. Zev, who said he gets panned for being a realist, isn’t sure a half-cent sales tax measure could pass in November, but he sounded more open to the idea than in recent public outings. “I totally agree with you on growing the pot,” Zev said. “I’ve proposed more damn taxes in this town than all the politicians combined.”

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The supervisor and former L.A. councilmember said he’s working with Assemblyman Mike Feuer, the Westside Democrat and chairman of the Assembly Transportation Committee, on legislation to lower the threshold for a sales tax measure from two-thirds to 55 percent. The ideal ballot measure would specify projects countywide, so voters everywhere would find an appealing item to support. A Christmas-list poll conducted by the Metropolitan Transportation Authority last November found two-thirds support for a sales tax increase that offered a variety of road and transit projects. Zane suggested more intense polling be done in June to capture a more realistic view of voters’ perspectives. “Let’s be prepared to pull the trigger then,” said Zane, who said it’s crucial for organizing to start now. “We aren’t going to get there unless we do serve Duarte, the San Fernando Valley, and we do serve Long Beach and the South Bay. It may mean accepting projects in the San Gabriel Valley that are not competitive with projects we see on the Westside in terms of sheer ridership. The politics of a democracy requires everybody to be served.” At one point, Zev challenged de la Vega over the mayor’s support for a Gold Line extension to Ontario International Airport, which he suggested could threaten the Subway to the Sea. Zev said the mayor should use his pull right now to get the Metro board to place the subway to Santa Monica in its long-range plan. He said the mayor already has at least seven votes on the board to do so, including his, Yvonne Burke, Santa Monica Councilmember Pam O’Connor, and the four mayoral appointees. Said Zev: “I’m kind of tired of the rhetoric versus the action. I get mixed signals from you and your boss. I don’t understand how you propose a $2 billion extension of light rail to the Ontario Airport and then say you’re going to get a Subway to the Sea. You’re not going to get a subway to a block west of Western ... . There aren’t enough resources to do it.” If Antonio is reading this, you might want to pick up the phone and tell Ontario Mayor Paul Leon you’ve done some recalculating and can’t quite come up with the numbers to make his project work right now. Tell him that Zev says sometimes you have to “step on somebody’s toes” – and that means his. And why not invite Zev for dinner at Water Grill? You two need to talk more. He’s fast becoming a fully engaged partner in the campaign to find the billions needed to get this city moving again. Maybe you could call a press conference and announce a joint mission to get Congressman Henry Waxman on board. At least you could go over strategies to get the subway dream on Metro’s hallowed list. As Zev told the breakfast crowd, “You are in a position to do it. I’d like to see the rhetoric translated into a political commitment. And it may mean that the mayor has to alienate the mayor of Ontario, or not alienate but say, ‘I just can’t help you today because I’ve got a crisis in my own city.’ That’s what I’d like to see happen. It would be putting one’s political capital where the political rhetoric is. I’m ready to go.” And you might as well bring de la Vega along to the dinner. He deserves a nice meal after last Friday’s thrashing. Just about the time most people were nibbling on their fruit, Zev jumped down de la Vega’s throat when he got his facts wrong about the highway robbery committed last year by Gov. Arnold 8 6

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The Wrong Prescription

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F R O N T L I N E S

~ BY EMMA GALLEGOS ~ She pointed out the difficulty of securing private funding for largely uninsured populations like those in her district. The crumbling, sub-par clinics that need funding the most are the places it’s hardest to lure private support. Therese Hughes, a representative from the Venice Family Clinic, said that her clinic provides a good illustration of the pitfalls of relying on individual donors and foundations for funding. The county contributes $94 for every visit. Her clinic must come up with ways to cover the rest of the $134 tab since the private sector fails to serve as the cash cow that some public administrators might imagine. “For Venice, closing this gap is difficult,” Hughes said. “Philanthropy for primary care is not sexy.” The proposal is bogged down with other practical issues. Fujioka and Chernof said that they wanted to start putting the proposal into place for 2009. “With PPP, you can’t do it in a year. It takes a long, long time,” said supervisor Gloria Molina. “It’s not good planning, it doesn’t make sense.” The supervisors weren’t alone in their skepticism of the proposal’s hasty timeline. Annie Park with the Community Health Councils warned, “Shifting to the private sector requires careful analysis and planning.” Abbe Land, co-CEO of L.A. Free Clinic, echoed Park’s comment and expressed concern over how a shift from one model to another could harm the way communities receive their care. “It is important to make sure that community services are not disrupted,” she said. Now is not the time or place to look for a quick fix. King-Harbor and Harbor-UCLA have already given us a glimpse of what the spiral down will look like. Slashes to the health department’s budget on the front end will bite us in the back with expensive ER visits, overcrowded ER rooms and longer waits. The answer to the county’s health woes might have to be bold, prescriptive and earth-shattering, but for now, the county bureaucrats could do worse than to get someone on board with them who envisions their charge as more than a budget-slashing exercise. Once more, boys, and this time with feeling. ✶

WITH HIS NEWS THAT THE HARBOR-UCLA Medical Center is no longer in “immediate jeopardy” of closing, health services director Dr. Bruce Chernof allayed fears that the hospital would be the next King-Harbor, or that another hospital closure would send L.A. County’s health care system headlong into a downward spiral. But the board of supervisors knows that the county isn’t out of the woods just yet. They still have two looming gaps to close in the coming year: The gap in ER services left by King-Harbor’s demise and the gap in the county budget. And so the supervisors greeted Chernof’s second order of business at their weekly meeting with a heavy dose of skepticism. He and county CEO William Fujioka submitted a draft proposal to save the county $29 million by privatizing 11 county health clinics, a move that supervisor Yvonne Burke called “penny wise and pound foolish.” Charged with trimming the county’s budget, Chernof and Fujioka drafted a proposal that not only sought to close the looming budget deficit but to also reshape the model of health care delivery system in Los Angeles County. Their proposal urges a shift to a Private-Public Partnership (PPP) model, in which the nonprofit, private sector shoulders part of the financial burden for health care services that the county now provides. Chernof and Fujioka insisted repeatedly that this system would provide the same level of coverage – if not more – and that nonprofits are waiting in the wings to enter into such partnerships. All the supervisors – save Michael Antonovich, who said the recommendations were long overdue – assailed the proposal. To begin, the actual proposal recommends that the 11 clinics in question be closed. Chernof and Fujioka backtracked and insisted that the word “privatized” be substituted for “closed.” In any case, the supervisors weren’t completely sold on the private sector’s powers to save the county’s budget or its sickly residents. Supervisor Zev Yaroslavsky suggested Fujioka and Chernof do what they can to avoid cuts to clinics – a “sacred cow.” He called the proposal that would save a mere $29 million in a $4 billion budget “ludicrous.” Burke agreed: “I know we have to grasp at straws, but this is not the right straw.”

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Schwarzenegger, with the blessing of his pal, Assembly Speaker Fabian Núñez and, so it seems, even the mayor of Los Angeles. It had to do with Proposition 1B, the statewide $20-billion transportation bond approved by voters in 2006. Everybody except de la Vega knows that the politicians stole the money to balance the budget last year. But de la Vega said L.A. County’s $1 billion share went to cover cost overruns on various projects. Zev corrected him, and told him the money became part of a “shell game” that makes voters skeptical about supporting bond measures unless the projects are spelled out. Voters end up think-

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ing that, “We voted for something and we expected to get something and they screwed us again. We need to be sensitive to that.” De la Vega tried to recover: “I’m not optimistic the state’s going to give us our money back.” Zev: “I am.” Seems the mayor’s boy should do his homework before venturing out so early in the morning. NURSING EGOS Someone should call off the dogs biting at the heels – and nipples – of DWP’s new general manager David Nahai. We know the guy is green and predicted months ago that union

FEBRUARY 21~27, 2008

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boss Brian D’Arcy would eat him for lunch. But Nahai made a good decision to pay for a lactation specialist to help mothers who work at the giant utility. The DWP’s board prez, Nick Patsaouras, should back off. By the way, Nick, if you have the best interests of the region at heart, why don’t you ask the MTA board to remove your name from the transit plaza at Union Station and sell the naming rights? If the price is right, even “D’Arcy Transit Plaza” could work. Give the money to the Subway to the Sea and leave the nursing moms alone. ✶ Send insults and ammo to BigAl@lasniper.com.

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~ HERMAN MELVILLE’S KIND OF CHARACTER ~

was in the ’50s – Melanin. What’s that, you ask? Simply the primary determinant of human skin color that also exists in the plant and animal kingdoms where it serves as a pigmentation. Like chlorophyll. No, I’m not being flip. America has been an incipiently racist enterprise ever since it was “discovered” by white foreigners, who quickly robbed the melaninenhanced natives of their land and lives, then compounding the offense by importing slaves from Africa. When the slaves were freed in the wake of a war that split the country in two, trouble continued via “Jim Crow” – the laws that until very recently were in place to make sure black and white lived separate and decidedly unequal lives. And that’s not to mention the lynchings and other less gaudy forms of violence visited by one race upon the other. Yet after centuries of turmoil that have never truly ended, America has suddenly, collectively, elected to, in a manner of speaking, “changed its mind.” And Barack Obama is its chosen vehicle for doing so. What’s going on has been described countless times in the media by people like Bryant Jones, a Georgetown University student who, according to an article in last month’s New York Times, “has always leaned Republican,” but says of the black Democrat, “It was his all-encompassing message that got to me … I left uplifted by him.”

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Green Like Me

Questioning the masquerade of Barack Obama ~ B Y D AV I D E H R E N S T E I N ~ DO YOU REMEMBER CHLOROphyll? Then you’re showing your age. For chlorophyll was all the rage back at the dawn of the ’50s when Lever Brothers, in its finite wisdom, put on the market a bright green, mint-flavored dentifrice that promised not only to improve the condition of your teeth, but cure bad breath as well. How did the emerald goop work such wonders? Hard to say, as chlorophyll is nothing more than the green pigment found in most plants. Sure, it looked like it had something special to offer. But at the end of the day, chlorophyll toothpaste succeeded in making teeth green (if brushing was carelessly executed) and nothing more. Its market history was intense but brief. And so may well be the marketing his-

tory of Barack Obama – if American voters get wise to him. I say marketing history rather than political campaign because that’s precisely how the first-term senator is being sold to the American people – not as a person but as a product. And as “product placement” goes, you can’t argue with the success of this one. Why, it seems like only yesterday former First Lady and the current senator from New York, Hillary Clinton, had the Democratic presidential nomination all wrapped up and tied with a neat litle bow. But over the past few months, that’s no longer the case, with Obama winning primary after primary. And the Illinois senator’s success is clearly the result of an element every bit as powerful today as chlorophyll FEBRUARY 21~27, 2008

Jones is not alone in experiencing such “uplift,” as the senator has for nearly a year enchanted turnaway crowds all over the country, dazzled by his rhetorical skill in delivering upbeat speeches redolent of his “message” of “change.” What he wishes us all to “change” from or to is rather vague. But that matters little to Jones and his ilk who find Obama’s greatest strength lies in “the fact he symbolizes for me that we are at a point where we do not have to think about skin color.” In other words, because of Barack Obama’s color, Jones doesn’t “have to think” about Barack Obama’s color. Such cognitive dissonance is as American as … pecan pie. And you’ll find this same attitude reflected in a more effusively eloquent form in Senator Ted Kennedy’s declaration of support of an Obama presidency. “With Barack Obama, we will turn the page on the old politics of misrepresentation and distortion … we will close the book on the old politics of race against race, gender against gender, ethnic group against ethnic group, and straight against gay.” Needless to say, nothing of the sort is in the offing. Racism in America will not magically come to an end with a Barack Obama presidency any more than it abated once the late Thurgood Marshall was appointed to the U.S. Supreme Court. Yet in news item after news item that’s the clear implication. That, plus the fact that he’s “new” and Hillary Clinton is “old,” this playing into culture’s ceaseless demand for novelty and up-to-the-minute hipness – even from a figure as temperamentally “square” as Obama. Like all successful products, he has a “pitch” related directly to his biographical novelty. The offspring of a Kenyan father and white mother, he’s too young to have been part

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of the civil rights movement that produced almost all the African-American politicians currently in and out of office (as in Jesse Jackson). And in sales terms that’s all to the good. His style, like his story, is “new.” And Hillary’s, tied inextricably to the fortunes of her husband, former President Bill Clinton, is “old.” No wonder, then, a novelty-minded “mainstream” media is at Obama’s feet, with the perpetually dyspeptic Chris Matthews declaring, “I felt this thrill going up my leg” at the sound of Obama’s voice. Each day, less emotionally overwrought scribes dutifully detail the ebb and flow of support Clinton and Obama receive from women and AfricanAmericans – seen as their respective core constituencies. Additional note has been taken of the fact that Obama has attracted “better educated” (read white) voters while Clinton draws her strength from the “working class” (black), this making race and class a point of divide. “How do we take the country in a new direction?” Obama asked at a recent televised “debate” (read: joint press conference) with Hillary Clinton. “How do we get past the divisions that have prevented us from solving these problems year after year after year?” His answer cocktails up an image of Republicans and Democrats sitting down to sing “Kumbaya” together for the greater good – a true “fairy tale” far more pernicious than the one Bill Clinton referred to in regard to Obama’s stand on the Iraq war. Is he simply a melanin-enhanced Joe Lieberman? Surely not as ham-fisted, especially in the way he handled a “debate” query about health care. “My view,” Obama declared, “is that the reason people don’t have health care, and I meet them all the time – in South Carolina, a mother whose child has cerebral palsy and she could not get insurance for her, and started crying during a town hall meeting, and Hillary, I’m sure, has had the same experiences.” So clever in “personalizing the issue,” isn’t he? But then – “What they’re struggling with is they can’t afford the health care. And so I emphasize reducing costs. My belief is that if we make it affordable, if we provide subsidies to those who can’t afford it, they will buy it.” In other words, nothing at all like the universal health care available in other Western countries, lovingly and accurately detailed by Michael Moore in his film Sicko. For a single-payer system is, according to Hillary, what “a lot of people favor, but for many reasons, is difficult to achieve.” And she’s no more willing to go into those “many reasons” than Obama is of explaining how a “more affordable” insurance can be made available to Americans barely able to keep their heads above water in a struggling economy beleaguered by a war without end. He’s just capable of spinning a line of bull in a more convivial manner, giving comfort to many. But not one in which any should trust. “Truth will not be comforted,” says the merchant in Herman Melville’s The Confidence-Man: His Masquerade. “Led by dear charity, lured by sweet hope, fond fancy essays this feat; but in vain; mere dreams and ideals, they explode in your hand, leaving naught but the scorching behind!” As for Obama’s “uplifting” power, we can say again, to quote Melville: “Something more may come of this masquerade.” ✶

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Rights Commission and served as a member of India’s parliament, where he worked to increase the rights of India’s lowest social caste – the untouchables – in ways his grandfather had called for a half-century earlier. As part of his mission to keep Gandhi’s ideas alive, Rajmohan is scheduled to speak Friday at Pasadena City College. –Joe Piasecki

How well did you know him? As well as a 12-year-old can know. He spent the final phase of his life in New Delhi, which is where I was going to school. During that period I did see a lot of him, sometimes more than once a day and fairly continuously. Some of these encounters are when I went along with other members of the family to participate in his multi-faith prayer meetings at five in the afternoon. So my parents and siblings and I would arrive before the public and walk with him to his prayer spot, which was not very far from his room, banter with him and then become rather serious for the prayer meeting. Then we would come back to his room, again enjoying conversation of a fun kind with him. And then, occasionally and not so often, with my parents, I’d see him late in the evening, at 9, 9:30 p.m., which was his bedtime. That is when we had him to ourselves, whereas at all other times he was always surrounded by lots and lots of people. We always knew that he didn’t belong just to the family. He made it plain that he belonged to lots of people, especially at that time refugees who were arriving from Pakistan – Hindus and Sikhs. But he was also surrounded by Muslims from the Delhi area who were being pushed out to go to Pakistan [during its separation from India]. There were victims on both sides of the divide turning to him for help and some solace. He was also a very typical grandfather. At the time I had a 2-year-old brother, the youngest of our siblings, learning new tricks every day. He and the old man would make faces at each other and have some fun. He was very human, and although it was a time of great difficulty, great tension and pain, he was able to laugh his way out of it for some minutes, the tension and the pain.

Rajmohan Gandhi The writer and activist on continuing his grandfather’s legacy of love and resistance RAJMOHAN GANDHI WAS BORN with a name that would shape his life. He was a schoolboy when, in 1948, his grandfather was silenced by an assassin’s bullet. Mohandas Gandhi had led India to independence from British rule without firing a shot, practicing a form of nonviolent resistance later adopted by the American Civil Rights movement and activists worldwide. In the few years they spent together, Rajmohan, now 72, knew his grandfather as both family man and father of state during walks together in New Delhi to public prayer meetings. It was during one of those short trips – and one of the few that Rajmohan missed, due to a school track meet – that Gandhi was shot. “I was not there,” he recalled with great regret this week dur-

CityBeat: Having the name Gandhi must create a lot of expectations on the part of those who meet you. What are people surprised to learn about you or your grandfather? Rajmohan Gandhi: People are surprised when they find out I’m 6’1”. They have an idea my grandfather was short, but that’s not true. He was on the short side, but he was almost 5’7”, which for an Indian of that generation was not a bad height. Nonetheless, people think of him as a tiny man. A few people are also surprised he had any children at all. They somehow think he never married. He had four sons, and I’m one of 15 grandchildren.

ing a telephone interview. “One thinks what one might have done or could do.” While he was not able to save Gandhi’s life, Rajmohan dedicated himself to preserving his grandfather’s life and continuing his work, both as an activist and a writer. In 2006, Rajmohan published the comprehensive biography Gandhi: The Man, His People and the Empire. He has also been active with Initiatives for Change, an international organization that aims to promote peace by forging positive relationships across borders and encouraging conflict resolution. Since 2002, he has also served as a research professor for the Center for South Asian and Middle Eastern studies at the University of Illinois at Urbana-Champaign. In the early 1990s, Rajmohan led the Indian delegation to the U.N. Human FEBRUARY 21~27, 2008

In the United States, a lot of people distance themselves from the political sphere, seeing it as corrupt or disenfranchising. What can today’s activists learn from Gandhi? He really wasn’t in it for himself. He wasn’t interested in being president or prime minister of India – far from it. He was training others for those responsibilities. He was fighting for an Indian independence, for Hindu and Muslim friendship and asking for India’s high castes to change their attitudes toward the lower castes and the untouchables. These three were very tough goals, but very necessary goals. He felt he could only pursue his religious quests if he fought for these three great political goals. If our conscience is stirred by some social or political issues, we ought to be ready to put up a fight. And if others see that our fight is not for our own advantage and we are prepared to pay a price, then people will be rallied.

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Have you been active in the antiwar movement or other causes in the U.S.? I have expressed my disagreement with, my disapproval of, the Iraq War. However, my activism has taken the form of working for reconciliation between the United States and the Muslim world. I see that divide as one of the most ominous and troubling things happening in the world today. My activist role is largely related to getting Americans to see that all Muslims do not hate America and are violent, and getting Muslims to see that a large number of Americans are wonderful people who want to see justice in the world. I go to meetings on campus, sometimes take invitations to speak – like this one [in Pasadena] – and my writing, above all. I believe my book [about Mahatma Gandhi] speaks directly to today’s issues apart from his life. The Muslim and non-Muslim issue was a huge question for him and the whole subcontinent at that time and remains a huge issue for the world today. And the issue of violence: In Afghanistan, Iraq, the Middle East, there is this very troubling divide between the Muslims of the world and the West. You see these suicide bombings, which produce no improvements but cause a lot of suffering on all sides. And so the situation in all of these countries cries out for the nonviolent approach that Gandhi fought for. There was recently a special conference at Pasadena’s All Saints Church about the Israeli-Palestinian conflict. What do you think is essential for bringing an end to the conflict in that region? The Israelis, although it is tough, have to acknowledge that the Palestinians have a strong case – an absolutely indisputable claim to have an independent homeland. Palestinians have to acknowledge that violence has damaged their cause and drowned their cause in the eyes of the world. Mind you, there are many Palestinians who are working nonviolently, but we don’t hear about them, and many Israelis acknowledging the Palestinians’ claim that we don’t hear about either. One of our tasks is to identify such people, speak about them and enlarge their ranks. As a member of India’s Parliament, what was the greatest political challenge you faced, and how did things turn out? I didn’t manage to change the political scene the way I hoped I might. I was very keen to address corruption in India in a major way. That I didn’t succeed in doing. It was my biggest disappointment. What I learned from that time is although politicians leave much to be desired, they are not wholly different from you and me. They don’t descend to the political stage from some special place, but come up from the common stock of the Indian or the world population. They need to be tackled – the public has to demand accountability; they are to be challenged, criticized – but they are not another breed. I was proud of the role I was able to play for the untouchables of India. I was chairing a committee for the implementation of various laws passed to assist them which were seldom enforced. These were on the books for several years, since shortly after Gandhi’s time. They were solemn commitments made by the Indian elites on the way to independence, but these were halfforgotten or wholly forgotten. I don’t want to claim I transformed the whole scene, but I played a role ... although an enormous amount remains to be done. ✶ Rajmohan Gandhi speaks at 10:30 a.m. Friday at Pasadena City College’s Sexson Auditorium. The lecture is free and open to the public. For more information, call (626) 585-7123.

IS RICKY REALLY A SEX OFFENDER

? BY

HANNA

INGBER

WIN

CALIFORNIA’S REGISTRY FOR LIFE MAY SOON INCLUDE PROMISCUOUS KIDS WHEN RICKY WAS 16, HE WENT TO A teen club and met a girl named Amanda, who said she was the same age. They hit it off and were eventually having sex. At the time Ricky thought it was a pretty normal high school romance. Two years later, Ricky is a registered sex offender, and his life is destroyed. Amanda turned out to be 13. Ricky was arrested, tried as an adult, and pleaded guilty to the charge of lascivious acts with a child, which is a class D felony in Iowa. It is not disputed that the sex was consensual, but intercourse with a 13-year-old is illegal in Iowa. Ricky was sentenced to two years probation and 10 years on the Iowa online sex offender registry. Ricky and his family have since moved to Oklahoma, where he will remain on the state’s public registry for life. Being labeled a sex offender has completely changed Ricky’s life, leading him to be kicked out of high school, thrown out of parks, taunted by neighbors, harassed by strangers, and unable to live within 2,000 feet of a school, day-care center or park. He is prohibited from going to the movies or mall with friends because it would require crossing state borders, which he cannot do without permission from his probation officer. One of Ricky’s neighbors called the cops on him, yelled and cursed at him, and videotaped him every time he stepped outside, Ricky said. “It affects you in every way,” he said. “You’re scared to go out places. You’re on the Internet, so everybody sees your picture.” His mother, Mary, said the entire family has felt the ramifications of Ricky being labeled a sex offender. His younger brother has been ridiculed at school and cannot have friends over to the house; his stepfather has been harassed; the parents’ marriage has been under tremendous pressure; and strangers used to show up at their door to badger the family. One neighbor came to the house and told Mary

he wasn’t going to leave them alone until they took their “child rapist” away, so they moved, she said. California is currently deciding if it will comply with a federal sex offender act that would put adolescent sex offenders as young as 14 on a national public registry, like the one Ricky is on in Oklahoma. Supporters say the act would improve public safety, but critics argue it would stigmatize thousands of teenagers. The law, called the Adam Walsh Child Protection and Safety Act of 2006, would require states to submit information on youth deemed delinquent in juvenile court of aggravated sexual abuse to the registry. Juveniles affected by the act would range from those who used force or drugs to rape another person, to those who have had any sexual contact with a child under the age of 12. If a 14-year-old touches an 11-year-old’s penis, the 14-year-old would be eligible for the public registry. Human rights advocates and even some prominent sex crime prevention groups warn this is one more act in a long list of sex-offender laws across the country that appeals to voters but is ineffective and counterproductive. They argue that almost all sex offender laws in the United States fail to solve the problem of sex crimes because they drive people underground, block paths to treatment and focus on a highprofile case, like that of 6-year-old Adam Walsh, who was abducted from a Florida department store and killed in 1981, and miss the fuller picture of sexual violence. A few heinous, high-profile sex crimes capture the media’s attention, and the result is more Draconian sex-offender laws, such as Megan’s Law and Jessica’s Law, said Sarah Tofte of Human Rights Watch, which recently released a report on sex-offender laws called “No Easy Answers: Sex Offender Laws in the U.S.” “We have created these laws and we apply them to anyone convicted of a sex crime reCITYBEAT

gardless of their risk to the community,” Tofte said. Megan’s Law requires public registration for adult sex offenders. If Jessica’s Law, approved by voters in 2006, overcomes challenges in court, it would prohibit adult registered sex offenders from living 2,000 feet within a school or park and require those paroled from prison to wear lifetime GPS monitors. Unlike the Adam Walsh Act, Megan’s Law and Jessica’s Law generally do not affect registered juveniles, according to California Deputy Attorney General Janet Neeley. While the media focuses on the stories of the child being raped and killed by a stranger, the Human Rights Watch report states that 8090 percent of the offenses against children are committed by someone the victim knows. If California complies with the Adam Walsh Act, the law would be retroactive, and the offenders would be listed on the registry for life. They would be classified as Tier III offenders and forced to register with law enforcement authorities every three months, or risk being charged with a felony and going to prison for at least one year. The act, sponsored by Wisconsin Republican Congressman F. James Sensenbrenner, Jr. and 37 co-sponsors – including former Florida representative Mark Foley – was signed into law by President Bush on July 27, 2006, and gives states three years to comply or risk losing 10 percent of federal Byrne money, which are law enforcement grants worth $5 million in California. The Department of Justice is formulating the final guidelines. Congressional co-sponsors of the law and crime-victim advocates have hailed the bill as an opportunity to improve community safety by increasing penalties for sex crimes, better tracking of sex offenders, and making it harder for predators to reach children on the Internet. “The Adam Walsh Act intends to register convicted sexual offenders, 14 and older, who FEBRUARY 21~27, 2008

have committed the most violent sexual abuses,” said California Congressman Ken Calvert, a Republican from Riverside, in an e-mail. “If a juvenile has committed such a crime, the safety of our community and children supersedes the rights of the juvenile who, at the age of 14, understands the difference between right and wrong.”

A FATHER PLEAS FOR HARSH PENALTIES Child-protection advocates argue that it is more important to hold juvenile sex offenders responsible for their actions than to worry about them being stigmatized by the registry or punished too harshly. “We have to put the safety of our kids before the civil rights of someone who’s already proven they will hurt a kid,” said Mark Zyla, who became an activist for tougher sex offender laws after his two daughters were sexually assaulted in separate instances. “Being on the registry doesn’t keep people from rehabilitating; it doesn’t keep them from getting a job. It may be more difficult, but that’s part of the consequence of hurting a young child.” Zyla’s daughter Amie was violently sexually assaulted by a 14-year-old, Joshua Wade, when she was eight. Wade was a family friend and attacked Amie, who is now 20, during a sleepover party at her house, Mark Zyla said. Wade was tried as a juvenile and sent to a juvenile detention center. But because his record was sealed, he was able to later get a job at a summer camp, where he went on to assault more young girls. He has since been sentenced to 25 years in prison. The Zylas helped pass a law in their home state of Wisconsin to enable law enforcement officials to release information on juvenile sex offenders if they pose a threat to society. They then lobbied Congress to pass the federal Adam Walsh Act. If states comply with the Adam Walsh Act, Mark Zyla said, local law-en-

ILLUSTRATION BY JOHN ALEX STAMOS

FEBRUARY 21~27, 2008

CITYBEAT

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forcement agencies would know about juvenile sex offenders like Wade and be able to inform schools and places of employment. Los Angeles Police Department detectives said registries significantly help them track down sex offenders. If they have an unsolved sex crime, they can take the description of the suspect, plug it into the database and look for a match, said Detective Diane Webb, a supervisor of LAPD’s sex-offender registration and tracking program. The DNA and registration databases enable detectives to clear old cases and find patterns of crime, said Detective Jesse Alvarado of LAPD’s rape special section. The registries also help inform the public, Webb said. “Not only does registration give law enforcement a first place to look, it also provides information to the public,” she said. She added that people should be allowed to know if sex offenders live in their community so they can, at the very least, decide if they want to date them or have them baby-sit their children. The detectives disagree on whether the registry should include juveniles, who commit 17 percent of all sex offenses and about a third of all sex offenses against children, according to the National Center on Sexual Behavior of Youth. Alvarado said he thinks it would be helpful to have a database like the Adam Walsh one for juvenile offenders. “Giving us an ability to look for somebody would always be a good thing,” Alvarado said. Webb said she agreed with juvenile justice experts that juveniles should be treated differently from adults. One of the reasons the law came into effect was because of the more than 100,000 missing or non-compliant sex offenders. They are part of the 603,000 registered sex offenders nationwide, according to the National Center for Missing and Exploited Children. “When they’re on the run and they’re not compliant, they become more dangerous,” Mark Zyla said. “They’re not getting their treatment and they’re free to do whatever they want.” Supporters also said juveniles would not be stigmatized for life because a section of the law stipulates that youth deemed delinquent in juvenile court can get off the registry after 25 years if they are not convicted of another sex crime and have successfully completed a sex offender treatment program. However, juvenile justice advocates, public defenders and prominent sex crime prevention groups have criticized the law, arguing that it would make it harder for youth to reintegrate into society, further break from the tradition of treating children differently from adults, be ineffective, and cost the state millions. “Imagine writing down the worst thing you ever did when you were a teenager, or an adult, and being forced to put that on a placard on your forehead. This is, in effect, what registration does to these youth,” L.A. County Deputy Public Defender Maureen Pacheco wrote in an e-mail. “They must disclose these offenses when they apply for school, when they apply for jobs, if they want to get licensed or bonded,” she wrote. “In other words, in all the ways a youth might seek to become rehabilitated, we shut the door.”

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CITYBEAT

Juvenile justice advocates said they fear the Adam Walsh Act would make it harder to rehabilitate young sex offenders because it would ostracize them from society. There is no direct research showing the psycho-social effects of registering on youth, say experts. “But common sense would tell you that having your name, picture, and home address on the Internet as a sex offender at age 8, 12, or even 14 could be devastating in terms of peer relationships, community [relations], ability to stay in school, and involvement in church activities,” said Dr. Barbara Bonner, an expert on sex offenses and co-director of the Adolescent Sex Offender Treatment Program at the University of Oklahoma Health Sciences Center. The law is counterproductive because young people are more likely to be rehabilitated and successful in the future if they get involved with social activities like sports, bands, choir, or a job, she said. Juvenile justice advocates also criticize the law for treating and punishing youth as adults rather than focusing on rehabilitation. The basic concept of the juvenile justice system is to treat young people differently from adult offenders because they are considered less responsible for their actions and more receptive to rehabilitation and treatment. Almost every state ensures that if a child is adjudicated or deemed delinquent – juvenile court does not

FEBRUARY 21~27, 2008

convict youth – he or she does not have to submit information to a public registry, according to Tara Andrews of the Coalition for Juvenile Justice, a national nonprofit comprised of governor-appointed advisory groups. Andrews said she finds the Adam Walsh Act most troublesome because it “reaches out and grabs kids who were adjudicated as juveniles. The Adam Walsh Act sweeps in and says we still want these kids on the registry.” Critics also fear it will cost millions of dollars to follow and would not be worth the money the state might lose for not complying. If the federal Attorney General’s office finds that California has not made a “good faith conduct” to comply with the Adam Walsh Act, the Attorney General can reduce the federal Byrne funds allocated to that jurisdiction for law enforcement resources. “We think the cost of compliance might greatly outweigh the benefits of losing 10 percent of the Byrne funds,” said Pacheco. Critics fear the massive costs will include applying this law to a state as populated as California, complying with the federal classification system and DNA collection. It costs more to enact a federal act than individual state laws because a federal law does not take into consideration a state’s specific needs and resources, said Robert Coombs of the California Coalition Against Sexual Assault, a statewide coalition of rape crisis centers and prevention programs. It would also be costly because the categories the federal government uses to distinguish between different levels of sex crimes do not match the ones California uses. The federal act assigns sex offenders to a numbered level, while California uses other distinctions, such as “sexually violent predator.” To comply, California would have to either run two concurrent leveling systems or completely revamp its present system, Coombs said. Another cost would be gathering the DNA samples of individuals affected by the Adam Walsh Act. Adults and juveniles convicted of any felony or sex offense already have their DNA collected, but the cost for testing DNA samples has exceeded expectations. The Los Angeles Police Department needs $9.3 million to clear up a backlog of untested samples. Since the Adam Walsh Act is retroactive, it would require collection and analysis of DNA samples from adults and juveniles convicted before the DNA regulations, which did not start until 2004. Supporters of the law argue the high cost of putting the act into effect is worth the safety of the community. “There just is no higher purpose for government than keeping the public safe,” said Will Smith, State Senator George Runner’s spokesperson. The Antelope Valley Republican sponsored Jessica’s Law. Recidivism rates fail to prove the law effective or counterproductive, and both advocates and critics of the law use the statistics to support their arguments. Data from the Justice Department shows that 5.3 percent of male sex offenders released from prisons in 15 states in 1994 were rearrested for a new sex crime within three years of release. Juvenile justice advocates, on the other hand, look at recidivism rates among teenagers, which show that the rates of sexual re-offense are substantially lower, at 5 to 18 percent, than the rates for other delinquent behavior, which is 8 to 58 percent, according to the National Center on Sexual Behavior of Youth. The California Sex Offender Management Board will evaluate the law and might recommend to the legislature and governor whether it should be complied with, according to board chair Suzanne Brown-McBride. The decision rests with Attorney General Jerry Brown, Gov. Schwarzenegger and the Legislature. California is home to 90,000 registered adult sex offenders and 2,528 registered juvenile sex offenders. “The state is reviewing the act and evaluating the potential impact it will have on the state,” said Gareth Lacy, a Brown spokesman. “California has a long history of setting tough laws mandating sex-offender registration.” Runner will be watching the outcome. If California’s current laws do not conform to the federal act, the state senator plans to introduce a bill. Ricky is now 19 and trying to bring some normalcy back to his life. But that’s practically impossible. In between monthly meetings with his probation officer, he’s been trying to find a job. However, employers haven’t been eager to hire a registered sex offender. He wants to get a college degree, yet that, too, is problematic. He’s worried his classmates would find him on the registry and start harassing him. “I have to watch my back all of the time,” he said. “Once people find out, they panic. They don’t know the real story.” ✶

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Counterfeit Reality In the Austrian Oscar nominee, a forger is caught in an unreal dilemma ~ BY ANDY KLEIN ~

VERY SO OFTEN, CHARMINGLY naive people – often complete strangers – will e-mail, phone, or otherwise accost me to ask my help in their upcoming Oscar pools, as though being a critic has something to do with knowing the minds of the Academy. As if. Trust me: My greatest insight into such things is that I shouldn’t enter Oscar pools. Not only will I lose, but – to paraphrase Paul Thomas Anderson – There Will Be Gloating. I’ve won only one of the half-dozen pools I’ve been suckered into over the last two decades. Given that they usually involved more than a half-dozen players, I guess I’m at least beating the monkey score. Still, I never can resist the L.A. Times’s annual ballot, and, year after year, I’ve gotten two-thirds of the categories right, give or take one. More often than not, it’s the foreign, doc, and shorts awards – the only areas where critics do have the advantage of special access – that have compensated for wrong choices in the “big” races. This year, however, only one of the foreign nominees has been screened for critics – The Counterfeiters, from Austrian writer/director Stefan Ruzowitzky – so even we can’t make an educated guess. My uneducated guess ranks Ruzowitzky’s chances as high. He’s up against octogenarian Polish director Andrzej Wajda, whose best work was in the ’50s and ’60s; relatively obscure New York-born Israeli director Joseph Cedar; and two first-rate Russian directors, Nikita Mikhalkov and Sergei Bodrov. (Bodrov’s Mongol was entered by Kazakhstan. Insert your own Borat joke here.) I’d pick one of the Russians, but, against all logic, I can’t shake the notion that they’ll split their constituency. (What constituency? The “Russian bloc” in the Academy? What the hell am I talking about?) And The Counterfeiters benefits from the kind of subject matter and tone Academy voters love: Like Schindler’s List, it’s a Holocaust movie … with hope. It’s serious, but it’s also conventional and commercially slick. We first meet Salomon “Sally” Sorowitsch (Karl Markovics) as a stone-faced high roller in Monte Carlo, sometime after the war. We quickly flash back to Berlin ca. 1936, when he was high-spirited and sociable, a painter who’s given up art in favor of a more practical use of his talents – forgery and counterfeiting. In a few brief scenes, Ruzowitzky lets us know that Sally doesn’t

THE FÜHRER’S FORGERS: SALLY (KARL MARKOVICS) LEADS A GROUP OF JEWS COMPELLED TO PRINT MONEY FOR THE NAZIS ~

like to make waves. He doesn’t visibly bristle at offhanded anti-Semitic comments; he keeps an eye on the changing situation, as though it will somehow flow around him without effect. But his instincts aren’t quite as tuned as he thinks: Before he knows what hit him, he is arrested by an Inspector Herzog (Devid Striesow) and hauled off to Mauthausen concentration camp. When the camp officials discover his talent, he manages to stay relatively privileged by painting their portraits. Still, one day, late in the war, he’s transferred to another camp to help out with a clever Nazi scheme, under the direction of none other than Inspector Herzog, now an SS commandant. Someone in Himmler’s employ has come up with the idea of flooding the market with huge sums of bogus British currency. The main purpose is to throw the Allied economy into chaos, but, of course, the money may also prove refreshing to the emptying Nazi coffers. Herzog remembers what a brilliant forger Sally was in the old days, so he puts him in charge of the efforts. The team is an incongruous collection of inmates: An erstwhile banker is furious about having to work with criminals; his attempts to assert class rank and moral superiority are pathetic within the context. But they all have one basic thing in common: Ethnically they’re all Jews, though we never get the sense that the others are any more religiously or even culturally attached to Jewish identity than the wholly assimilated Sally. Some seem to have accepted that their loved ones have all been wiped out; others walk a thin line between sanity and madness. They are constantly aware that they are surviving on a provisional basis, by helping the very people they despise.

FILM Most of the older men are what? … pragmatic? … broken? … amoral? But there is also the defiant young Communist printer Adolf Burger (August Diehl), who – Sally comes to realize – is sabotaging the project. Sally, however, is still bound by a criminal’s code of honor not to rat him out. And there are side benefits to Burger’s dangerous game: Not only do they hinder the Nazi cause, but they also serve to keep the prisoners alive longer. Sally is okay with delaying things as long as the SS will tolerate. The trick is in knowing exactly how long that is. We know from the opening scenes that Sally will survive, but we don’t know about the others. Nor do we know how he will deal with the guilt and the necessary CITYBEAT

FEBRUARY 21~27, 2008

suppression of all the anger welling up within. It’s no surprise that Burger comes across as the most heroic character: The film is based on the real Burger’s memoir, The Devil’s Workshop. Sally is a rebadged version of Salomon Smolianoff, a famous swindler of the era (the press notes tell us). Liberties are taken with the chronology and some other details. For obvious professional reasons, Smolianoff was an elusive character. While Ruzowitzky and Markovics inevitably create an inner life for him, they also honor the mystery of the real forger. The only Ruzowitzky films to get even brief American releases in recent years were his medical thrillers Anatomie (2000) and Anatomie 2 (2002), with Franka Potente. I’ve only seen the second, in which Diehl was the star, but it was depressingly indistinguishable from a million other Grand Guignol exercises. One has to go back almost a decade, to The Inheritors, Ruzowitzky’s second feature, to find some connection to The Counterfeiters. That story – about a band of peasants coping with the gift of their late boss’s farm – was certainly a good deal lighter in tone. But the two films share a certain moral acceptance: Ruzowitzky likes to pose questions and clarify the contradictions around them, but he doesn’t pretend to have the answers. In real life, moral issues tend to be more complex and nuanced than in philosophy classes, where thought experiments are constructed in often surreal ways to make a point. But one of the reasons films about World War II and the Holocaust continue to be made is that the Nazis’ actions were so extreme that real life became as unlikely as such didactic contrivances. Is Sally a selfish scoundrel? A hero? A man doing the best he can in a horribly untenable situation? This is the question that makes him the natural protagonist, rather than Burger, who knows exactly where he stands. When one of the men angrily tells Burger, “Nobody’s prepared to die for a principle,” Burger fires back, “That’s why the Nazis’ tactics work!” He’s right, but how many of us can say for sure how we would have behaved in the midst of a seemingly endless nightmare? ✶

The Counterfeiters. Written and directed by Stefan Ruzowitzky. Based on the book The Devil’s Workshop by Adolf Burger. With Karl Markovics, August Diehl, Devid Striesow, Dolores Chaplin, and August Zirner. Opens Friday at Laemmle’s Royal, Laemmle’s Town Center 5, and Laemmle’s Playhouse 7.

p. 15

COLUMBIA PICTURESMUSICPRESENTS “VANTAGE POINT” BY ATLIWRITTENORVARSSON BY BARRY L. LEVY

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Bugs, Tom, Jerry, and Oscar New collection brings together Academy-approved animated shorts ~ BY ANDY KLEIN ~

UST IN TIME FOR OSCAR season, Warner Home Video is releasing a 3-DVD set of winners and nominees from the animated short subjects category – plus one animated title, Chuck Jones’s So Much for So Little, which won for Best Documentary Short in 1949, the same year Jones’s For Scent-imental Reasons took the animation award. The package includes 15 winners on disc one and 26 nominees on discs two and three. (The first disc is also available separately for $19.98.) What’s unusual about this compilation is that it doesn’t draw exclusively from Warner Bros. productions, but includes titles from other sources whose libraries WHV now owns – MGM and Paramount/Fleischer. Indeed, the first disc is dominated by Hanna-Barbera shorts from MGM. If, like me, you believe that the best Hanna-Barbera titles just barely reach the level of second- or third-tier WB stuff, this is not such a great thing. (Touché that, pussycat!) The documentary on disc three makes mention of the power of MGM’s bloc voting, which may explain why

DVD EYE the superior work of WB directors like Chuck Jones and Friz Freleng received more nominations but fewer wins. (For the record, Jones’s winner The Dot and the Line was an MGM release.) While all the winners are present, WHV has omitted at least a dozen nominees in their library. The selection here includes 26 Warners, six MGM (only four of which are Hanna-Barbera), and the Fleischers’ Popeye the Sailor Meets Sinbad the Sailor and Superman. Fourteen of the cartoons have commentary tracks (mostly from younger animators like Greg Ford and Eric Goldberg), and five have alternate music-only tracks, including a recently discovered isolated choral track for Good Will to Men. The other extras are all on the third disc. We get Bob Clampett’s 1944 What’s Cookin’ Doc?, which has Bugs Bunny attending the Oscar banquet. (Amazingly, Clampett was never even nominated, another sign of the Academy’s poor judgment and/or dubious voting protocols.) There are trailers for several upcoming animation DVDs, as well as...Bonnie and Clyde??? I guess WHV really isn’t positioning this as a children’s CITYBEAT

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release, which may be a good thing, given the disproportionate number of these cartoons that are knee-deep in ethnic stereotypes. Apparently Academy members thought Speedy Gonzales was just about the funniest thing ever. The main attraction among the extras, however, is a new hour-long documentary called Drawn for Glory: Animation’s Triumph at the Oscars. While it’s keyed to the collection and the Oscar theme, it’s also about as good a corporate/historical/aesthetic synopsis of Hollywood animated shorts as one can imagine in such a tiny running time. Interviews with historians Charles Solomon and Jerry Beck and currently working animators are intercut with (obviously) older footage of the late Tex Avery, Jones, and Freleng. The film explains how the animation category was invented in the early ’30s essentially as a way to honor industry powerhouse Walt Disney, whose influential output didn’t otherwise fit in. We also learn how much of Hollywood animation was driven by the frustrations of artists working under Disney, who bolted to form their own units elsewhere. Drawn to Glory takes us through the liberating influence of Avery, the glory days of the ’40s and ’50s, the rise and influence of UPA’s more stripped-down style, and on to the effective end of studio production and the Oscars’ shift to foreign and independent animators. One caveat: Warner is usually the most painstaking studio home-video wing, but – on my setup (and two others I tried) – there’s a glitch here. The packaging claims that the three CinemaScope shorts on disc three – Touché, Pussycat!, Good Will to Men, and One Droopy Knight – are formatted for widescreen TVs, as well they should be. Alas, they aren’t, which means that such TVs display them in a shrunken rectangle in the middle of the screen. ✶

Warner Bros. Home Entertainment Presents: Academy Awards Animation Collection 15 Winners – 26 Nominees. Forty-one animated shorts from Warner, MGM, and Fleischer Studios. Warner Home Entertainment, 3 discs; $44.98.

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LATEST REVIEWS BAB’AZIZ: THE PRINCE WHO CONTEMPLATED HIS SOUL In Tunisian helmer Nacer Khemir’s ode to Sufi Islamism, the titular royalty’s soul-searching involves little more than staring into a pool of water at a desert oasis. His story is just one of several told to entertain Ishtar (Maryam Hamid), a child with an old woman’s face, by her grandfather Bab’Aziz (Parviz Shahinkhou), as they blindly (in his case, literally) wander the desert in search of a 30-year reunion of like-minded dervishes. Also spinning yarns along the way are Osman (Mohamed Grayaa), fished out of a village well where he claims to have once discovered a beautiful palace, and Zaid (Nessim Kahloul), whose songs drove away a woman because they reminded her of her father. Although beautifully contemplative, Bab’Aziz, like its characters, aimlessly wanders the desert and dances from tale to tale, but it’s no whirling der vish. (Annlee Ellingson) (Nuart)

BE KIND REWIND The latest flight of fancy by director Michel Gondry (The Science of Sleep) takes off from a shortened runway, failing to provide conceptappropriate levels of laughter or satisfactorily explore its clever premise. In rundown Passaic, New Jersey, eccentric, paranoid Jerry (Jack Black) gets electrified while sabotaging the local power plant. Afterwards, the magnetized misfit unintentionally erases every VHS tape in the movie rental store where best friend Mike (Mos Def, always good, someone hire him) works as a clerk. To satisfy Mike’s customers, he and Jerry start shooting no-budget, junkyard versions of films like Ghostbusters, Robocop, and Driving Miss Daisy. Soon the townsfolk are lining up to have their favorite films “sweded,” as the process becomes known. As usual, Gondry constructs his film with

an eye toward his formidable flair for production design, which gives the movie a garage-sale inventiveness that enhances its sense of whimsy. But by the umpteenth second act montage of DIY remakes, it’s apparent that Gondry’s cotton candy fable has too little to say. Jerry and Mike make a silly twosome until they recruit dry cleaner Alma (warm and wonderful Melonie Diaz), who brings everything down to more naturalistic levels. Only in the film’s affecting final moments does Gondry seem to be poignantly conveying the communal power of movies and their ability to connect past and present. Either that, or he’s advancing the depressing theory that in this reality-TV age, movies are no longer a shared emotional experience, but rather another chance to see oneself onscreen. (Mark Keizer) (Citywide)

CHARLIE BARTLETT Finally receiving its theatrical release nearly a full year after its original release date, director Jon Poll’s quirky throwback to ’80s teen comedy arrives with something of a modest thud. It’s the story of a socially awkward rich kid (Anton Yelchin), whose sheltered existence and overprotective mother (Hope Davis) have fostered an unnatural yearning to be popular by any means necessary. After his expulsion from a private school, Charlie gets back to his old tricks at a rough-and-tumble public high school, eventually joining with a former tormentor to counsel and illicitly medicate troubled classmates. There’s a John Hughes vibe to the way Poll and writer Justin Nash try to balance raw comedy with a genuine concern for teen angst, but Yelchin never commands enough empathy to pay it off. As the proverbial love interest/principal’s daughter, the uncannily charming Kat Dennings helps restore much of the warmth and humanity that Yelchin misses, but her contribution is ultimately too little, too late, to pull the picture out of the rut it digs during its first two-thirds. At best, the film catches up to where it should have been from the start, a needlessly taxing effort for what is meant to be a breezy comedy. Robert Downey, Jr., as Dennings’ father, is both excellent and frustratingly underused. (Wade Major) (Citywide)

ACADEMY AWARD® NOMINEE BEST FOREIGN LANGUAGE FILM TELLURIDE

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F I L M F E S T I VA L

“ORIGINAL, ACCOMPLISHED A SURVIVAL TALE THAT TURNS ‘SCHINDLER’S LIST’ ON ITS HEAD.” -Lisa Schwarzbaum, ENTERTAINMENT WEEKLY

“A TRUE STORY MASTERFULLY DIRECTED. LEAD ACTOR KARL MARKOVICS’ LEAN, ANGULAR, HAUNTED FACE ADDS A NICE SOULFUL CORE TO THIS FASCINATING STORY. “ -Dennis Dermody, PAPER MAGAZINE

A successful con artist . Forced to work for the Nazis. A survivor’s tale you’ve never seen before.

COVER This melodrama by Aliya Jackson and Aaron Rahsaan Thomas plays like R. Kelly’s Trapped in the Closet stretched to feature length. Approached as comedy, it’s a riot. It’s much less satisfying if you buy into director Bill Duke’s stance that there’s a serious morality play in this saga of Valerie Maas (Aunjanue Ellis), a good, god-fearing Baptist, who discovers her husband Dutch (Razaaq Adoti) is on the DL and then gets accused of murdering one of his lovers. (What’s “The DL”? Watch Oprah.) The power-mad prosecutor (Richard Gant) and detective (Louis Gossett, Jr.) want to see Valerie lynched, and her insistence that she’s “a Christian, not a murderer,” sends the audience into titters. This doesn’t quite compensate for our tension-sapping realization that the film is just marking time until her acquittal. Once the titters burst into guffaws, the soap opera is almost enjoyable, as are Vivica A. Fox’s feminazi sista, Paula Jai Parker’s pill-popping viper, and an uncredited matron from Valerie’s church group, who hisses that AIDS is “that white homosexual dizz-ease!” On this point, R. Kelly more tactfully calls it “The Package.” (Amy Nicholson) (AMC Magic Johnson Crenshaw 15)

HOW TO ROB A BANK Tired of paying surcharges for ATM cash withdrawals, cell-phone roaming, and late DVD returns? What’s that? Fees like these have long been on the decline? Well, writer/director Andrews Jenkins apparently didn’t get the memo, since his wrong-place-wrong-time heist flick’s central critique is of this specious “crime of convenience.” When a $1.50 service charge to withdraw his last $20 puts him in the red, Jason “Jinx” Taylor (Nick Stahl) walks unwittingly into a bank-robbery-in-progress and ends up trapped in the vault with sexy bad girl Jessica (Erika Christensen). Inside with them is the computer needed to complete the job; outside are villainous Brit Simon (Gavin Rossdale) and a SWAT team led by Officer Degepse (Terry Crews). Such a slim scenario results in a lot of sitting (or, rather, pacing and strutting) around waiting for something to happen. Even at 81 minutes, Jenkins pads with banter that would at times be funny if it weren’t sidelined by unnatural delivery from everyone but Stahl. Worse, Jenkins fails to stay a step ahead of his audience, crafting a third act rife with complications that are either painfully obvious or outright unlikely and are ultimately resolved by dumb luck. (Annlee Ellingson) (Laemmle’s Sunset 5)

MEN IN THE NUDE Tibor (Laszlo Galffi) is a married, mostly straight, bestselling author, who picks up luscious, doe-eyed male hustler Zsolt (David Szabo) at a bookstore. Since Tibor’s actress wife (Eva Kerekes) is out of town, he brings the hustler back to his place, where they commence a troubled, inevitably ill-fated affair – one night with Zsolt, and Tibor becomes Hungary for Men. Zsolt appears genuinely interested in a May-December romance, seemingly looking to Tibor as the wise old daddy he never had. Tibor teaches him about Schubert and Thomas Mann, while Zsolt takes his New Uncle to orgies, slips him X, and lets him do the rumpus dance on the sofa. Understandably, Tibor can’t believe his good fortune and all but licks his chops like a wolf at a pork tenderloin festival. However, as the relationship unfolds, the truth behind Zsolt’s interest becomes both clearer and more complicated – and, at the end of the affair, at least one of the pair is left in ruins. Lest you think that Hungarian director Karoly Esztergalyos’s drama is propaganda from the Budapest branch of NAMBLA, the film, which mixes melancholy with an unexpected sense of danger and suspense, is ultimately a dark and brooding tale of the damage romance can wreak on the otherwise sensible and smart. The two leads have surprising chemistry: Galffi’s desperate and hallow-faced Tibor seems to regard Zsolt as a life-raft that will allow him to escape the advances of a horrific middle age, while Szabo’s Zsolt conveys innocence and ambiguity with inscrutable cunning. Esztergalyos also provides a portrait of daily life in Hungary, amidst stark, drab former Soviet Bloc ruined buildings and decaying apartments, that reflects the gloom of the characters’ lives. (Paul Birchall) (Laemmle’s Grande 4)

BASED ON A TRUE STORY NATIONAL LAMPOON’S BAG BOY

A film by STEFAN RUZOWITZKY WWW.SONYCLASSICS.COM

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The completely mundane, not at all highflying world of competitive grocery bagging is the milieu of this latest Lampoon opus. Innocent-faced Phil (Battlestar Galactica’s Paul Campbell) becomes the latest check-stand protégé of grizzled, seen-it-all sensei Marty (Dennis Farina), who’s eager for one last chance to coach an aspirant into a spot at the World Championship of Bagging. (Who knew?) Like all teenage heroes, Phil suffers from self-doubt and the oc-

CITYBEAT

casional bout with arrogance, but with a new girlfriend, Bambi (Marika Dominczyk), who believes in him, how can he lose? Only Bambi’s ex, current world-champion “Windmill” (Robert Hoffman), stands in his way. As a satire of Karate Kid-type underdogmakes-good flicks, Bag Boy trips, stumbles, and falls way short of the mark. The material simply wouldn’t sustain a five-minute Saturday Night Live sketch, and, stretched out to 90 minutes, the whole thing is a slog from start to finish. Surprisingly, considering the NatLamp imprimatur, the hijinx are on the wholesome side – barely any off-color language and no nudity here. The movie also wastes plenty of fine character actors, including Farina (who is clearly phoning it in), Larry Miller, Richard Kind, and Bruce Altman ... although Brooke Shields’s turn as a horny housewife shows that the former model still can’t emote worth a damn. (Joshua Sindell) (Selected theaters)

THE SIGNAL This low-budget indie lays out its theme metaphorically in the first two minutes: Lying in their post-coital bed, illicit lovers Ben (Justin Welborn) and Mya (Anessa Ramsey) barely notice the cheesy gore film playing on TV in the background. But, around the time they are saying goodbye, the potential subliminal effect of nonstop media violence becomes literal, as the image on the TV is replaced by static carrying a signal that drives people to insanity and uninhibited mayhem. Soon Ben is desperately trying to keep himself sane so he can rescue Mya and hopefully get her away from the ubiquitous radio and TV transmissions. This high-tech variation of the I Am Legend/28 Days Later/zombie setup doesn’t bring much new to the subject matter but does bring something new to the structure. I.e., each of its three credited directors – David Bruckner, Jacob Gentry, and Dan Bush respectively – made one of the movie’s three acts, cleaving (more or less) to the POV of one character. In the manner of Pulp Fiction and Mystery Train, the three sections overlap and loop back in time, meaning that some initially confusing moments – wait a minute, when did Ben intersect with Mya’s husband? – become clear later. The dull “serious” conversation between Ben and Mya in the first episode almost derails things from the gitgo, but Bruckner quickly recovers with a chase. The middle episode is the funniest and arguably the best. For a soup overseen by three cooks, the whole works reasonably well, with some pretty complex interlocking, A must for fans of nonlinear storytelling. (Andy Klein) (Mann’s Chinese, Loew’s Cineplex Broadway, Mann’s Plant 16, Pacific’s Winnetka All Stadium 21, Edwards Simi Valley 10)

ALSO OPENING THIS WEEK Vantage Point. The President of the United States (William Hurt) is shot in Spain. Wha’ happ’n? We slowly learn through the successive POVs of five different characters. Brit TV director Pete Travis makes his feature debut with this Rashomon-like tale from firsttime screenwriter Barry L. Levy. The all-star cast includes Dennis Quaid, Matthew Fox, Forest Whitaker, Bruce McGill, Saïd Taghmaoui, Zoe Saldana, Sigourney Weaver, James LeGros, and Eduardo Noriega. (AK) (Citywide) Witless Protection. Larry the Cable Guy plays a small-town cop who finds himself having to protect an endangered witness (Jenny McCar thy) in an upcoming trial. TV director Charles Robert Carner wrote and directed. Lord save us all. (AK) (Citywide)

NOW PLAYING See Showtimes and Special Screenings for more info. Capsule reviews by Andy Klein (AK), Paul Birchall (PB), Annlee Ellingson (AE), Mark Keizer (MK), Wade Major (WM), Amy Nicholson (AN), Brent Simon (BS), Joshua Sindell (JS), and others as noted. Alvin and the Chipmunks. Things change for struggling musician Dave Seville (Jason Lee), when chipmunks Alvin, Simon, and Theodore enter his life. One Christmas-themed hit song later, they’re launched into the pop stratosphere, leaving Dave to convince them he alone has their best interests at heart. Tim Hill’s lazy, low-grade family flick is a CGI/liveaction hybrid version of the old cartoon series, which was in turn based on the strange, enduring creation of 1950s singer-songwriter Ross Bagdasarian – three chipmunks who lay waste to their human host’s surroundings and sing in high-pitched, three-part harmonies. Even with reasonably decreased expectations, the script seems mainly designed to merely work in familiar elements from the cartoon and Dave’s signature exhor tation

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(“Alvvvin!”) as many times as possible. There’s no explanation of why these chipmunks sing, or a rooted sense of their place in the world at large. (BS) Atonement. In the days leading up to World War II, a precocious, upper-class 13-yearold, (Saoirse Ronan), jealous and confused, tells a horrific lie that puts the secret lover (James McAvoy) of her sister (Keira Knightley) into prison. Five years later, the girl (now played by Romola Garai) has realized the enormity of her act and hopes somehow to compensate for the misery she has caused. Director Joe Wright’s adaptation of Ian McEwan’s novel employs shifting POVs and time disjunctures that at first are a little confusing. But halfway through, it turns into a more conventional tearjerker … with every stock warromance cliché and a syrupy romantic score. If you’re looking for a weepy romance – albeit one with an aggressively bittersweet ending – Wright delivers adequately. The whole affair is handsomely mounted, and McAvoy (The Last King of Scotland, Starter for 10, Becoming Jane) gives another fine performance. Fans of long takes should be on the lookout for the five-minute tracking shot about halfway in: It’s unquestionably impressive, though it’s not clear just what narrative purpose the sequence serves. (AK) Bab’aziz (The Prince Who Contemplates His Soul). See Latest Reviews. Be Kind Rewind. See Latest Reviews. The Bucket List. An auto mechanic (Morgan Freeman) takes off from a cancer facility for one big final ride with his hospital roommate (Jack Nicholson), who, for narrative convenience, is the facility’s zillionaire owner. They compile a list of things they’d like to accomplish before they die, tops apparently being “stand in front of a green screen,” given what we see of their pre-mortem adventures to Egypt, China, India, and Africa. Director Rob Reiner has made yet another shallow exercise in dime-store sentimentality; Justin Zackham’s screenplay explores its potentialfilled concept no more deeply than the log line of the script coverage. Nicholson does manage some truthful notes, but his interaction with Freeman – must every Freeman performance include a melancholy voiceover? – never results in buddy-movie heaven. (MK) Caramel. The lives of five Lebanese women share one common nexus – a Beirut beauty salon, where the passions, anxieties, and contradictions of the world's most fragile melting pot come into glorious focus. Written and directed by debut filmmaker Nadine Labaki (who also plays one of the principal roles), this is effectively an Arabic Venus Beauty Institute with a healthy helping of Almodóvarian introspection, a welcome reminder that there is a greater richness to the Arab world and its culture than one might have gleaned from Hollywood's recent obsession with terrorists, Islamism, and war. Labaki's cast of stellar non-actors challenge almost every imaginable stereotype regarding Arab women, while painting a lyrical portrait of a delicate but sanguine lifestyle, perched precariously between tradition and modernity, culture and diversity. (WM) Charlie Bartlett. See Latest Reviews. Cloverfield. A bunch of twentysomethings are having a party when Manhattan is suddenly attacked by a gigantic monster of unknown provenance. We observe this entirely through a videotape shot by Hud (T.J. Miller), who is recording the party as a keepsake for soon-to-depart friend Rob (Michael Stahl-David). In no time flat, the skyline is lit up with explosions, and the partygoers try to escape. As Hud continues taping, we accompany him, Rob, Marlena (Lizzy Caplan), and Lily (Jessica Lucas) on their quest to rescue the trapped Beth (Odette Yustman) and get the hell out of town. This conceptual hybrid – call it The Blair Godzilla Project – is competent and occasionally inventive, and provides adequate, if less than profound, thrills. Director Matt Reeves is smart enough to keep the proceedings short and sweet: Not counting nine minutes of closing credits, the whole thing clocks in at 76 minutes. There are tons of implausibilities, but this is nightmare turf, so what do you expect? The one necessar y caveat is that people who get nauseous from wobbly handheld camera may want to give this a pass. (AK) The Counterfeiters. See Film feature. Cover. See Latest Reviews. Definitely, Maybe. Recently divorced New York political-operative-turned-ad-man Will Hayes (Ryan Reynolds) tells ten-year-old daughter Maya (Abigail Breslin) the story of the three women he's been in love with, but he gives them fake names so she will have to guess which one is the woman she knows as her mom. The three women represent three types: Summer (Rachel Weisz) is an intellectual; April (Isla Fisher), a "free spirit"; and Emily (Elizabeth Banks), a more conventional "nesting" type. What any of these characters see in each other remains a mystery. Reynolds has acquitted himself nicely in a wide range of roles, from Blade: Trinity and Waiting... through Smokin' Aces and The

Nines, but his standard-issue Hollywood-guy good looks are forgettably bland, unless he's given something to work with, which writer/director Adam Brooks fails to do. The single funniest line in the whole thing (uttered by an unadvertised Kevin Kline) is a decades-old Jewish joke. Its example highlights how limp the rest of the gags are. (AK) The Diving Bell and the Butterfly. When Elle editor JeanDominique Bauby (Mathieu Amalric), only 43, suffers a stroke that leaves him entirely paralyzed, save for his left eyelid, he learns to blink a kind of binary shorthand, with the help of two superhumanly patient therapists (MarieJosée Croze and Olatz Lopez Garmendia), managing, one excruciating letter at a time, to painstakingly dictate the memoir that forms the basis for this latest film from artist-turned-director Julian Schnabel (Basquiat, Before Night Falls). Despite the unevenness of Schnabel’s previous film work, Bauby presents him an ideal subject – one whose vivid imagination and traumatic disconnect with reality more easily justify a less rigid approach to subject matter. Only occasionally does this French-language film deviate from Bauby’s distorted point of view – primarily for flashbacks and imaginary interludes – forcing the audience into a perspective that manages to be both claustrophobic and invigorating. It’s an undeniably bold experiment, but it’s also an imperfect experiment, too often undone by its own ambitions. The same loose narrative that liberates Schnabel the visionary elsewhere becomes a license for self-indulgence, as he veers into counterproductive excesses, underlining too many themes which ought to have been subtly implied and overusing the point-of-view technique by at least a third. (WM) The Eye. After a successful cornea transplant, a concert violinist (Jessica Alba), who has been blind since age five, begins to see dead people and the scary “escorts” who take them away. Directors David Moreau and Xavier Palud (who made the overrated French thriller Them) and screenwriter Sebastian Gutierrez (Snakes on a Plane) cleave very close to the Pang Brothers' identically entitled 2002 HK hit, yet the result is far less satisfying. A few of the changes seem neutral; others are positive; and one or two are negative. But the main problem in the translation is the casting. Alba is easy on the eyes, she certainly works hard, and the result is adequate. But she can't compete with Angelica Lee Sin-Je, whose performance deservedly garnered the most important Best Actress awards in both Hong Kong and Taiwan. Lee has the advantage of a more vulnerable, childlike appearance than the athletic Alba. But on top of that, she really did a phenomenal job in what was her first major role. (AK) Fool's Gold. A divorced couple (How to Lose a Guy in 10 Days costars Kate Hudson and Matthew McConaughey) team up to find $500 million in shipwrecked treasure, after bumping into each other on the yacht of a millionaire (a courtly Donald Sutherland). Between their posse and the treasure stands the gat-toting rapper (Kevin Hart) who owns the island and his dreadlocked, Jamaican-accented bodyguard (Malcolm-Jamal Warner). None of this has the makings of "great." It should, however, have the makings of "decent." Director Andy Tennant gives the film a PG innocence that can't even deal with the love triangle he and writers John Clafin and Daniel Zelman have tossed in the mix. The physical spark that made How to Lose a Guy in 10 Days the perfect airplane movie is twenty fathoms under sea this time. Hudson looks too tired to smile, while McConaughey is as rambunctious as a Labrador. (AN) 4 Months, 3 Weeks and 2 Days. In the waning years of the Ceauflescu dictatorship, a young Romanian woman (Anamaria Marinca) nervously navigates the back alleys of Bucharest to arrange a black market abortion for her roommate (Laura Vasiliu). It's a dark day that turns even darker with the arrival of the abortionist (the astonishing Vlad Ivanov), a self-serving sadist who instantly dispels the notion that there can be any kind of happy ending to the situation. Writer/director Cristian Mungiu's harrowing, gripping tale became the first-ever Romanian film to capture the top prize at the Cannes Film Festival, and deservedly so. Intensely disturbing and addictively provocative, it’s a message movie that really works, though it bears pointing out that the message has nothing to do with abortion. The topic here is tyranny and political oppression, with illegal abortion simply the vehicle through which Mungiu makes his statement. This is one of the year's very best films, with a performance from Ivanov that is nothing short of brilliant. (WM) George A. Romero's Diary of the Dead. One day, without explanation, the dead start reanimating as flesh-hungry zombies, whose bites will turn you into one of them. A group of University of Pittsburgh film students tries to survive the ensuing chaos, while one of them (Josh Close) obsessively videotapes their journey, often to the displeasure of the rest, particularly his girlfriend (Michelle Morgan). George A. Romero – who dragged the dead zombie genre out of the grave with his seminal Night of the Living Dead back in 1968 – returns to his low-budget Pittsburgh roots forty years later. The difference this time around is that Romero employs a Blair Witch strategy: What we are watching is supposed to be a downloadable documentary called The Death of Death. It might have seemed fresher, were it not coming out so close on the heels of the flashier, more expensive Cloverfield. But Romero still has plenty of his own ideas here, as well as some wonderful moments of humor. (AK) Hannah Montana/Miley Cyrus: Best of Both Worlds Concert Tour. I'm an adult male who doesn't wear a raincoat and dark glasses, so you all doubtless know far more about this than I do. In Disney Digital 3-D! Woo hoo, or something. Bruce Hendricks directed. (AK). How to Rob a Bank. See Latest Reviews. In Bruges. After a botched job, two London-based Irish hitmen (Colin Farrell, Brendan Gleeson) are supposed to lay low in the quaint Belgian tourist town of the title, until they receive further orders from their boss (Ralph Fiennes). Multiple complications ensue. The feature directorial debut of playwright Martin McDonagh's is a bit like an Irish-accented version of the Travolta/Jackson sections of Pulp Fiction, though McDonagh's comic timing

is somewhat different from Tarantino's. None of the leads is known for comedy, and they all turn out to be great at it, particularly Farrell, whose previous roles have been relentlessly serious. Fiennes's clipped, rapidfire delivery is also wonderful, sounding and looking very much like Ben Kingsley's Don in Sexy Beast ... so much, in fact, that it's either an homage or (another wild guess) a part McDonagh originally wrote with Kingsley in mind. This is the first really terrific film of 2008. (AK) Jumper. A young man (Hayden Christensen), realizing he has the power to teleport from one place to another, searches for the man he believes is responsible for the death of his mother, while dodging a secret organization that wants to kill him. Doug Liman (Swingers, The Bourne Identity) directs; Rachel Bilson, Samuel L. Jackson, Diane Lane, and Jamie Bell costar. (AK) Men in the Nude. See Latest Reviews. Michael Clayton. At a prestigious Manhattan law firm, Michael Clayton (George Clooney) discreetly extricates highpowered clients from troublesome legal tangles. In Tony Gilroy’s successful upgrade from screenwriter (the Bourne trilogy) to director, Clayton is charged with damage control after a bipolar litigator (Tom Wilkinson) suffers an epic meltdown while defending agrochemical giant U/North in a $3 billion lawsuit. But cleaning up the mess means destroying proof of U/North’s guilt, which awakens Clayton’s buried conscience. Painting his film in clean, sophisticated strokes of concrete, glass, and moral bankruptcy, writer-director Gilroy creates an insular world of dour, three-button Machiavellis whose ideals were long ago discarded as career impediments. As Clayton, who carries the burden of a failed marriage, a gambling addiction, and a belly-up business venture, the excellent Clooney is the GQ archetype in reverse – haunted, weary, and wondering how it all came to this. His journey down the corridors of power corrupted recalls the conflicted heroes of ’70s cinema, an era further evoked by director Sydney Pollack’s stellar supporting turn. (MK) National Lampoon’s Bag Boy. See Latest Reviews. No Country for Old Men. When a trailer-park loser (Josh Brolin) absconds with $2 million from the bloody scene of a drug deal gone awry, he finds himself on the lam, chased by a ruthless psychopath (Javier Bardem); not far behind are a bounty hunter (Woody Harrelson) and an aging Texas sheriff (Tommy Lee Jones). Joel and Ethan Coen’s adaptation of Cormac McCarthy’s novel will woo critics back; in some ways, it’s a return to the grim tone of their breakthrough feature, Blood Simple (1985), and their most universally praised work, Fargo (1994), but with far fewer comic elements. The Coens have fashioned a film that remains edge-of-the-seat suspenseful, even if you know from the start that things aren’t going to end at all well … though one might not predict just how devoid of cosmic justice its fictional universe is. Jones was born to play this kind of character, but Brolin, who has done a lot of competent, unmemorable work, makes a great leap forward. In a 180 from his usual romantic leads and beleaguered normal guys, Bardem is brilliantly menacing. (AK) The Orphanage. Thirty years after her adoption, Laura (Belén Rueda) moves back to the now-abandoned orphanage of her youth, together with husband Carlos (Fernando Cayo) and son Simón (Roger Príncep), in hopes of reopening it as a home for children with special needs. As soon as they arrive, however, Simón starts talking to a half-dozen new “imaginary friends,” who may not be imaginary at all. And, after he mysteriously disappears, Laura becomes convinced that they have somehow kidnapped him and frantically tries to rescue him. Exactly a year after the release of Guillermo del Toro’s Pan’s Labyrinth, the best movie of 2006, del Toro is back, this time as producer only, of this genuinely creepy ghost story – Spain’s entry for the Foreign Language Oscar – which is certainly among 2007’s best. Director Juan Antonio Bayona follows the aesthetic strategy of The Innocents and the original version of The Haunting, avoiding the explicit in favor of offscreen sounds and foreboding visuals – which also means that the one huge shock moment is rendered far more effective. Scared the living daylights out of me. (AK) Persepolis. France’s official Oscar entry stands a good chance of becoming the first-ever animated film to actually win the Best Foreign Language statuette. Directed by Vincent Paronnaud and Marjane Satrapi from Satrapi’s autobiographical graphic novel, the film recounts, in mostly black-and-white hues, Satrapi’s life from her childhood in pre-revolutionary Iran, through her tempestuous coming-of-age in the post-revolutionary Islamic republic. It’s an undeniably dramatic tale, with more twists and turns than most fictions, but it’s also a story with extreme present-day relevance, made all the more vivid through the use of fluid, invigoratingly imaginative cell animation that works to artfully underscore its most salient passages. The hoped-for reconciliation between cultural, religious, political, and artistic opposites is woven not just into Satrapi’s life but into the very fabric of the filmmaking, which manifests a bold tension between old and new, traditional and avant-garde, suggesting that nothing worthwhile – inside or outside of the movies – comes without risk. (WM) The Reflecting Pool. Writer/director Jarek Kupsc plays a journalist, who uncovers evidence that 9/11 was the handiwork of the United States government. He's joined in his investigation by an aggrieved father (Joseph Culp), whose daughter died in the attacks. Supposedly based on verifiable facts, Kupsc's amateurish drama is just baldfaced agitprop best suited to screenings in dank basements for the hardcore conspiracy crowd. Indeed, it's difficult to imagine a less convincing forum to make such bombshell accusations, especially since a cheap documentary retains credibility better than a cheap narrative feature. With the claim that Building 7 was actually the command center for the attack, the far-reaching becomes farfetched, guaranteeing that only Kool Aid drinkers will buy wild claims that the rest of us would never stoop to consider. Well, maybe for a second.... (MK) Santouri: The Music Man. The latest from leading Iranian director Dariush Mehrjui (The Cow, Leila) concerns

FEBRUARY 21~27, 2008

CITYBEAT

the decline of a popular musician with a drug problem. (AK) The Signal. See Latest Reviews. The Spiderwick Chronicles. The titular tome is a field guide to the goblins, fairies and griffins that surround the creepy, isolated new home of mom Helen (Mary-Louise Parker), daughter Mallory (Sarah Bolger), and twin brothers Jared and Simon (Freddie Highmore, double-dipping). Jared's discovery of the ornate book unleashes a platoon of CGI bad guys, led by evil shape-shifter Mulgarath (Nick Nolte), who covet the information inside because it spells doom for the CGI good guys. Condensing five books into one movie results in a rushed and sometimes convoluted ride, but Mean Girls director Mark Waters's adaptation of Tony DiTerlizzi and Holly Black's children's collection still has much to offer. Waters deftly juggles reality and unreality, although the latter's complex and seemingly arbitrary rules become a matter of faith. What the movie lacks in thematic nourishment, it makes up for in excitement. The action scenes – shot by five-time Oscar nominee Caleb Deschanel and edited by Spielberg crony Michael Kahn – are pretty thrilling. In all, it's too cramped and bereft of true wonderment to justify an ongoing series, but it's one of the better post-Potter attempts. (MK) Step Up 2 the Streets. This sequel to surprise 2006 hit Step Up inverts the typical wrongside-of-the-tracks paradigm, this time focusing on rebellious street dancer Andie (Briana Evigan), who finds herself fighting to fit in at school while also trying to hold onto her old life with a streetwise dance collective. When that tension causes an irrevocable split, Andie joins forces with school heartthrob Chase (Robert Hoffman) to form a new crew of classmate outcasts to compete against her old friends in Baltimore's underground dance battle, The Streets. The film's angsty, rebelrebel stuff is awkwardly scripted and bluntly delivered. Still, quality of execution trumps formula. Evigan and Hoffman are quite appealing leads, and feature debut director Jon Chu keeps the movie's tone loose and perpetually forward-moving. It certainly helps that the energetic dance sequences – choreographed by Jamal Sims, Dave Scott, and a gentleman known as Hi-Hat – are so well done. (BS) Taxi to the Dark Side. In December 2002, a local cab driver named Dilawar was arrested by U.S. forces in Afghanistan for participating in a rocket attack. After five days of incarceration at Bagram Air Force Base, he was dead, beaten so badly by his American jailers that his legs were pulpified. Dilawar’s innocence mattered little to MPs pressured to gather prisoner intelligence and not at all to Washington neocons. Director Alex Gibney (Enron: The Smartest Guys in the Room) investigates what happened to Dilawar, while using his tragic story as the starting point for a somber and meticulous deconstruction of the Bush administration’s reliance on torture and the resulting decline of America’s reputation. Interviewing those directly involved in Dilawar’s death, Gibney cannot be accused of creating a partisan hit piece. In presenting their stories with journalistic highmindedness, he joins fellow Iraqumentarian Charles Ferguson (No End in Sight) as the crucial craftsmen of an airtight indictment against VP Dick Cheney and his Constitution-shredding cronies. (MK) There Will Be Blood. Around 1900, California miner Daniel Plainview (Daniel Day-Lewis, adopting, for some reason, the distinctive spoken mannerisms of John Huston) begins to morph into an oil magnate, acquiring a son (Dillon Freasier) along the way, courtesy of a mining accident that kills the boy’s father. While exploiting the deposits in a small town, he and a budding evangelist (Paul Dano) develop a mutual animus, which festers for decades, providing the closest the film ever comes to a central conflict. Paul Thomas Anderson’s latest is an utter change of pace from the Altmanesque breadth that defined Boogie Nights and Magnolia and the intense personal POV of Punch-Drunk Love. For roughly two and a half hours, we watch things happen – incidents that are generally interesting, but which seem of more or less equal dramatic weight. Daniel is the closest thing we have to a protagonist, yet we are rarely invited to identify with him. We watch him rather than experience things with him. Thanks in large part to Robert Elswit’s cinematography and Jonny Greenwood’s strange score, we stay interested, but the movie’s measured pacing gives the sense of a history lesson. This is still one of 2007’s most striking films, but, no, it is not the next Citizen Kane or anything close to that. (AK) 27 Dresses. Young Manhattanite Jane (Katherine Heigl) nurses a not-so-secret crush on her rakish boss, George (Edward Burns), at Urban Everest, a thinly characterized outerwear company and “eco-friendly philanthropic business” (whatever that means). Similarly the perfect planner in her personal life, she is also a wedding junkie. Her world turns upside down when blithely self-centered sister Tess (Malin Ackerman) visits and immediately captures George’s heart. One quickie proposal later, Jane suddenly finds herself having to

help plan Tess’s wedding to the guy she thinks is her own perfect match. Helmed by choreographer-turned-director Anne Fletcher (Step Up), the movie never remotely captures any sense of big-city verve or energy on a par with The Devil Wears Prada or even (arguably) The Nanny Diaries. Cutesy contrivances carry the day, but the energetic performances and a few flashes of self-effacing wit should help this go down easily as rom-com pablum for the Bridget Jones’s Diary set. Others may rightly shrug. (BS) The 2007 Academy Award Nominated Shorts (Live Action). The animated and live-action shorts categories have become an increasingly foreign affair over the years, thanks largely to greater government and commercial support for shorts outside the United States. The pearl of this lot is Belgium's Tanghi Argentini from Guido Thys and Anja Daelemans; slick, witty, and charming, it's an irresistible tale of a lonely office nebbish who pins his romantic future on learning the tango from a co-worker in just two weeks time. Close on its heels is the U.K.'s The Tonto Woman, Daniel Barber and Matthew Brown's technically spectacular, John Ford-inspired adaptation of an Elmore Leonard story about the relationship between a cattle rustler and a reclusive but strangely beguiling frontier woman. From Italy, The Substitute is a simultaneously amusing and chilling look at a high school class, as it falls under the control of a substitute teacher, who grows increasingly unstable and unpredictable. Also included are the Danish At Night and France's The Mozart of Pickpockets. (WM) The 2007 Academy Award Nominated Shorts (Animated). Canada, no stranger to acclaimed animation, commands two spots here, with Josh Raskin's very impressive I Met the Walrus a strong contender to win the statuette: A 1969 recording of John Lennon being interviewed by a 14-year-old who snuck into the singer's hotel room provides the audio for an inspired, Terr y Gilliam-esque fantasia on Lennon's ideas and worldview. Another strong contender is the U.K./Poland coproduction Peter & the Wolf, a revisionist stop-motion version of the same Russian story (and haunting Prokofiev score) that formed the basis of Walt Disney's 1946 cell-animated classic, but with a decidedly darker approach. My Love is the longest and most adult of the lot, a coming-of-age romance set against the backdrop of Czarist Russia and animated with the kind of painterly visuals typically seen only in United Airlines commercials. The final two – Canada's Hitchcockian stopmotion thriller Madam Tutli-Putli and the somewhat disappointing French-language CGI effort Meme Les Pigeons Vont Au Paradis (Even Pigeons Go to Heaven) – are both stronger in technique than story, perhaps trying too hard to emulate elements of Nick Park. (WM) Untraceable. Two FBI cyber-crime agents (Diane Lane, Colin Hanks) in Portland, Oregon, go after a maniacal killer (Joseph Cross), who kidnaps people, seemingly randomly, and hooks them up to elaborate killing devices in his basement. (Think “Rube Goldberg meets Seven.”) He streams the video online, making it clear that the devices’ deadliness will be determined by the number of hits the site gets. Ergo, the victims are killed by the fact that people want to watch; if nobody watches, they might survive. The entire premise of director Gregory Hoblit’s thriller is predicated on the notion that the site is, as the title says, untraceable. This is almost surely poppycock, but we’re supposed to accept it because, as the characters repeatedly tell us, the killer is a “genius.” The heroes are unsympathetic, the plot is overly familiar, and basically there’s no juice here at all. (AK) Vantage Point. See Also Opening This Week. Welcome Home, Roscoe Jenkins. A famous talk show host (Martin Lawrence) takes his son and fiancée to Georgia to visit his family. Malcolm D. Lee (The Best Man, Undercover Brother) wrote and directed; the cast includes James Earl Jones, Margaret Avery, Joy Bryant, Cedric the Entertainer, Nicole Ari Parker, Michael Clarke Duncan, and Mike Epps. (AK) Witless Protection. See Also Opening This Week. The Witnesses. French doctor Adrien (Michel Blanc) falls in love with a handsome young man named Manu (Johan Libéreau), who just wants to be friends. When he introduces Manu to writer Sarah (Emmanuelle Béart) and her police detective husband, Mehdi (Sami Bouajila), he has no idea that Manu and Mehdi will begin a passionate affair that has repercussions in all of their lives. To label French director André Téchiné's The Witnesses as an "AIDS drama" might be unfair pigeonholing. Téchiné – best known in the U.S. for Wild Reeds, My Favorite Season, and Les Voleurs, all masterpieces – is interested in capturing both the period and the impact of AIDS, but, as always, his perceptions resonate beyond that limited scope. As written, none of the characters is entirely likable; it is a huge credit to the actors that we end up caring about these deeply flawed individuals. (AK)

The Year My Parents Went on Vacation. In 1970, Mauro (Michel Joelsas), a soccercrazed ten-year-old, is sent to live with his Jewish grandfather in Sao Paulo, when his activist parents are forced to go in hiding from Brazil’s repressive regime. Unfortunately, his grandfather has died that very day; with his parents' whereabouts unknown, Mauro is forced to live with Granddad's neighbor, a grumpy old man named Shlomo (Germano Haiut). Writer/director Cao Hamburger's film – Brazil's official entry for this year's Oscars – nicely fulfills its low-key sentimental ambitions. It's neither striking nor ultimately memorable, but it provides a pleasant diversion, a slighter take on such grumpy-old-man-bonds-with-kid films as Claude Berri's The Two of Us (1969). (AK) Yiddish Theater: A Love Story. The Folksbiene Theater was founded on New York’s Lower East Side in 1915, as one of many Yiddish troupes entertaining the legions of Jewish immigrants recently arrived from Europe. Fortysome years later, after surviving the Holocaust and Stalinist Russia, Zypora Spaisman came to America and reinvented herself as an actress in Yiddish theater. Another fortysome years later, toward the end of 2000, Israeli filmmaker Dan Katzir was visiting New York and met the 84-year-old actress Spaisman, just as Folksbiene Theater – now the city’s last Yiddish theater – was facing eviction. Charmed by the old woman’s enthusiasm, he set about to chronicle the desperate eight days during which Spaisman and her coworkers attempt to find a way to keep the theater alive. Katzir talks to some of the very few survivors of the form’s heyday, most of whom still display an offhanded wit. The result is an uneven but ultimately charming – and sad – look at the disappearance of a centuries-old cultural tradition whose impact on our own culture has been inestimable. (AK)

SHOWTIMES February 22-28 Note: Times are p.m., and daily, unless otherwise indicated. All times are subject to c hange without notice.

BURBANK AMC Burbank 16, 140 E Palm Av, (818) 953-9800. Be Kind Rewind Fri-Sat 11:35 a.m., 2:15, 4:55, 7:30, 10:15; Sun 11:35 a.m., 2:15, 4:55, 7:30, 10:10; Mon-Thur 2:40, 5:05, 7:30, 10:05. Charlie Bartlett Fri-Sat 11:25 a.m., 2:05, 4:40, 7:15, 9:55; Sun 11:25 a.m., 2:05, 4:40, 7:15, 9:50; Mon-Thur 2:05, 4:40, 7:15, 9:50. Definitely, Maybe Fri-Sat 11 a.m., 1:55, 4:50, 7:45, 10:40; Sun 11 a.m., 1:55, 4:50, 7:45, 10:30; Mon-Thur 1:55, 4:50, 7:45. Fool’s Gold Fri-Sat 11:55 a.m., 2:35, 5:15, 8, 10:35; Sun 11:55 a.m., 2:35, 5:15, 8, 10:25; Mon-Thur 2:35, 5:10, 7:50, 10:20. Hannah Montana & Miley Cyrus: Best of Both Worlds Disney 3D Fri-Sun 11 a.m., 1:15, 3:25, 5:40, 7:50; Mon-Thur 1:15, 3:15, 5:15, 7:20. In Bruges Fri-Sat 11:10 a.m., 1:45, 4:25, 7:05, 9:50; Sun 11:10 a.m., 1:45, 4:15, 7:05, 9:45; Mon-Thur 1:45, 4:15, 7, 9:30. Jumper Fri-Sat 11:10 a.m., 1:30, 4, 6:25, 8:50, 11:15; Sun 11:10 a.m., 1:30, 4, 6:25, 8:50; Mon-Thur 1:30, 3:45, 6:10, 8:35. Juno Fri-Sat 11:50 a.m., 2:25, 5:05, 7:35, 10:10; Sun 11:50 a.m., 2:25, 5:05, 7:35, 10:05; Mon-Thur 2:25, 5, 7:35, 10:10. No Country for Old Men Fri-Sat 11:15 a.m., 2:10, 5:10, 8:05, 10:55; Sun 10:55 a.m., 1:40, 4:25, 7:10, 9:55; Mon-Thur 1:40, 4:25, 7:10, 9:55. The Spider wick Chronicles Fri-Sun 11:20 a.m., 1:50, 4:20, 6:50, 9:20; Mon-Thur 1:50, 4:20, 6:50, 9:20. Step Up 2 the Streets Fri-Sat 11:05 a.m., 1:35, 4:05, 6:35, 9:05, 11:30; Sun 11:05 a.m., 1:35, 4:05, 6:35, 9:05; Mon-Thur 1:35, 4, 6:35, 9:05. There Will Be Blood Fri-Sat 11:40 a.m., 3:20, 6:55, 10:30; Sun 11:40 a.m., 3:20, 6:55, 10:20; Mon-Thur 2:30, 6:05, 9:35. U2 3D Fri-Sat 10:05; Sun 10; Mon-Thur 9:25. Vantage Point Sun 11:30 a.m., 1, 2, 3:30, 4:30, 6:05, 7, 8:30, 9:30; Mon-Wed 1, 2, 3:10, 4:10, 5:20, 6:25, 7:40, 8:45, 10; Thur 1, 2, 3:10, 4:10, 5:20, 6:25, 8:45, 10. Welcome Home Roscoe Jenkins Fri-Sat 11:45 a.m., 2:40, 5:30, 8:20, 11:10; Sun 11:15 a.m., 2:10, 5:10, 7:55, 10:35; Mon-Thur 1:05, 3:50, 6:45, 9:40. Witless Protection Fri-Sat 11:45 a.m., 2:20, 5, 7:40, 10:25; Sun 11:45 a.m., 2:20, 5, 7:40, 10:15; Mon-Thur 2:20, 4:55, 7:25, 10:15. AMC Burbank Town Center 8, 210 E Magnolia Bl, (818) 953-9800. The Bucket List Fri 12:35; Sat-Sun 11:30 a.m.; Mon-Thur 1:55, 4:25, 7, 9:30. Cloverfield Fri 2:50, 7:35; Sat-Sun 11:15 a.m., 3:45, 8:20.

CITYBEAT

Definitely, Maybe Fri-Sun 12:15, 3:05, 6:05, 9; Mon-Thur 1, 3:50, 6:45, 9:40. The Eye Fri 3, 5:25, 7:50, 10:15; Sat-Sun 1:55, 4:25, 7, 9:30; Mon-Thur 3:25, 7:55. Jumper Fri-Sun 12:45, 3:10, 5:35, 8, 10:25; Mon-Thur 3:10, 5:30, 8. Rambo Fri 12:25, 5, 9:55; Sat-Sun 1:25, 5:55, 10:30; Mon-Thur 1:05, 5:35, 10:05. The Spiderwick Chronicles Fri-Sun 12:10, 2:40, 5:10, 7:40, 10:10; Mon-Thur 2:40, 5:10, 7:40. AMC Burbank Town Center 6, 770 N First St, (818) 953-9800. AMC Best Picture Showcase: 2008 Oscar Nominees Sat only, 11 a.m.

CULVER CITY, MARINA DEL REY The Bridge: Cinema De Lux & IMAX Theater, The Promenade at Howard Hughes Center, 6081 Center Dr, Westchester, (310) 5683375. Be Kind Rewind Fri-Sat noon, 2:30, 5, 7:30, 10, 12:30 a.m.; Sun-Thur noon, 2:30, 5, 7:30, 10. Care Bears: Grizzle-ly Adventures Sat-Sun 10 a.m. Charlie Bartlett Fri-Sat noon, 2:25, 4:50, 7:15, 9:40, 12:05 a.m.; Sun-Thur noon, 2:25, 4:50, 7:15, 9:40. Definitely, Maybe Fri-Sat 11:55 a.m., 2:30, 5:05, 7:40, 10:15, 12:40 a.m.; Sun-Thur 11:55 a.m., 2:30, 5:05, 7:40, 10:15. The Eye Fri-Sat 9:40, midnight; Sun-Thur 9:40 a.m. Fool’s Gold Fri-Sat 11:30 a.m., 2, 4:40, 7:15, 9:50, 12:25 a.m.; Sun-Thur 11:30 a.m., 2, 4:40, 7:15, 9:50. Hannah Montana & Miley Cyrus: Best of Both Worlds Disney 3D 11:30 a.m., 1:30, 3:30, 5:30, 7:30. Jumper Fri 12:15, 12:45, 2:35, 3:05, 4:55, 5:25, 7:15, 7:45, 9:35, 10:05, 11:55, 12:25 a.m.; Sat 10:25 a.m., 12:15, 12:45, 2:35, 3:05, 4:55, 5:25, 7:15, 7:45, 9:35, 10:05, 11:55, 12:25 a.m.; Sun 10:25 a.m., 12:15, 12:45, 2:35, 3:05, 4:55, 5:25, 7:15, 7:45, 9:35, 10:05; Mon-Thur 12:15, 12:45, 2:35, 3:05, 4:55, 5:25, 7:15, 7:45, 9:35, 10:05. Juno Fri 12:30, 2:55, 5:20, 7:45, 10:10, 12:20 a.m.; Sat 10:05 a.m., 12:30, 2:55, 5:20, 7:45, 10:10, 12:20 a.m.; Sun 10:05 a.m., 12:30, 2:55, 5:20, 7:45, 10:10; MonThur 12:30, 2:55, 5:20, 7:45, 10:10. The Spiderwick Chronicles Fri-Sat noon, 2:30, 5, 7:30, 10, 12:30 a.m.; Sun-Thur noon, 2:30, 5, 7:30, 10. Step Up 2 the Streets Fri-Sat 11:45 a.m., 2:10, 4:35, 7, 9:25, 11:50; Sun-Thur 11:45 a.m., 2:10, 4:35, 7, 9:25. There Will Be Blood 11:45 a.m., 3:10, 6:35, 10. U2 3D Fri-Sat 7, 9:30, midnight; Sun-Thur noon, 2:20, 4:40, 7, 9:30. Vantage Point Fri-Sat 11:45 a.m., 2:10, 4:35, 7, 9:25, 11:50; Sun-Thur 11:45 a.m., 2:10, 4:35, 7, 9:25. Welcome Home Roscoe Jenkins 11:45 a.m., 2:30, 5:15, 8, 10:45. Witless Protection Fri-Sat 12:10, 2:35, 5, 7:25, 9:50, 12:15 a.m.; Sun-Thur 12:10, 2:35, 5, 7:25, 9:50. Culver Plaza Theatre, 9919 Washington Blvd, (310) 836-5516. Alvin and the Chipmunks SatSun 11:30 a.m., 1:20, 3:15. Atonement 11:55 a.m., 2:40, 5:20, 8. The Diving Bell and the Butterfly 5:05, 9:55. Enchanted Sat-Sun 11:45 a.m. Fool’s Gold Fri 12:10, 2:35, 5:05, 7:30, 9:50; Sat-Sun 5:05, 7:30, 9:50; Mon-Thur 12:10, 2:35, 5:05, 7:30, 9:50. Jodhaa Akbar 12:15, 4:20, 8:30. Michael Clayton 11:50 a.m., 2:25, 7:30. No Country for Old Men Fri 11:55 a.m., 2:25, 5, 7:30, 10; Sat-Sun 2:25, 5, 7:30, 10; MonThur 11:55 a.m., 2:25, 5, 7:30, 10. The Orphanage noon, 9:25. Persepolis 2:30, 5:10, 7:15. Loews Cineplex Marina Marketplace, 13455 Maxella Av, (310) 827-9588. Be Kind Rewind Fri 2:30, 5:15, 7:40, 10:15; Sat-Sun 11:45 a.m., 2:30, 5:15, 7:40, 10:15; Mon-Thur 2:30, 5:15, 7:40, 10:10. Definitely, Maybe Fri-Sun 1:15, 4, 7:05, 10; Mon-Thur 1:30, 4:20, 7:05, 9:50. Fool’s Gold Fri 1:35, 4:45, 7:30, 10:25; SatSun 11 a.m., 1:35, 4:45, 7:30, 10:25; MonThur 1:50, 4:45, 7:20, 10. Jumper Fri 1, 2:15, 3:30, 4:40, 5:45, 7:10, 8, 9:40, 10:30; Sat-Sun 11:30 a.m., 1, 2:15, 3:30, 4:40, 5:45, 7:10, 8, 9:40, 10:30; Mon-Thur 1:40, 2:15, 4, 4:40, 6:45, 7:10, 9, 9:40. Persepolis Fri 2, 4:30, 7, 9:30; Sat-Sun 11:35 a.m., 2, 4:30, 7, 9:30; Mon-Thur 2, 4:30, 7, 9:30. Pacific Culver Stadium 12, 9500 Culver Bl, (310) 855-7519. Be Kind Rewind Fri-Sat 12:20, 2:50, 5:20, 8:20, 10:50; Sun 12:20, 2:50, 5:20, 7:45, 10:10; Mon-Thur 12:50,

l FEBRUARY 21~27, 2008

3:15, 5:45, 8:15, 10:40. Charlie Bartlett Fri-Sat 11:50 a.m., 2:40, 5:10, 7:50, 10:15; Sun 11:50 a.m., 2:40, 5:10, 8, 10:25; Mon-Thur 12:30, 2:55, 5:20, 7:45, 10:10. Definitely, Maybe Fri-Sun 11:45 a.m., 2:20, 5, 7:40, 10:20; Mon-Thur 1:50, 4:30, 7:10, 9:50. Jumper Fri-Sat 12:15, 1:15, 2:30, 3:30, 4:45, 5:40, 7, 7:55, 9:15, 10:10; Sun 12:15, 1:15, 2:30, 3:30, 4:45, 5:40, 7, 7:55, 9:15; Mon-Thur 1:10, 2:05, 3:20, 4:20, 5:50, 7, 8:30, 9:40. Juno Fri-Sun 12:45, 3:05, 5:35, 8:10, 10:35; Mon-Thur 12:35, 3, 5:35, 8:05, 10:30. The Spiderwick Chronicles Fri-Sat 11:55 a.m., 1, 2:25, 3:25, 4:50, 5:50, 7:20, 8:15, 9:45, 10:40; Sun 11:55 a.m., 1, 2:25, 3:25, 4:50, 5:50, 7:20, 8:15, 9:45; Mon-Thur 12:45, 2, 3:30, 4:50, 5:55, 7:15, 8:45, 9:45. Step Up 2 the Streets Fri-Sat 12:35, 3:10, 5:45, 8:30, 11; Sun 11:40 a.m., 2:15, 4:40, 7:30, 10:15; Mon-Thur 12:40, 3:05, 5:25, 8:10, 10:35. There Will Be Blood Fri-Sat 12:10, 3:40, 7:05, 10:30; Sun 1:30, 4:55, 8:35; Mon-Thur 1:40, 5:05, 8:35. Vantage Point Fri-Sun 12:40, 2:55, 5:15, 7:35, 10:05; Mon-Thur 1:15, 3:25, 5:40, 8, 10:15. Welcome Home Roscoe Jenkins Fri-Sat noon, 2:35, 5:25, 8:05, 10:45; Sun 11:30 a.m., 2:05, 5:05, 7:50, 10:30; Mon-Thur 2:10, 5, 7:40, 10:20. UA Marina, 4335 Glencoe Av, (310) 8231721. Call theater for titles and showtimes.

DOWNTOWN & SOUTH L.A. Laemmle’s Grande 4-Plex, 345 S Figueroa St, (213) 617-0268. Jumper Fri 5:20, 7:30, 9:40; Sat-Sun 1, 3:10, 5:20, 7:30, 9:40; MonThur 5:20, 7:30. The Spiderwick Chronicles Fri 5:25, 7:40, 9:55; Sat-Sun 1:10, 3:20, 5:25, 7:40, 9:55; Mon-Thur 5:25, 7:40. There Will Be Blood Fri 5, 8:15; Sat-Sun 1:30, 5, 8:15; Mon-Thur 5, 8:15. Magic Johnson Theaters, Baldwin Hills Crenshaw Plaza, 4020 Marlton Av, (323) 2905900. Call theater for titles and showtimes. University Village 3, 3323 S Hoover St, (213) 748-6321. Jumper Fri-Sat 12:45, 3, 5:15, 7:30, 9:45, 11:50; Sun-Thur 12:45, 3, 5:15, 7:30, 9:45. The Spiderwick Chronicles noon, 2:20, 4:40, 7, 9:20. Strange Wilderness Fri-Sat midnight.

HOLLYWOOD ArcLight Cinemas Hollywood, 6360 Sunset Bl, (323) 464-4226. Atonement Fri-Sun 4:10, 7, 10. Be Kind Rewind Fri-Sun 11:10 a.m., 2:20, 4:50, 7:50, 10:10. Charlie Bartlett Fri-Sun 11:25 a.m., 2:15, 5:25, 7:55, 10:55. Definitely, Maybe Fri-Sun 11:45 a.m., 1:15, 2:25, 5:15, 7:15, 8:15, 10:45. In Bruges Fri-Sun 11:30 a.m., 2, 5, 8:10, 10:30. Juno Fri-Sun 11:35 a.m., 1:55, 4:45, 7:35, 10:05. Michael Clayton Fri-Sat 11:05 a.m., 1:45, 4:25, 7:25, 10:35; Sun 11:05 a.m., 1:45, 4:25, 7:25. No Country for Old Men Fri-Sun 11 a.m., 1:50, 4:40, 7:40, 10:20. The Orphanage Fri-Sun 4:15, 9:55. The Spider wick Chronicles Fri-Sun 11:20 a.m., noon, 1:40, 2:30, 5:30, 8:30, 11:10. Step Up 2 the Streets Fri-Sun 1:30, 4:20, 7:10, 9:50. There Will Be Blood Fri-Sun 12:40, 4, 7:20, 10:40. U2 3D Fri-Sun 12:05, 2:35, 5:05, 7:45, 10:25. Vantage Point Fri-Sun 11:15 a.m., 11:50 a.m., 1:35, 2:10, 4:35, 5:20, 7:05, 8, 9:45, 10:50. Grauman’s Chinese, 6925 Hollywood Bl, (323) 464-8111. Jumper 12:30, 3, 5:30, 8, 10:30. Los Feliz 3, 1822 N Vermont Av, (323) 6642169. Charlie Bartlett 2, 4:30, 7, 9:30. Persepolis 2, 4:30, 7, 9:30. There Will Be Blood 2, 5:15, 8:30. Mann Chinese 6, 6801 Hollywood Bl, (323) 461-3331. Fool’s Gold 12:50, 3:50, 6:50, 9:50. Jumper Fri-Sat 11:30 a.m., 4:50; Sun-Thur 11:30 a.m., 2, 4:30, 7, 9:30. The Signal Fri-Sat noon, 2:30, 5, 7:30, 10, 12:15 a.m.; Sun noon, 2:30, 5, 7:30, 10; MonThur noon, 12:15, 2:30, 5, 7:30, 10.

Welcome Home Roscoe Jenkins Fri-Sat 2, 7:20, 10; Sun-Thur 1:20, 4:20, 7:20, 10:20. Witless Protection 12:10, 2:40, 5:10, 7:40, 10:10. Pacific’s El Capitan, 6838 Hollywood Bl, (323) 467-7674. Hannah Montana & Miley Cyrus: Best of Both Worlds Disney 3D MonThur 10 a.m., 12:15, 2:30, 4:45, 7. Pacific’s The Grove Stadium 14, 189 The Grove Dr, Third St & Fairfax Av, (323) 6920829. Atonement 10:30 a.m., 1:25, 4:20, 7:20, 10:10. Be Kind Rewind Fri-Sat 11:15 a.m., 2:40, 5:10, 7:45, 10:15, 12:05 a.m.; Sun-Thur 11:15 a.m., 2:40, 5:10, 7:45, 10:15. Charlie Bartlett Fri-Wed 11:55 a.m., 2:30, 5:20, 7:55, 10:30; Thur 11:55 a.m., 2:30, 5:20, 7:55, 10:25. Definitely, Maybe Fri-Sun 11:25 a.m., 2:05, 4:55, 7:40, 10:20; Mon 11 a.m., 2:05, 4:55, 7:40, 10:20; Tue-Thur 11:25 a.m., 2:05, 4:55, 7:40, 10:20. Fool’s Gold Fri-Wed 11:35 a.m., 2:25, 5:15, 8, 10:50; Thur 11:35 a.m., 2:25, 5:15, 8, 10:40. Jumper Fri-Sat 10:45 a.m., 11:40 a.m., 1:30, 2:20, 4:45, 5:40, 7:25, 8:15, 9:50, 10:45, 12:10 a.m.; Sun-Wed 10:45 a.m., 11:40 a.m., 1:30, 2:20, 4:45, 5:40, 7:25, 8:15, 9:50, 10:45; Thur 10:45 a.m., 11:40 a.m., 1:30, 2:20, 4:45, 5:40, 7:25, 8:15, 9:45, 10:45. Juno Fri-Wed 10:25 a.m., 12:45, 3:05, 5:45, 8:20, 11; Thur 10:25 a.m., 12:45, 3:05, 5:45, 8:20, 10:50. The Spiderwick Chronicles 11:10 a.m., 2, 4:30, 7:05, 9:30. Step Up 2 the Streets Fri-Sat 10:50 a.m., 11:20 a.m., 1:20, 2:10, 4:50, 5:30, 7:35, 8:05, 10:05, 10:40, 12:15 a.m.; Sun-Tue 10:50 a.m., 11:20 a.m., 1:20, 2:10, 4:50, 5:30, 7:35, 8:05, 10:05, 10:40; Wed 10:50 a.m., 11:20 a.m., 1:20, 2:10, 4:25, 5:30, 8:05, 10:25, 10:40; Thur 10:50 a.m., 11:20 a.m., 1:20, 2:10, 4:50, 5:30, 7:35, 8:05, 10:05, 10:30. There Will Be Blood 11:50 a.m., 3:20, 7, 10:35. Vantage Point Fri-Sat 10:40 a.m., 11:30 a.m., 12:55, 1:50, 3:15, 4:40, 5:55, 7:15, 8:30, 9:40, 10:55, midnight; Sun-Mon 10:40 a.m., 11:30 a.m., 12:55, 1:50, 3:15, 4:40, 5:55, 7:15, 8:30, 9:40, 10:55; Tue 10:40 a.m., 12:55, 3:15, 5:55, 8:30, 10:55; Wed 10:40 a.m., 11:30 a.m., 12:55, 1:50, 3:15, 4:10, 5:55, 8:30, 9:55, 10:55; Thur 10:40 a.m., 11:30 a.m., 12:55, 1:50, 3:15, 4:40, 5:55, 7:15, 8:30, 9:35, 10:55. Regent Showcase, 614 N La Brea Av, (323) 934-2944. The Bucket List Fri 7:30; Sat-Sun 2:30, 7:30; Mon-Thur 7:30. Charlie Wilson’s War Fri-Sat 5, 9:45; Sun-Thur 5. Vine, 6321 Hollywood Bl, (323) 463-6819. Call theater for titles and showtimes. Vista, 4473 Sunset, (323) 660-6639. In Bruges Fri 7, 9:30; Sat-Sun 2, 4:30, 7, 9:30; Mon-Thur 7, 9:30.

NORTH HOLLYWOOD, UNIVERSAL CITY Century 8, 12827 Victory Bl, (818) 5086004. The Eye 2:45, 7:40. Fool’s Gold 11:35 a.m., 2:20, 5, 7:45, 10:20. Jumper Fri-Wed 12:25, 2:40, 5:05, 7:20, 9:50. Rambo 12:20, 5:15, 10:10. The Spiderwick Chronicles Fri-Wed 11:25 a.m., 1:55, 4:25, 7, 9:30. Step Up 2 the Streets Fri-Wed noon, 2:25, 4:50, 7:15, 9:40. There Will Be Blood 12:30, 4:15, 8. Vantage Point 12:15, 2:30, 4:45, 7:10, 9:25. Welcome Home Roscoe Jenkins 11:30 a.m., 2:15, 4:55, 7:35, 10:15. Loews CityWalk Stadium 19 with IMAX, 100 Universal City Dr at Universal CityWalk, (818) 508-0588; IMAX Theater (818) 7608100. Be Kind Rewind Fri-Sun 11:50 a.m., 2:35, 5:25, 8:10, 10:45; Mon-Thur 2, 4:35, 7:10, 9:55. Charlie Bartlett Fri-Sat 11:30 a.m., 2, 4:35, 7:10, 9:40, 12:15 a.m.; Sun 11:30 a.m., 2, 4:35, 7:10, 9:40; Mon-Thur 1:50, 4:30, 7:05, 9:45. Definitely, Maybe Fri-Sun 1:30, 4:25, 7:30, 10:30; Mon-Thur 1:35, 4:25, 7:25, 10:15. The Eye Fri-Sat 11:20 a.m., 1:40, 4:05, 6:30, 9, 11:30; Sun 11:20 a.m., 1:40, 4:05, 6:30, 9; Mon-Thur 3, 5:35, 8:10, 10:30. Fool’s Gold Fri-Sun 1:10, 4, 6:50, 9:35; MonThur 1:20, 4:15, 6:55, 9:50. George A. Romero’s Diary of the Dead Fri-Sat 11:35 a.m., 1:50, 4:15, 6:45, 9:15, 11:45; Sun 11:35 a.m., 1:50, 4:15, 6:45, 9:15; MonThur 2:25, 5, 7:35, 10:05. Hannah Montana & Miley Cyrus: Best of Both Worlds Disney 3D Fri-Sun 11:15 a.m., 1:20, 3:30, 5:40, 7:45, 10; Mon-Thur 1:15, 3:15,

5:20, 7:20, 9:30. Jumper Fri-Sat 11:55 a.m., 1:35, 2:25, 4, 4:50, 6:20, 7:20, 8:45, 9:45, 11:10, 12:10 a.m.; Sun 11:55 a.m., 1:35, 2:25, 4, 4:50, 6:20, 7:20, 8:45, 9:45; Mon-Thur 1:45, 2:45, 4:20, 5:15, 6:40, 7:40, 9:10, 10:10. Rambo Fri-Sat 1, 3:40, 6:10, 8:50, 11:20; Sun 1, 3:40, 6:10, 8:50; Mon-Thur 1:15, 3:35, 5:55, 8:15, 10:35. The Spiderwick Chronicles Fri-Sun 12:40, 3:05, 5:35, 8:05, 10:35; Mon-Thur 1:30, 4, 6:25, 8:50. The Spiderwick Chronicles: The IMAX Experience IMAX Fri-Sun noon, 2:15, 4:40, 7:05, 9:30; IMAX Mon-Thur 2:30, 4:45, 7:15, 9:40. Step Up 2 the Streets Fri-Sat 11:25 a.m., 12:10, 1:45, 2:40, 4:10, 5:10, 6:40, 7:40, 9:10, 10:10, 11:40; Sun 11:25 a.m., 12:10, 1:45, 2:40, 4:10, 5:10, 6:40, 7:40, 9:10, 10:10; Mon-Thur 1:40, 2:40, 4:05, 5:05, 6:30, 7:30, 9, 10. U2 3D IMAX Fri-Sat 11:55 a.m. Untraceable Fri-Sat 12:50, 3:20, 5:50, 8:20, 10:50; Sun 12:50, 3:20, 5:50, 8:20, 10:45; Mon-Thur 2:50, 5:30, 8:05, 10:30. Vantage Point Fri-Sat 11:40 a.m., 12:30, 2:05, 3, 4:30, 5:30, 7, 8, 9:25, 10:25, 11:50; Sun 11:40 a.m., 12:30, 2:05, 3, 4:30, 5:30, 7, 8, 9:25, 10:25; Mon-Thur 2:20, 3:20, 4:40, 5:40, 7, 8, 9:20, 10:20. Welcome Home Roscoe Jenkins Fri-Sat 11:45 a.m., 2:30, 5:15, 8:15, 11; Sun 11:45 a.m., 2:30, 5:15, 7:55, 10:40; Mon-Thur 1:25, 4:10, 6:50, 9:35. Witless Protection Fri-Sun 12:20, 2:50, 5:20, 7:50, 10:20; Mon-Thur 2:35, 5:10, 7:50, 10:25.

NORTHRIDGE, CHATSWORTH, GRANADA HILLS Mann Granada Hills, Devonshire St & Balboa Av, (818) 363-3679. Definitely, Maybe 12:40, 3:40, 7:10, 9:50. Fool’s Gold 11:40 a.m., 2:10, 4:50, 7:40, 10:20. Jumper 12:10, 2:50, 5:20, 8, 10:30. The Spiderwick Chronicles 11 a.m., 11:50 a.m., 1:30, 2:20, 4:10, 5:10, 6:50, 7:20, 9:10, 9:40. Step Up 2 the Streets 11:20 a.m., 1:40, 4:20, 7, 9:30. There Will Be Blood 11:30 a.m., 3, 6:30, 10. Vantage Point noon, 2:30, 5, 7:30, 10:10. Welcome Home Roscoe Jenkins 12:30, 3:30, 6:40, 9:20. Pacific’s Northridge Fashion Center All Stadium 10, 9400 N Shirley Av, (818) 501-5121. 27 Dresses Fri 1:15, 4:35, 7:25, 10:05; Sat 1:20, 4:35, 7:25, 10:05; Sun 1:20, 4:35, 7:25, 9:45; Mon-Thur 1:55, 5:10, 7:45. Charlie Bartlett Fri 2:20, 4:45, 7:15, 9:45; Sat-Sun noon, 2:20, 4:45, 7:15, 9:45; MonThur 2:15, 5:05, 7:25. Definitely, Maybe Fri-Sat 1:25, 4:40, 7:35, 10:25; Sun 1:25, 4:40, 7:35, 10:10; MonThur 2:25, 5:30, 8:05. The Eye Fri 2:35, 5:25, 8, 10:30; Sat 12:35, 3, 5:25, 8, 10:30; Sun 12:35, 3, 5:25, 8, 10:15; Mon-Thur 2:30, 5:40, 8:20. Fool’s Gold Fri-Sat 1:45, 5, 7:40, 10:20; Sun 1:45, 5, 7:40, 10:05; Mon-Thur 1:35, 4:55, 7:30. Jumper Fri 2:15, 4:50, 7:20, 9:35; Sat-Sun 12:05, 2:15, 4:50, 7:20, 9:35; Mon-Thur 2:25, 5:15, 7:35. The Spiderwick Chronicles Fri-Sun 1:35, 4:20, 7:10, 9:40; Mon-Thur 2:20, 4:50, 7. Step Up 2 the Streets Fri 2:45, 5:10, 7:45, 10:15; Sat 12:20, 2:45, 5:10, 7:45, 10:15; Sun 12:20, 2:45, 5:10, 7:45, 10; Mon-Thur 2, 5:35, 8:10. There Will Be Blood Fri-Sat 2:25, 7, 10:10; Sun 2:25, 7, 10:05; Mon-Thur 1:30, 4:45, 8. Vantage Point Fri 2, 5:05, 7:30, 9:55; Sat-Sun 12:15, 2:40, 5:05, 7:30, 9:55; Mon-Thur 1:45, 5:45, 8:15. Pacific’s Winnetka All Stadium 21, 9201 Winnetka Av, Chatsworth, (818) 501-5121. Atonement Fri-Sun 1:35, 7:25. Be Kind Rewind Fri-Sun 1:40, 4:25, 7:20, 9:55. Charlie Bartlett Fri-Sun noon, 2:35, 5:10, 7:45, 10:20. Definitely, Maybe Fri-Sun 1:45, 4:35, 7:30, 10:15. The Eye Fri-Sat 12:45, 3:15, 5:45, 8:30, 11; Sun 12:45, 3:15, 5:45, 8:10, 10:40. Fool’s Gold Fri-Sat 1:30, 4:45, 7:50, 10:50; Sun 1:30, 4:45, 7:50, 10:30. Jumper Fri-Sat 12:20, 1:50, 3:10, 4:50, 5:50, 7:15, 8:20, 9:50, 10:45; Sun 12:20, 1:50, 3:10, 4:50, 5:50, 7:15, 8:20, 9:50. Juno Fri-Sat 12:10, 2:40, 5:15, 8:25, 11; Sun 12:10, 2:40, 5:15, 7:50, 10:15. Michael Clayton Fri-Sun 1:10, 4:10, 7:35, 10:35.

Rambo Fri-Sat 12:50, 3:20, 5:35, 8:05, 10:55; Sun 12:50, 3:20, 5:35, 8:05, 10:20. The Signal Fri 2:25, 5:05, 7:40, 10:15; SatSun 11:50 a.m., 2:25, 5:05, 7:40, 10:15. The Spiderwick Chronicles Fri 1:20, 2:20, 4:20, 5:20, 7:10, 8:10, 9:45, 10:40; Sat-Sun 11:45 a.m., 1:20, 2:20, 4:20, 5:20, 7:10, 8:10, 9:45, 10:40. Step Up 2 the Streets Fri 12:35, 2:10, 3:05, 4:40, 5:40, 7:15, 8:15, 9:50, 10:45; Sat 11:35 a.m., 12:35, 2:10, 3:05, 4:40, 5:40, 7:15, 8:15, 9:50, 10:45; Sun 11:35 a.m., 12:35, 2:10, 3:05, 4:40, 5:40, 7:15, 8:15, 9:50. There Will Be Blood Fri-Sun 12:05, 3:35, 7:05, 10:25. Untraceable Fri-Sat 4:35, 10:30; Sun 4:35, 10:25. Vantage Point Fri 12:30, 2, 3, 4:30, 5:30, 7, 8, 9:35, 10:30; Sat-Sun 11:30 a.m., 12:30, 2, 3, 4:30, 5:30, 7, 8, 9:35, 10:30. Welcome Home Roscoe Jenkins Fri 2:05, 4:55, 7:55, 10:50; Sat 11:30 a.m., 2:05, 4:55, 7:55, 10:50; Sun 11:30 a.m., 2:05, 4:55, 7:55, 10:35. Witless Protection Fri 2:15, 5, 7:30, 10:05; Sat-Sun 11:40 a.m., 2:15, 5, 7:30, 10:05.

SANTA MONICA AMC Santa Monica 7, 1310 Third Street Promenade, (310) 395-3030. 27 Dresses FriSun 11 a.m., 1:35, 4:20, 7:10, 9:55; Mon 1:35, 4:20; Tue-Thur 1:35, 4:20, 7:10, 9:50. Fool’s Gold Fri-Sun 11:30 a.m., 2:15, 5, 7:45, 10:30; Mon-Thur 1:50, 4:45, 7:25, 10. Hannah Montana & Miley Cyrus: Best of Both Worlds Disney 3D Fri-Sun 11:05 a.m., 1:10, 3:15, 5:20; Mon-Thur 1:25, 3:25, 5:25. Jumper Fri-Sun 10:55 a.m., 1:15, 3:35, 5:55, 8:20, 10:40; Mon-Thur 1:10, 3:20, 5:40, 7:55, 10:15. The Spider wick Chronicles Fri-Sun 11:15 a.m., 1:50, 4:25, 7, 9:30; Mon-Thur 1:50, 4:25, 7, 9:25. There Will Be Blood Fri-Sun 11:25 a.m., 3, 6:30, 10; Mon-Thur 2:45, 6:10, 9:35. U2 3D Fri-Sun 7:30, 9:50; Mon-Thur 7:30, 9:45. Witless Protection Fri-Sun 12:25, 2:55, 5:25, 7:55, 10:25; Mon-Thur 1, 3:10, 5:30, 7:50, 10:10. Laemmle’s Monica 4-Plex, 1332 Second St, (310) 394-9741. The Diving Bell and the Butterfly 1:30, 4:20, 7:10, 9:55. Juno 12:45, 3:05, 5:25, 7:50, 10:15. No Country for Old Men 1:15, 4:05, 7, 9:55. Persepolis Fri 1:10, 3:25, 10:15; Sat-Sun 1:10, 3:25, 5:40, 8, 10:15; Mon-Thur 1:10, 3:25, 10:15. The Reflecting Pool Sat-Sun 11 a.m. Taxi to the Dark Side Sat-Sun 11 a.m. War/Dance Sat-Sun 11 a.m. The Yiddish Theater: A Love Story Sat-Sun 11 a.m. Loews Cineplex Broadway, 1441 Third Street Promenade, (310) 458-1506. Atonement Fri 1:50, 4:45, 7:40, 10:30; Sat-Sun 11 a.m., 1:50, 4:45, 7:40, 10:30; Mon-Thur 1:30, 4:15, 7, 9:55. In Bruges Fri 2, 4:35, 7:25, 10; Sat-Sun 11:25 a.m., 2, 4:35, 7:25, 10; Mon-Thur 2, 4:25, 6:55, 9:30. The Signal Fri 2:30, 5:20, 8, 10:20; Sat-Sun 12:30, 3, 5:30, 8, 10:20; Mon-Thur 2:15, 4:45, 7:20, 9:50. Step Up 2 the Streets Fri 1:40, 4:25, 7:10, 9:40; Sat-Sun 11:15 a.m., 1:40, 4:25, 7:10, 9:40; Mon-Thur 1:50, 4:05, 6:45, 9:15. Mann Criterion, 1313 Third Street Promenade, (310) 395-1599. Be Kind Rewind 11:30 a.m., 2:10, 4:40, 7:20, 9:50. Charlie Bartlett noon, 2:20, 4:50, 7:30, 10. Definitely, Maybe 11:40 a.m., 2:30, 5, 7:40, 10:20. Michael Clayton 1:10, 4:10, 7:10, 10:10. Vantage Point Fri-Sat 11:50 a.m., 12:50, 2, 3, 4:30, 5:30, 7, 8, 9:30, 10:30, 11:45; SunThur 11:50 a.m., 12:50, 2, 3, 4:30, 5:30, 7, 8, 9:30, 10:30.

FEBRUARY 21~27, 2008

SHERMAN OAKS, ENCINO ArcLight Sherman Oaks, 15301 Ventura Bl, Sherman Oaks, (818) 501-0753. Atonement 11:15 a.m., 2:05, 4:55, 7:55, 10:55. Be Kind Rewind 11:30 a.m., 2:10, 5, 7:40, 10:20. Charlie Bar tlett noon, 2:40, 5:30, 8:10, 10:50. Definitely, Maybe Fri 11:40 a.m., 1:25, 2:20, 4:15, 5:10, 7:15, 8:20, 9:55, 11; Sat 1:25, 4:15, 7:15, 8:20, 9:55, 11; Sun-Tue 11:40 a.m., 1:25, 2:20, 4:15, 5:10, 7:15, 8:20, 9:55, 11; Wed 11:40 a.m., 2:20, 5:10, 8:20, 11; Thur 11:40 a.m., 1:25, 2:20, 4:15, 5:10, 7:15, 8:20, 9:55, 11. Fool’s Gold 11 a.m., 1:30, 4:10, 7:20, 10:10. In Bruges 11:35 a.m., 2:15, 5:05, 7:45, 10:15. Jumper Fri-Sun 11:25 a.m., 12:30, 1:55, 2:50, 4:45, 5:40, 7:35, 8:30, 10:05, 11; Mon 11:25 a.m., 12:30, 1:55, 2:50, 4:45, 5:40, 8:30, 11; Tue-Thur 11:25 a.m., 12:30, 1:55, 2:50, 4:45, 5:40, 7:35, 8:30, 10:05, 11. Juno 11:05 a.m., 1:45, 4:35, 7:05, 9:45. No Country for Old Men 1:15, 4:25, 7:25, 10:45. The Spiderwick Chronicles 11:20 a.m., 2, 4:40, 7:10, 9:40. Step Up 2 the Streets 11:45 a.m., 2:35, 5:25, 8:05, 10:35. There Will Be Blood 12:05, 3:35, 7, 10:25. Vantage Point Fri-Tue 11:10 a.m., 12:10, 1:40, 2:30, 4:30, 5:20, 7, 8, 9:30, 10:30; Wed 12:10, 2:30, 5:20, 8, 10:30; Thur 11:10 a.m., 12:10, 1:40, 2:30, 4:30, 5:20, 7, 8, 9:30, 10:30. Laemmle’s Town Center 5, 17200 Ventura Bl, Encino, (818) 981-9811. The Band’s Visit noon, 2:20, 4:50, 7:20, 9:40. The Counterfeiters Fri 12:10, 2:40, 5:10, 7:40, 10:10; Sat-Sun 12:10, 2:50, 5:10, 7:40, 10:10; Mon-Thur 12:10, 2:40, 5:10, 7:40, 10:10. Michael Clayton 1:20, 4:10, 7, 9:50. Santoori: The Music Man noon, 2:30, 5, 7:30, 10.

The Year My Parents Went on Vacation Fri 1:30, 4:20, 7:10, 9:45; Sat-Sun 1:30, 7:10, 9:45; Mon-Thur 1:30, 4:20, 7:10, 9:45. Mann Plant 16, 7876 Van Nuys Bl, Panorama City, (818) 779-0323. Alvin and the Chipmunks 11:30 a.m., 1:45. Be Kind Rewind 11:50 a.m., 2:20, 4:50, 7:20, 9:50. Cloverfield 4:05, 6:30, 9. The Eye 12:15, 2:45, 5:15, 7:45, 10:15. Hannah Montana & Miley Cyrus: Best of Both Worlds Disney 3D 1:20, 3:40, 6. Jumper 11:40 a.m., 12:20, 2, 2:40, 4:20, 5:10, 6:50, 7:40, 9:20, 10:10. Meet the Spartans noon, 2:20, 4:30, 6:50, 9:20. The Orphanage Sub-Titled 11:45 a.m., 2:15, 4:45, 7:15, 9:45. Rambo 11:40 a.m., 2, 4:15, 6:45, 9:15. The Signal 12:20, 2:50, 5:20, 7:50, 10:20. The Spiderwick Chronicles 11:30 a.m., 12:10, 1:50, 2:30, 4:10, 5, 6:40, 7:30, 9:10, 10. Step Up 2 the Streets 11:50 a.m., 12:30, 2:10, 3, 4:40, 5:30, 7:10, 8, 9:40, 10:30. U2 3D 8:10, 10:30. Vantage Point noon, 2:10, 4:30, 7, 9:30. Welcome Home Roscoe Jenkins 1:30, 4:20, 7:10, 10. Pacific’s Sherman Oaks 5, 14424 Millbank St, Sherman Oaks, (818) 501-5121. 27 Dresses 1:25, 4:20, 7:05, 9:45. Charlie Wilson’s War 1:10, 4:05, 7, 10:05. The Spiderwick Chronicles 1:20, 4, 7:20, 9:55. Untraceable 1:05, 4:15, 7:25, 10:05. Welcome Home Roscoe Jenkins 1:15, 4:10, 7:10, 9:50.

WEST HOLLYWOOD, BEVERLY HILLS, CENTURY CITY AMC Century City 15, 10250 Santa Monica Bl, (310) 277-2011. 27 Dresses Fri-Sat 10:50 a.m., 1:35, 4:30, 7:25, 10:20; Sun 10:50 a.m., 1:35, 4:30, 7:25, 10:10; Mon-

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Thur 1:45, 4:30, 7:15, 10:05. The Bucket List Fri-Sat 9:50 a.m., 2:35, 7:50; Sun 9:30 a.m., 2:35, 7:50; Mon-Thur 2:30, 7:45. Definitely, Maybe Fri-Sat 10:10 a.m., 1:10, 4:25, 7:40, 10:55; Sun 10:10 a.m., 1:10, 4:25, 7:40, 10:35; MonThur 1:30, 4:20, 7:30, 10:30. Fool’s Gold Fri-Sat 10:55 a.m., 1:45, 4:45, 7:45, 10:35; Sun 10:55 a.m., 1:45, 4:45, 7:35, 10:20; Mon-Thur 1:35, 4:25, 7:20, 10:10. Hannah Montana & Miley Cyrus: Best of Both Worlds Disney 3D Fri-Sun 10:30 a.m., 12:30, 2:40, 5, 7:20; MonThur 1:20, 3:20, 5:30, 7:40. Jumper Fri-Sat 9:45 a.m., 10:15 a.m., noon, 12:35, 2:15, 3:05, 4:35, 5:30, 7, 8:10, 9:35, 10:50, 12:05 a.m.; Sun 9:45 a.m., 10:15 a.m., noon, 12:35, 2:15, 3:05, 4:35, 5:30, 7, 8:10, 9:25, 10:35; Mon-Tue 2:15, 2:55, 4:40, 5:35, 7:10, 8, 9:35, 10:25; Wed 2:15, 4:40, 5:35, 7:10, 8, 9:35, 10:25; Thur 2:15, 2:55, 4:40, 5:35, 7:10, 8, 9:35, 10:25. No Country for Old Men Fri-Sat 9:55 a.m., 12:50, 4:05, 7:15, 10:30; Sun 9:55 a.m., 12:50, 4:05, 7:15, 10:15; Mon-Thur 1:15, 4:10, 7, 10. The Spiderwick Chronicles Fri-Sat 9:35 a.m., 12:10, 2:45, 5:20, 8:05, 10:45; Sun 9:35 a.m., 12:10, 2:45, 5:20, 8:05, 10:40; Mon-Thur 2:20, 5, 7:35, 9:55. Step Up 2 the Streets Fri-Sat 9:40 a.m., 12:25, 2:50, 5:25, 8, 10:35, 12:35 a.m.; Sun 9:40 a.m., 12:25, 2:50, 5:25, 8, 10:30; Mon-Thur 2:45, 5:20, 7:55, 10:20. There Will Be Blood Fri-Sun noon, 3:30, 7:05, 10:40; MonThur 2:40, 6:15, 9:45. U2 3D Fri-Sat 9:45 a.m., noon; Sun 9:30 a.m.; Mon-Thur 9:50 a.m. Untraceable Fri-Sun 12:15, 5:10, 10:25; Mon-Thur 5:05, 10:20. Vantage Point Fri-Sat 9:30 a.m., 10:25 a.m., 12:05, 12:45, 2:25, 3:10, 4:55, 5:40, 7:30, 8:20, 10:05, 11, 12:25 a.m.; Sun 9:30 a.m., 10:25 a.m., 12:05, 12:45, 2:25, 3:10, 4:55, 5:40, 7:30, 8:20, 9:50, 10:45; MonThur 1:25, 2:25, 3:40, 4:45, 6, 7:05, 8:10, 9:25, 10:30. Welcome Home Roscoe Jenkins Fri-Sun 10:20 a.m., 1:05, 4:10, 7:10, 9:55; Mon 1:40, 4:35, 7:25, 10:15; Tue 1:25, 4, 10:15; Wed-Thur 1:40, 4:35, 7:25, 10:15. Witless Protection Fri 10:05 a.m., 12:40, 3:15, 5:50, 8:30, 11:05; Sat 9:30 a.m., 12:40, 3:15, 5:50, 8:30, 11:05; Sun 10:05 a.m., 12:40, 3:15, 5:50, 8:25, 10:45; MonThur 2:35, 5:15, 7:50, 10:25. Laemmle’s Music Hall 3, 9036 Wilshire Bl, (310) 2746869. Away From Her Fri 5:20, 8; Sat-Sun noon, 2:40, 5:20, 8; Mon-Thur 5:20, 8. Santoori: The Music Man Fri 5, 7:30, 10; Sat-Sun noon, 2:30, 5, 7:30, 10; Mon-Thur 5, 7:30, 10. The Year My Parents Went on Vacation Fri 5, 7:30, 10; SatSun noon, 2:30, 5, 7:30, 10; Mon-Thur 5, 7:30, 10. Laemmle’s Sunset 5 Theatre, 8000 Sunset Bl, (323) 8483500. 4 Months, 3 Weeks and 2 Days 1:20, 4:10, 7, 9:50. Caramel 1:30, 7:20. The Diving Bell and the Butterfly 1, 4, 7, 9:45. How to Rob a Bank 12:30, 2:45, 5:10, 7:30, 9:45. Persepolis 12:30, 2:50, 5:15, 7:40, 10. Room Sat only, midnight. The Witnesses 4:20, 9:50. Beverly Center 13 Cinemas, 8522 Beverly Blvd., Suite 835, (310) 652-7760. 27 Dresses 12:30, 2:50, 5:10, 7:40, 10:10. Alvin and the Chipmunks 12:10, 2:10, 4:20, 6:40, 9. Cloverfield 12:10, 2:40, 5:10, 7:30, 9:50. Enchanted 12:10, 2:30, 5, 7:20, 9:40. The Eye 12:30, 2:50, 5:20, 7:50, 10:10. The Great Debaters 1:30, 4:30, 7:10, 10. Into the Wild 12:20, 3:20, 6:30, 9:30. The Kite Runner 1, 4:10, 7:10, 9:50. Meet the Spartans 12:40, 2:40, 4:50, 7:20, 9:30. Michael Clayton 1:10, 3:50, 6:30, 9:10. Rambo noon, 2:20, 4:30, 7, 9:20. Welcome Home Roscoe Jenkins noon, 2:30, 5, 7:40, 10. Witless Protection 12:40, 3, 5:20, 7:50, 10:20.

WESTWOOD, WEST L.A. AMC Avco Center, 10840 Wilshire Bl, (310) 475-0711. 27 Dresses Fri 2:10, 4:40, 7:10, 9:40; Sat-Sun 11:40 a.m., 2:10, 4:40, 7:40, 10; Mon-Thur 2:10, 4:40, 7:10, 9:40. The Bucket List Fri 12:30, 2:50, 5:10, 7:30, 9:55; SatSun 10:10 a.m., 12:30, 2:50, 5:10, 7:30, 9:55; Mon-Thur 12:30, 2:50, 5:10, 7:30, 9:55. Definitely, Maybe Fri 1:30, 4:15, 7, 9:50; Sat-Sun 10:45 a.m., 1:30, 4:15, 7, 9:50; Mon-Thur 1:30, 4:15, 7, 9:50. Jumper Fri 1, 3:10, 5:20, 7:40, 10; Sat-Sun 10:50 a.m., 1, 3:10, 5:20, 7:40, 10; Mon-Thur 1, 3:10, 5:20, 7:40, 10. Laemmle’s Royal Theatre, 11523 Santa Monica Bl, (310) 477-5581. The Counterfeiters 12:30, 2:50, 5:15, 7:45, 10:15. Landmark’s Nuart Theater, 11272 Santa Monica Bl, (310) 281-8223. Bab’Aziz: The Prince That Contemplated His Soul Sub-Titled Fri-Sun noon, 2:30, 5, 7:30, 10; Sub-Titled Mon-Thur 5, 7:30, 10. The Big Lebowski Fri only, midnight. The Rocky Horror Picture Show Sat only, midnight. Landmark’s Regent, 1045 Broxton Av, (310) 281-8223. Step Up 2 the Streets 2:30, 4:45, 7:15, 9:30. The Landmark West Los Angeles, 10850 W Pico Bl, (310) 281-8223. The 2007 Academy Award Nominated Animated Shorts 11:10 a.m., 4:10, 9:55.

CITYBEAT

l FEBRUARY 21~27, 2008

The 2007 Academy Award Nominated Live Action Shorts 1:20, 7. Atonement 11:20 a.m., 2:10, 5, 7:50, 10:30. The Band’s Visit 12:10, 2:30, 4:50, 7:10, 9:30. Be Kind Rewind Fri-Sat 11 a.m., 12:10, 2:40, 5:10, 7:40, 10:10, 11; Sun-Mon 11 a.m., 12:10, 2:40, 5:10, 7:40, 10:10; Tue 12:10, 2:40, 5:10, 7:40, 10:10; Wed-Thur 11 a.m., 12:10, 2:40, 5:10, 7:40, 10:10. Charlie Bartlett 11:50 a.m., 2:20, 4:50, 7:20, 9:50. The Diving Bell and the Butterfly Fri-Sun 11:05 a.m., 1:45, 4:35, 7:20, 10; Mon 11:05 a.m., 1:45, 4:25; Tue-Thur 11:05 a.m., 1:45, 4:35, 7:20, 10. In Bruges 11:45 a.m., 2:15, 4:45, 7:30, 10. Juno Fri-Sun 11:45 a.m., 1:20, 2:15, 3:45, 4:45, 6:10, 7:25, 8:35, 9:55; Mon-Thur 11:45 a.m., 1:20, 2:15, 3:45, 4:45, 7:25, 9:55. Michael Clayton 11:15 a.m., 2, 4:55, 7:45, 10:25. Persepolis Fri-Sun 12:25, 2:50, 5:10, 7:50, 10:05; Mon 12:25, 2:50, 10:05; Tue-Thur 12:25, 2:50, 5:10, 7:50, 10:05. The Savages Fri-Wed 11 a.m., 1:40, 4:20, 7, 9:40; Thur 11 a.m., 1:40, 4:20, 10:15. Majestic Crest Theater, 1262 Westwood Bl, (310) 4747866. There Will Be Blood 1, 4:15, 7:30, 10:30. Mann Bruin, 948 Broxton Av, (310) 208-8998. Vantage Point 12:20, 2:40, 5, 7:30, 10. Mann Festival 1, 10887 Lindbrook Av, (310) 208-4575. Fool’s Gold noon, 2:30, 5:10, 7:45, 10:15. Mann Village, 961 Broxton Av, (310) 208-5576. The Spiderwick Chronicles 11:30 a.m., 2, 4:30, 7, 9:30.

WOODLAND HILLS, WEST HILLS, TARZANA AMC Promenade 16, 21801 Oxnard St, Woodland Hills, (818) 883-2262. Call theater for titles and showtimes. Laemmle’s Fallbrook 7 Cinemas, Fallbrook Mall, 6731 Fallbrook Av, West Hills, (818) 340-8710. Be Kind Rewind FriSun noon, 2:30, 5:10, 7:45, 10:15; Mon-Thur 12:50, 3:20, 5:50, 8:30. Caramel Fri-Sun noon, 2:30, 5, 7:30, 9:55; Mon-Thur 12:50, 3:20, 5:50, 8:30. Jodhaa Akbar Fri-Sat 1, 5:15, 9:30; Sun 1, 5, 9; Mon-Thur noon, 1, 4, 5, 8, 9. No Country for Old Men Fri-Sun 1, 4, 7, 9:55; Mon-Thur 2, 5, 8. The Savages Fri-Sun 1:30, 4:20, 7:10; Mon-Thur noon, 2:30, 5:20, 8:10. There Will Be Blood 1:15, 4:45, 8:15. Vantage Point Fri-Sun 12:10, 2:40, 5:10, 7:40, 10; MonThur 1, 3:30, 5:55, 8:40.

SPECIAL SCREENINGS THURSDAY, FEBRUARY 21 CineFamily at the Silent Movie Theatre, 611 N Fairfax Av, Hollywood, (323) 655-2520. Silentmovietheatre.com. Jazz on Film: Capturing Creation – Piano Players Rarely Ever Play Together, 8. Echo Park Film Center, 1200 N Alvarado St, Echo Park, (213) 484-8846. Echoparkfilmcenter.org. New Indie – Carbuncle, 8; cast and crew, in person. L.A. County Museum of Art, Leo S. Bing Theatre, 5905 Wilshire Bl, L.A., (323)857-6010. Lacma.org. Six Films by Sergei Paradjanov – Shadows of Forgotten Ancestors, 7:30; Andriesh, 9:20. New Beverly Cinema, 7165 Beverly Bl, L.A., (323) 9384038. Newbevcinema.com. The Greats of Roth – Mother’s Day, 7:30; Creepshow, 9:20.

FRIDAY, FEBRUARY 22 American Cinematheque at the Aero Theatre, 1328 Montana Av, Santa Monica, (323) 466-3456. Aerotheatre.com. Happy Anniversary – All the Right Moves, 7:30. CineFamily at the Silent Movie Theatre Love Hurts – Happy Together (1997), 8. Russ Meyer: Mammaries of Overdevelopment – Supervixens, 10:30. Cinespace, 6356 Hollywood Bl, second level, Hollywood, (323) 817-3456. Cinespace.info. Dinner & a Movie – Sixteen Candles, 8. Film in a restaurant/bar setting; call for reservations. Echo Park Film Center New Indie – Carbuncle, 8; cast and crew, in person. Hammer Museum, UCLA Film & Television Archive at the Billy Wilder Theatre, 10899 Wilshire Bl, L.A. Info: (310) 206-3456 or Hammer.ucla.edu. Universal Preservation: Pre-Code Films from the Universal and Paramount Libraries – Street of Chance (1930), 7:30; followed by Okay America! L.A. County Museum of Art, Leo S. Bing Theatre Six Films by Sergei Paradjanov – Ashik Kerib, 7:30; The First Lad, 9. Landmark’s Nuart Theatre, 11272 Santa Monica Bl, West L.A., (310) 281-8223. Landmarktheatres.com. The Big Lebowski, midnight. New Beverly Cinema The Greats of Roth – Carrie, 7:30; Zapped!, 9:30. Old Town Music Hall, 140 Richmond St, El Segundo, (310) 322-2592. Otmh.org. Paramount on Parade, 8:15; with shorts.

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FEBRUARY 21~27, 2008

CITYBEAT

SATURDAY, FEBRUARY 23

MONDAY, FEBRUARY 25

American Cinematheque at the Aero Theatre Happy Anniversar y / David Cronenberg Double Feature – Videodrome, 7:30; followed by The Dead Zone. CineFamily at the Silent Movie Theatre The Black Impostor – Suture, 6; followed by Chameleon Street, 8. HolyFuckingShit … That’s Acting – Communion, 10:30; followed by Q&A with director Philippe Mora. Cinespace Dinner & a Movie – Sixteen Candles, 8. Film in a restaurant/bar setting; call for reser vations. Hammer Museum, UCLA Film & Television Archive at the Billy Wilder Theatre Universal Preser vation: PreCode Films from the Universal and Paramount Libraries – Nice Women, 7:30; followed by Impatient Maiden. Landmark’s Nuart Theatre The Rocky Horror Picture Show, midnight; with live per formance by Sins O’ the Flesh. New Beverly Cinema The Greats of Roth – Carrie, 3:30, 7:30; Zapped!, 5:30, 9:30. Amoeba Midnights – Commando, midnight. Old Town Music Hall Paramount on Parade, 2:30, 8:15; with shor ts. REDCAT at Walt Disney Music Hall, 631 W Second St, downtown L.A., (213) 237-2800. Redcat.org. International Children’s Film Festival – Wild and Wooly, noon. Can-Do Kids, 1:30. Legends to Live By, 3. Writers Guild of America Theater, 135 S Doheny Dr, Beverly Hills, (213) 534-3600. DocuDay: Screenings of all this year’s Oscar-nominated documentaries – Operation Homecoming: Writing the War time Exerience, 10 a.m. War/Dance, noon. Shor t Salim Baba, 2:20; followed by short La Corona (The Crown). Short Sari’s Mother, 4; followed by Freeheld. Taxi to the Dark Side, 5:30. No End in Sight, 7:45. Sicko, 10.

ArcLight Cinemas Sherman Oaks, 15301 Venutra Bl, Sherman Oaks, (818) 501-7033. Arclightcinemas.com. AFI’s 1970s Classics – The Deer Hunter, 7:30. Hammer Museum, UCLA Film & Television Archive at the Billy Wilder Theatre Docuspain – The Miracle of Candeal. Landmark’s The Landmark, 10850 West Pico Bl, (310) 281-8223. Landmarktheatres.com. Reel Talk with Stephen Farber – Foreign Film Series – Captain Abu Raed, 7; followed by discussion with writer/director Amin Matalqa. New Beverly Cinema The Greats of Roth – The Apple, 7:30; Stunt Rock, 9:20.

SUNDAY, FEBRUARY 24 CineFamily at the Silent Movie Theatre Black & White & Red: Noir & The Blacklist – Thieves’ Highway, 1. Oscar Night with the CineFamily, 4; watch the Academy Awards with CineFamily. New Beverly Cinema The Greats of Roth – The Apple, 3:30; Stunt Rock, 5:20. Old Town Music Hall Paramount on Parade, 2:30; with shor ts. REDCAT at Walt Disney Concert Hall International Children’s Film Festival – Out of this World, noon. Best Friends Forever, 1:30. Animated Genius: Films of Will Vinton, 3.

TUESDAY, FEBRUARY 26 American Cinematheque at the Egyptian Theatre, 6712 Hollywood Bl, Hollywood, (323) 466-3456. Egyptiantheatre.com. A Tribute to Director David Gordon Green – George Washington, 7:30; followed by Q&A and wine reception with David Gordon Green, producer Lisa Muskat and editor Zene Baker; moderated by film consultant Peter Broderick. L.A. County Museum of Art Tuesday Matinees – Humoresque, 1. New Beverly Cinema The Greats of Roth – The Apple, 7:30; Stunt Rock, 9:20.

WEDNESDAY, FEBRUARY 27 American Cinematheque at the Aero Theatre Happy Anniversar y / Barbara Stanwyck Double Feature – Baby Face, 7:30; followed by The Bitter Tea of General Yen. American Cinematheque at the Egyptian Theatre A Tribute to David Gordon Green – All the Real Girls, 7:30; followed by Under tow. Discussion between films with David Gordon Green and guests; moderated by No Budget Film School Founder Mark Stolaroff. ArcLight Cinemas Hollywood, 6360 Sunset Bl, Hollywood, (323) 464-1478. Arclightcinemas.com. AFI’s Modern Musicals and their Icons – All That Jazz, 8. CineFamily at the Silent Movie Theatre Silent Wednesdays – John Barr ymore – Beau Brummel, 8. Hammer Museum, UCLA Film & Television Archive at the Billy Wilder Theatre The Movie That Inspired Me – Army of Shadows (L’Armée des Ombres), 7:30 New Beverly Cinema The Greats of Roth – The Blair Witch Project, 7:30; Cannibal Holocaust, 9:20.

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Social Distortion The Magnetic Fields finds melody and romance amid the searing shoegaze noise ~ BY CHRIS MORRIS ~

ISTENERS PRONE TO gazing at their shoes have been cheered by some recent reunion events. Last year, the Jesus and Mary Chain regrouped for an appearance at Coachella and U.S. tour dates; this spring, My Bloody Valentine is convening for some European concerts and, hopefully, a sortie to these shores. But even if these much-prized bands hadn’t taken to the stage again, lovers of noisy dream-pop would have a destination: Distortion (Nonesuch), the new album by the Magnetic Fields. Part homage, part personal statement, this 38-minute slice of tuneful grind would be enough to satisfy any JAMC or MBV freak by itself. Stephin Merritt is one of rock’s busiest beavers. Since his early days in the early ’90s as a bedroom artiste, he has piled up a large discography, not only as leader of the Magnetic Fields but under such sidegroup handles as the 6ths and Future Bible Heroes. His prolific bent culminated with 1999’s 69 Love Songs, which was just what the title said it was – three score and nine romantic tunes, spread over three CDs. The title of Distortion is likewise descriptive. Sonically the album’s 13 tracks owe everything to the precedent set by JAMC’s Jim and William Reid, and to a lesser extent by MBV’s Kevin Shields and Bilinda Butcher. Many of Merritt’s songs

SONIC NATION ride an echoing “Just Like Honey”/“Be My Baby” backbeat, and most of the numbers begin with a brief fanfare of shearing guitar noise; the majority shimmer with twisted in-the-red fuzz. (“No synths,” runs a note in the liners.) The influence of MBV can be felt in the production’s heavily phased, disoriented wobble, and in traded-off vocals by Merritt (who often sounds like the Idiot-era Iggy Pop) and Shirley Simms (filling Butcher’s role, but just as frequently incarnating the Velvet Underground’s Nico and Maureen Tucker). Merritt steps up with a collection of introspective tunes about romance gone horribly wrong and louche observations of the social demimonde. But, despite some genre-typical lyrical moping, the feel of the album is surprisingly chipper. This is

probably because Merritt is a finer melodist than any of his models; his principal composing cues appear to be taken from Brian Wilson – like the Reids, a Phil Spector idolator. It isn’t accidental that one of the set’s most entertaining songs, “California Girls,” takes the Beach Boys’ paean to our Golden State bunnies and stands it on its empty blonde head. Lou Reed is another obvious source: The queeny “Xavier Says” (cf. “Candy Says” and “Lisa Says”), with its bitchy tone and vitriolic, conversational back-and-forth, invokes ol’ Lou’s heyday at Max’s Kansas City. Classic shoegaze, for all its sonic delights, tended to suffer from a certain lugubriousness, but Merritt’s new-millennium gloss contains some ricocheting humor. “Too Drunk to Dream” extols the virtues of getting shitfaced as a cureall for romantic discontent. Simms’s solo turns are especially droll, if bleak underneath their wry surfaces: “The Nun’s Litany” offers an array of alternative career choices – Playboy bunny, topless waitress, nude model, dominatrix, porno starlet – to the devout; “Courtesans” is a tongue-in-cheek celebration of kept womanhood; and “Drive On, Driver” suggests that the easiest way out of an uncomfortable love affair is to just run away. Other tracks – “Old Fools,” “Please Stop Dancing,” “I’ll Dream Alone,” and the anti-Christmas carol “Mr. Mistletoe” – muster their gloom straightforwardly, but they play differently within the brightened tonal context of the whole. There’s nothing especially fresh about Distortion. Merritt and his colleagues are miming moves embraced by dreary teens some two decades back. But there’s an underpinning of merriment and well-placed dollops of irony amidst the sheets of sound that propel the album, making the Magnetic Fields’ move into shoegaze more than just a plunge into nostalgic skull-smash. This is crushing yet lively dream-pop that has the sound of the old, but the feel of something new. ✶ The Magnetic Fields performs March 2-3 at the Music Box @ the Fonda in Hollywood.

1000 Universal Center Dr. Universal City (818) 755-9970 www.howlatthemoon.com/hollywood_tonight.html

Chris Morris hosts Watusi Rodeo on Indie 103.1 every Sunday at 9 a.m. FEBRUARY 21~27, 2008

CITYBEAT

PHOTOGRAPH BY OSCAR ZAGAL

~ THIS MAN IS SERIOUS: THE HIVES ROCK THE WILTERN ~

Riff Raff The Hives and the Donnas are loud, pure, and sometimes epic at the Wiltern ~ BY STEVE APPLEFORD ~

“

THIS MAY BE THE BEST we’ve ever been!” You get used to that kind of talk from the Hives during one of their epic sets of nonstop punkpop celebration, a sound and purpose as pure as the earliest rock ’n’ roll. Is singer Pelle Almqvist serious? Does it matter? A night with the Hives works as comedy, as circus, and, for those 75 minutes onstage, as possibly the greatest band alive. “I assure you we are very serious,” Almqvist told the crowd gathered at the Hives’ concert Tuesday at the Wiltern. “There’s always that five percent that does not get it. I feel sorry for you.” They are peacocks with a wild streak,

LIVE five young men arriving onstage in matching black suits with white trim and a Hives prep-school crest on their chests. They are showmen. And their task every night is to simply erupt in a spasm of spontaneity and precision and clamor to the fantastic riff-raff of “Hate to Say I Told You So” or “Idiot Walk,” or to find that timeless rock sound somewhere between the Ramones and Sweet. The Hives know how to have fun. Between songs, Almqvist addressed the crowd like a rock ’n’ roll preacherman, hands on his hips or snapping his fingers, lecturing the faithful on the infinite greatness of his band, pointing to a fan and declaring: “The woman says, ‘The Hives rock!’ Anyone agree?” On the band’s newest release, The Black and White Album, the Hives stray a bit from their core mission, experimenting on a few tracks with ’80s pop and even a Pharrell Williams track that

CITYBEAT

FEBRUARY 21~27, 2008

is danceable in a whole other way. None of that was in evidence at the Wiltern, where the Swedish rockers just did what they do best, loving and mocking themselves and their audience and this crazy moment they were all sharing together. Before long, he and the band were peeling off their nice jackets and ties, strutting as a unit through their signature “Supply and Demand” and the urgent new “Tick Tick Boom.” Mission accomplished. Support act the Donnas also arrived ready to rumble and to “make some fucking noise!” Singer Brett Anderson sounded as excited to see the Hives as anyone. “We’ve been wanting to play with these guys forever. They’re like our Swedish brothers!” Maybe, except the all-female quartet from Palo Alto are probably tougher, louder, and more AC/DC and Thin Lizzy than Swedish garage. The songs are not as polished, but the Donnas had some fine moments with their Iron Man riffs and the metal cheerleader chant of “Girl Talk” (from their 2007 album Bitchin’). Guitarist Allison Robertson took the occasional wicked solo, twirling her blonde hair between riffs. No other special effects necessary. The Donnas are inevitably less choreographed and precisely styled than the Hives, standing and playing together in boots and skin-tight denim. The band does rock extra-hard live, but is rougher onstage than on record. The hooks sometimes got lost in the roar. Still, “Who Invited You?” was raw and explosive, and the taunting “Take It Off” is still among their best, catchiest tunes. More songs like that, and the Donnas might have threatened the Hives’ position as the night’s most serious fun. ✶

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HOSE OF US WHO ARE OLD enough may recall the slapdown between Sony and VHS for dominance of the videocassette market in the 1980s, and how, when VHS won, folks who bought a Sony Betamax – arguably the more efficient of the two – were left with a large metal box, good for nothing but recording movies from TV. Eventually we all fell into line, and lived with VHS until the DVD arrived, the video-rental business phased out VHS cassettes, and we were forced to acquire DVD players, or wait for new movies to come ’round on cable. Only the appearance of cheap Chinese DVD players for around 25 bucks made the transition relatively painless. So painless in fact, that most consumers felt set for a while. Netflix came in the mail and home viewing appeared to have settled into a comfortable groove. High-def was something we’d think about later. Until last week that is, when the simmering, but not overly publicized, conflict between Toshiba’s HD-DVD format and the Blu-ray disc system from Sony, was settled in a video delivery system coup d’état as Netflix announced plans to phase out HD-DVD disks by the end of this year, and Best Buy confirmed it would “prioritize” Blu-ray products. If we’d been paying attention, we’d have seen this coming. Warner Bros., Disney, and, of course, Sony Pictures had exclusively lined up behind Bluray (plus the struggling Blockbuster). Only Universal and Paramount still hung with HD-DVD. The Netflix and Best Buy decisions would appear to have broken the back of HD-DVD, and consumers, yet again, will have to shell out for another non-negotiable system. The only ray (yes, a pun) of light in this new bout of imposed progress was offered by Netflix honcho Ted Sarandos in a statement to CNN. “Going forward, we expect that the price points of high-def DVD players will come down significantly.” And with the cheapest Blu-ray player now retailing at

just under $300, we can only hope that “significantly” means vast stacks of dirt-cheap Chinese Blu-ray hardware showing up a mall near you, prior to the inevitable passing out of the basic DVD. In the audio world we’re accustomed to this kind of enforced progress. We went from vinyl to cassette, from cassette to CD, from CD to MP3, with a blind alley detour to the DAT tape (and don’t mention 8-tracks). Musicians also hooked reel-to-reel players into the auxiliary ports in the back of the old-fashioned amplifier. And now a faction of audiophiles is leading a return to what they see as the warmth of vinyl. Not to decry progress, but the irksome problem was that each system left a residue of content once the medium containing it was deemed obsolete, and the listener would need supposedly obsolete hardware to groove on favorites from his or her collection. Turntables were maintained just to play a pristine 12-inch of John Coltrane’s “Afro Blue.” You needed a cassette player for those great mixtapes your buddy made in 1996, and some extremists even kept an old boom box around because Grandmaster Flash sounded great with the bass boost. Audio turned homes in electronic hardware museums, and now video advances promise to create even more starship clutter. And let’s not be so naïve as to think it will end with Blu-ray. Lurking on the tech horizon is one or more developed versions of IPTV (Internet Protocol Television) whereby the home computer and the high-def television will be fully intergrated, and the entire menu of onscreen options will be controlled by a handy Wi-Fi laptop. But we all know this will not clear away the junk. We’ll still need a VHS machine to play those tapes from way back when, if only to load them into the computer, should we ever find the time. And John Coltrane will still sound great on vinyl. ✶

Mick Farren blogs at Doc40.blogspot.com. FEBRUARY 21~27, 2008

CITYBEAT

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~ THE QUIET BEFORE THE CROWD ~

Neighborhood Exotic Tangier offers an ambitious kitchen and fine service ~ BY RICHARD FOSS ~ HE NAME TANGIER EVOKES images from old travel posters, a crossroads city of twisting alleys, exotic cuisine, and Oriental mystery. I’ve been there on a day trip and found it to have all of those, plus chaotic traffic and the hardest bargaining souvenir merchants in the Mediterranean region. Offhand, it doesn’t have much in common with the orderly and quiet neighborhood near the Griffith Observatory where the club and restaurant called Tangier is located. This place was once appropriately named, since they used to serve North African food, but these days there’s no tagine to be seen or couscous on the loose. The décor still has echoes of those days, with some pretty inlay work in the bar area. The main dining room has a different kind of style; it’s a dramatic space with soft but strikingly pretty lighting. I had heard recommendations as a place to eat before shows, so decided to investigate. A friend and I arrived early on a weekday evening and found the whole restaurant vacant, not too surprising since the club traffic doesn’t rev up until the later hours. We relaxed in the peaceful space to consider the menu, finally deciding on an order of crab spring rolls ($10), a Tangier salad ($8), and an Asian pear and endive salad ($9) for appetizers. The crab rolls started the meal on a high note – rather than vegetable rolls with a hint of crab that we’ve had elsewhere, these had seafood and spices minced together for a pleasant texture, and were served with a zippy mix of garlic mayonnaise and Indonesian pepper sauce. It was well above the standard of club food in L.A., and showed some thought and ambition. So did the signature salad, which had a well-considered mix of spinach leaves, raisins, feta cheese, candied walnuts, and tomato in a balsamic vinaigrette. The kitchen went a bit too far with our other salad, though – we found that Asian pear and endive both go well with Roquefort, but not each other, and especially not in the presence of a lemon vinaigrette and pomegranate reduction. There were all the ingredients of a very good salad here, plus a few that just didn’t belong. Our server Brian noticed that we weren’t eating the salad and removed

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CITYBEAT

FEBRUARY 21~27, 2008

it from our bill, a gesture we appreciated. The wine list had some offerings by the bottle that would have been interesting with the crab rolls and Tangier salad, but the by-the-glass list is mostly dull. We chose a bottle of Laetitia Central Coast Pinot Noir that was only slightly high at $40, and a good compromise with all our selections. There are many good bottles offered here, so somebody cares about good wine, but it’s not filtering down to the glass list. For main courses we picked a mushroom pasta ($16) and a pepper steak ($26). Of the two, the pasta was a standout, the sauce rich with shallots, thyme, truffle oil, and what tasted like a hint of brandy. The four kinds of mushrooms each had distinct flavors, and it was thoroughly enjoyable. The steak was less satisfying because the pepper sauce was too timid and used sparingly. It was a well-grilled and tender piece of meat, but I had ordered a pepper steak because I like the combination of meat and robust sauce. The garlic spinach that came with it was very nice, but the mashed potatoes with mustard were timid – we could hardly taste any hint of spice. We had no complaints about the dessert sampler ($15), three portions of any of the selections from the menu. We picked fallen chocolate cake, pot au chocolat, and bread pudding, and polished off all three. None were over-sweet, and though this was a soft bread pudding rather than the crisp version I prefer, we enjoyed all of them. Our server said they were made in-house, and if so there is a talented baker on staff. By the time we left, the room was filling with the pre-show crowd, quietness and low music dispelled by happy chatter. While not everything was perfect, the ambition of the kitchen is evident and the standard of service is high. It is not the exotic and chaotic Tangier I remember from my travels, but it’s a solid dining spot by the same name that deserves a look. ✶

Tangier, 2138 Hillhurst Ave., Los Feliz. Open daily, dinner only. Full bar, valet parking; (323) 666-8666.

CARTOON VIOLENCE: JULIE SANCHEZ AND JULIE TERRELL ~

Shooting Range ‘Cartoon’ and ‘The Monkey Jar’ examine the subject of school violence ~ BY DON SHIRLEY ~

“

IT LOOKED LIKE A THEATRICAL thing, the way he walked onto the stage,” said one of the witnesses of last week’s carnage at Northern Illinois University, describing how Steve Kazmierczak emerged from the wings of a lecture hall stage and started shooting. Yes, there’s something theatrical about many public shootings. I’ll be surprised if I don’t eventually see a play about the homophobically-inspired murder of an Oxnard junior high school student last week. Last year’s Virginia Tech killings happened to coincide with the premiere of a play, in Hollywood, about the previously worst campus murder spree (University of Texas, 1966) and with a revival of the musical Assassins. The recent rash of public shootings across America also coincides with a couple of L.A. productions that address some of these issues – but in starkly different styles. Cartoon is an imaginative allegory, with vivid but intentionally shallow characters who commit irrational violence, sometimes even unwittingly. The Monkey Jar, on the other hand, is a realistically detailed script about a kid who brings a gun to the campus of a charter school on the Westside. In Cartoon, playwright Steven Yockey creates a micro-society ruled by a little girl named Esther (Amy Mucken). She wields power with a giant sledgehammer, although it’s more of a deterrent than an instrument of punishment. Esther regularly rouses everyone else from slumber in order to sing and chant a cheerfully winking theme song that introduces the characters to us, the audience. An applause sign signals our appropriate response. One day, the bored and mischievous Trouble (Nikitas Menotiades) steals the hammer in an attempt to challenge Esther’s authority. Esther panics, and the other characters are soon enveloped in a wave of retribution. Yockey’s subject is much bigger than school violence. But when the virtually mute and sad-eyed clown Suitor (Kyle Pierce) finds his proffered gifts of a bomb and dynamite rejected by his intended love object – a similarly mute ballerina named Damsel (Karen DeThomas) – he casually tosses them offstage, where they destroy a school. The first reaction of the play’s two adolescent

girls Yumi (Julie Sanchez) and Akane (Julie Terrell) – presumably anime characters – is that the explosion would have been bad if they had been there, but fortunately they escaped with no serious damage to their looks. Later, when the shooting starts, one of the least likely characters fires most of the shots. Director Tiger Reel and his new Action! Theatre Company create a gallery of caricatures who could have walked out of a subversive comic book. It’s a deeply thought-out group portrait of people who never bother to think deeply. By contrast, the characters in Richard Martin Hirsch’s The Monkey Jar think long and hard about the ramifications of an incident in which a fourth grader (Josh Ogner, alternating with Sekai Murashige) wields a gun on campus. The characters are a multicultural cross-section. The Japanese-American boy was adopted by Jewish parents (Richard Horvitz, Sally Saffioti). His teacher is a gay Japanese American (Henry Hayashi). The principal is an African-American man (Mark Berry). The psychologist – and narrator – is an Anglo woman (Amy Tolsky), as is the ex-lawyer turned PTA president (Addie Daddio). Hirsch gives us a glimpse of the gun at the beginning but maintains intriguing ambiguity about whether it will actually be fired. Even after that question in answered, we don’t learn exactly what transpired until the final scene. Most of the play consists of admirably conflicted agonizing about what to do next, based on incomplete information. Thoughtfully staged by Warren Davis, The Monkey Jar will cut close to home for many a Los Angeles parent, teacher, or administrator. ✶ Cartoon, Art/Works Theatre, 6539 Santa Monica Blvd., Hollywood. (323) 908-7276. Closes March 2.

The Monkey Jar, Theatre 40, 241 Moreno Dr., Beverly Hills High School campus. (310) 3640535. Theatre40.org. Closes March 9.

For more reviews by Don Shirley, see Stage listings, page 36. FEBRUARY 21~27, 2008

CITYBEAT

TIM TOWNSLEY

THURSDAY 21

FRIDAY 22

SATURDAY 23

SUNDAY 24

ZELL’S SELL

DRUMS NOT DEAD

S T O P, D O N ’ T S H O P

F O R Y O U R C O N S I D E R AT I O N

It didn’t take long for much of L.A. to discover that it loves to hate Sam Zell. The almost proudly coarse new owner of the Tribune Company, and thus the L.A. Times, has made the most of the spotlight with a few widely reported f-bombs and porn jokes; he’ll say hello perhaps more cordially to the general public tonight at the Hammer, in a conversation with Judy D. Olian, dean of the UCLA Anderson School of Management. Just don’t get him started about puppy dogs. 7 p.m. Free. 10899 Wilshire Blvd., Westwood, (310) 443-7000. Hammer.ucla.edu.

The indie rock (emphasis on rock) show of the young year plugs in tonight at the El Rey, with two deserving bands vying for your Tshirt allegiances. In one corner we have Brooklyn’s mercurial Liars, who move from dance-punk to more experimental drone with equal aplomb; in the other, L.A.’s recent punk breakout No Age, momentarily leaving their home turf at The Smell for the wider cross-section that’s been promised to them ever since The New Yorker and Pitchfork jumped on board. Chances are you’ve never seen this many kids rocking the skinny jeans-earplugs combo. 8 p.m. $15. El Rey, 5515 Wilshire Blvd., L.A., (323) 9366400. Theelrey.com.

You’d think the title would say it all, but the Make Art/Stop AIDS exhibit at UCLA’s Fowler Museum is no auction fundraiser. Instead, its engagement with the AIDS epidemic is strictly to be found in the art it features. More than 60 contemporary works, from documenting photographs to more conceptual pieces about the fear of touching, aim to educate and inspire viewers. Tonight’s opening reception is preceded by Ntare Mwine’s reading of Biro, a one-man play based on the true story of a Ugandan man who ends up in America homeless and HIV-positive. 8 p.m.-11 p.m. Free. Fowler Museum, UCLA, Westwood, (310) 8254361. Fowler.ucla.edu.

For those who can’t stand the idea of Academy members getting to have all the Oscar fun tonight, the Alex Theatre hosts its “2nd Annual Red Carpet Gala,” complete with drinks, hors d’oeuvres, a big HD screen, and that rouge rug. The $80 ticket goes toward fundraising for the nonprofit Set Decorators Society of America, and the Alex itself (4 p.m.; 216 N. Brand Blvd., Glendale, 818-243-2539; Alextheatre.org). I’d rather go the TiVo/DVR route myself, or at least spend the evening with some film buffs and leather sofas at the Silent Movie Theatre’s “Oscar Night with the Cinefamily” (4 p.m.; $10; 611 N. Fairfax Ave., L.A. 323-6552510; Silentmovietheatre.com).

CITYBEAT

FEBRUARY 21~27, 2008

u s

u D

SOUL PEOPLE: TIM TOWNSLEY’S SONNY STITT (SEE SIDEBAR) ~

Written and edited by Alfred Lee MONDAY 25

TUESDAY 26

WEDNESDAY 27

T H E W H O L E S T O RY

GREEN CINE

A LENSER’S CRAFT

First novelists are in general an ambitious bunch, but apparently few more so than literary newcomer Steve Toltz, whose A Fraction of the Whole dares to sprawl out its intercontinental father-son comedy across 500-plus pages and has captured the heart of many a seasoned book reviewer. Toltz presents tonight at Book Soup (7 p.m.; 8818 Sunset Blvd., West Hollywood, 310659-3110; Booksoup.com). Scheduled there earlier in the week is Charles Ferguson, a fellow first-timer in a different medium – the reputable academic’s recent debut film, No End in Sight, was an irrefutable argument against the Bush administration’s competency in Iraq. He presents and signs the book version Friday at 7 p.m.

Anxiety of Influence literary theorist Harold Bloom would have a field day with the work of filmmaker David Gordon Green, who only now seems to be stepping out of arthouse giant Terrence Malick’s shadow. The American Cinematheque’s tribute to Green starts tonight with a screening of his 2000 debut feature George Washington, which borrowed effectively from Malick’s dreamy style of camerawork and voice-over narration. He’ll be present at all screenings. The series culminates with the February 28 screening of upcoming release Snow Angels, his first time working from adapted material. 7:30 p.m. $10; $8 students. Egyptian Theatre, 6712 Hollywood Blvd., (323) 4663456. Americancinematheque.com.

Speaking of both Malick and the Oscars, no film last year tipped its Malickian influence more than The Assassination of Jesse James by the Coward Robert Ford. Its cinematographer, Roger Deakins, may very well hold an Oscar trophy in his hand – either for Jesse James or No Country for Old Men, which he was also nominated for – by the time he appears tonight at the Billy Wilder Theater. Deakins is participating in the Curtis Hanson-hosted “The Movie That Inspired Me” series, with a screening and discussion of Jean-Pierre Melville’s 1969 French Resistance thriller Army of Shadows. 7:30 p.m. $9; $8 students. 10899 Wilshire Blvd., Westwood. Info: (310) 206-3456 or Cinema.ucla.edu.

FEBRUARY 21~27, 2008

CITYBEAT

PORTRAITS IN JAZZ uasu[ There’s nothing new about fine artists using jazz musicians as subject matter. As far back as the Harlem Renaissance of the 1920s, painters like Archibald Motley, Jr. considered jazz and its makers as subjects worthy of serious interpretation. As jazz has been marginalized from mainstream entertainment, the players are seldom depicted in contemporary art. When they are – especially in present day Los Angeles – the level of expression seldom rises above gushing fandom or naive folk art. Painter Tim Townsley has been addressing jazz musicians in his work for a number of years. He paints figuratively and the human figure is consistent in his wide-ranging oeuvre. Townsley, who speaks rapidly and directly, notes that jazz is something that he returns to periodically. “I get bored quickly,” he confesses. “But I love jazz, so I keep coming back to painting musicians.” His new show of paintings, Jazz Impressions – the opening reception of which is Thursday, February 21 – won’t be hosted by a gallery. Townsley’s latest offering will sit in the Crowne Plaza Hotel LAX, preceding an evening performance by pianist and singer Dena DeRose. Although he studied formally at Otis Art Institute, UCLA and Cal State L.A., Townsley has a practical background that few painters have. He painted sets, backdrops, and movie mattes for about 25 years. “I grew up in North Hollywood,” he notes, “and my dad worked in the studios. I learned some tricks when I got to work with Benny Carrera. He was about 70 and he’d worked with D.W. Griffith. He could sightline a big wall and figure out the perspective of a scene, within two or three inches of accuracy.” Townsley’s pieces vary in their mode of expression and their intent. “Most of the musicians I’m interested in painting are gone,” he confesses, “So I have to rely on photographs.” Though depictions of the arch of tenor saxophonist Sonny Rollins’s distinctive head or Billie Holiday’s regal cheekbones are accurate, Townsley doesn’t duplicate photographic images. “I try to play with what’s there. Depending on what it suggests to me, I’ll work tight or loose.” A head portrait of pianist Oscar Peterson – painted a la prima in a couple of hours – roils with energy and seems to move before your eyes. “I’m always playing with color and line,” he notes, “so painterly things like focus or depth of field can bring a psychological aspect to the subject.” –Kirk Silsbee Jazz Expressions opening reception. Thur. at 4:30 p.m. Free. Crowne Plaza LAX, Brasserie Jazz Lounge, 5985 W. Century Blvd., L.A., (310) 642-7500. In-housemusic.com. ~

HOW TO LIST WITH US Listings in “7 Days” and our world-famous calendar are accepted for arts and community events in the greater Los Angeles area. The deadline to be considered for “7 Days” is at least two weeks in advance of the event. Send all information to: “7 Days,” Los Angeles CityBeat, 5209 Wilshire Blvd., Los Angeles, CA 90036. Fax to (323) 938-1661, or e-mail calendar@lacitybeat.com. No phone calls, please.

ROCK CRITIC’S CHOICE Times are p.m. unless otherwise indicated. Listing order does not necessarily indicate billing order. All events subject to sudden (hopefully not violent) changes.

For additional listings, visit WWW.LACITYBEAT.COM

UPCOMING IN-STORES at AMOEBA! All shows are FREE and ALL AGES! For full calendar of events visit: WWW.AMOEBA.COM

Friday • Feb 22 • 7pm WEBCAST LIVE ON AMOEBA.COM

KIMYA DAWSON Kimya Dawson plays a show at Amoeba in celebration of her songs on the Juno soundtrack — including Moldy Peaches tracks and songs with Antsy Pants.

Thursday • Feb 28 • 7pm

KIDS OF WIDNEY HIGH The Kids of Widney High are a group of students from Widney High School, a special ed. high school in Los Angeles, who write and perform original songs. The group started in 1988 as a songwriting class and changes as the students come and go from Widney. Join them for their second Amoeba in-store to celebrate their new CD Live at the Key Club — out now! Also playing a free, live show February 24th at undergounDNUOS (presented by Amoeba Music & KXLU) at Charlie Os!

Wed • March 5 • 7pm

JIM BIANCO Jim Bianco celebrates his new CD Sing — out March 4th on Hotel Cafe’s new record label! “Bianco’s songs . . . products of a clear fascination with old-school jazz, blues and swing, couple with an unabashedly commercial embrace of popular melody.” — Liam Gowing, LA Weekly Also catch the CD release party/show at the Hotel Cafe March 4th!

Thurs • March 6 • 7pm

HOWLIN RAIN Comets On Fire founder Ethan Miller and one of Sun Burned Hand Of The Man’s expand their band for their 2nd album, Magnificent Fiend — out March 4th on Birdman/American. Playing live at Spaceland, March 5th!

Sunday • March 9 • 2pm

PERÚ NEGRO This Afro-Peruvian musical ensemble was founded in 1969 to celebrate and preserve Peru’s African musical heritage and truly are the “Cultural Ambassadors of Black Peru.” They celebrate their new CD Zamba Malato with their Amoeba in-store and a full performance at UCLA’s Royce Hall on March 15th.

FREE PARKING AT THE ARCLIGHT GARAGE! Amoeba validates for an hour of parking with purchase!

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SOUNDS ROCK, POP, ACOUSTIC Alex’s Bar, 2913 E Anaheim St, Long Beach, (562) 434-8292. Alexsbar.com. Call for showtimes. Thur: Art Show. Fri: Girl in a Coma, Los Mysteriosos, Killola, Oslow. Sat: Voodoo Glow Skulls, Left Alone, Knockout. Sun: Her Grace the Duchess, Jail Weddings, Thee Commotions. Wed: Indoor Swapmeet. Avalon Hollywood, 1735 N Vine St, Hollywood, (323) 462-8900. Avalonhollywood.com. Thur: Pinback, 8:30. Fri: Spider After Dark with Dino G. Sat: Felix Da Housecat. Boardner’s of Hollywood, 1652 N Cherokee Av, Hollywood, (323) 462-9621. Boardners.com. Thur: Perversion. Fri: Ledge. Sat: Bar Sinister. Sun: Nuvo Rouge. Mon: Blue Mondays. Tue: Institution Tuesdays. Wed: Club Moscow. Bordello, 901 E First St, downtown L.A., (213) 687-3766. Bordellobar.com. Fri: Hazelden, Rykarda Parasol, What Made Milwaukee Famous, Golden Animals, 9. Mon: Dorian Wood, Killsonic, Liz Pappademas, Frank Turner, Chris TT, 7:45. Boulevard Music, 4316 Sepulveda Bl, Culver City, (310) 398-2583. Boulevardmusic.com. Call for showtimes. Fri: Lou and Peter Berryman. Sat: Flinner, Nygard, Bevin. Café-Club Fais Do-Do, 5257 W Adams Bl, L.A., (323) 954-8080. Faisdodo.com. Thur-Wed: Call for info. The Canyon Club, 28912 Roadside Dr, Agoura Hills, (818) 879-5016. Canyonclub.net. Shows at 8 unless otherwise noted. Thur: The Hollywood Men. Fri: School of Rock. Sun: Dave Mason. Cat Club, 8911 Sunset Bl, West Hollywood, (310) 657-0888. Myspace.com/thecatclub. Shows at 8. Thur: Lee Butcher, Gardners, Texas Rifles, The Drills, Starfuckers. Fri: On the Run, Resistance, Eric Knight, Chasing Saints, Vandalay Industries, Burning Sky. Sat: EverNever, Mouth to Mouth, Xuk, Automatic Hotel, Aces & Eights. Mon: Moscow, Breech, Perfect Blue, Kisses, Kaitlyn Anderson. Tue: Heather Donaldson, Lindsey Cameron, Lindsey Conway, Allison Kyler, Futhamuckas. Wed: Ella G Sell, Vette, 13th Sky, The Trophy Wives. CIA, 11334 Burbank Bl, North Hollywood, (818) 506-6353. Ciabnormalarts.com. Thur-Wed: Call for info. Cinema Bar, 3967 Sepulveda Bl, Culver City, (310) 390-1328. Myspace.com/thecinemabar. Shows at 9 unless noted. Thur: Neon West. Fri: Mike Stinson, 10. Sat: Groovy Rednecks, 9:30. Sun: Lisa Douglass, Neighborhood Bullys, 9:30. Mon: The Stumpwater Experiment. Tue: Dave Gleason, Vicki Lee, 9:30. Wed: Lisa Finnie, Patty Booker, 9:30. Cobalt Café, 22047 Sherman Way, Canoga Park, (818) 348-3789. Cobaltcafe.com. Thur: J.R.B., Koast, Jaidon, 8. Fri: Nefarious Rites, Nun Abortion, Sculptured Wounds, Karpe DM, Plastered, Last Hours, Dead Alive, 6:30. Sat: Anthony/Adam, Ratas Radiosas, Dulche De Leche, 10 Hole Boot Boy, C.I., A Pretty Mess, Last Round Up, D.V.M.L. Sun: Black Wasted Magic, Abliss, Suffering the Affliction, Blodd for Other Brothers, The Aftermath, 8. Tue: Open Reading. The Coffee Gallery Backstage, 2029 N Lake Bl, Altadena, (626) 398-7917. Coffeegallery.com. Fri: Matt Flinner, Scott Nygaard, Sam Bevan, 8. Fri: The Perfect Gentleman, 8. Sat: The Sourcerers, 2; The Hot Club Quartet, 7. Sun: Michael Anthony Nigro, 7. Mon: The Booher Brothers, 8. Tue: The Quebe Sisters Band, 8. Wed: John

Young, 8. Cowboy Palace Saloon, 21635 Devonshire St, Chatswor th, (818) 341-0166. Cowboypalace.com. Call for showtimes. Thur: Larry Dean. Fri-Sat: Christian Simmons and Jessica. Sun: Jeffrey Michaels. Mon: Chad Watson. Tue: David Reeves Carpenter. Wed: Larry Dean. The Derby, 4500 Los Feliz Bl, Los Feliz, (323) 663-8979. Clubderby.com. Thur: Trevor Hall, Tristesssa, Unbusted, 8:50. Fri: Gomer, 9:40. Sat: Club Footsteps, 9. Sun: Sunday Swing, 7. Tue: Comedy & Music Explosion, 8. Wed: Fisher, The Collective, 8. Dragonfly, 6510 Santa Monica Bl, Hollywood, (323) 466-6111. Thedragonfly.com. Thur-Wed: Call for info. The Echo, 1822 Sunset Bl, Echo Park, (213) 4138200. Attheecho.com. Thur: Helmet, Darker My Love, The Icarus Line, Crystal Antlers, 7. Fri: Her Grace the Duchess, Rocket, 9; In the Echoplex: Built to Spill, The Meat Puppets, 7. Sat: Hang the DJs, 10; In the Echoplex: Built To Spill, Meat Puppets, Check Yo Ponytail, 7. Sun: Part Time Punks, Holy Shit 10. Mon: The Henry Clay People, What Made Milwaukee Famous, Rademacher, Army Navy, 8:30; In the Echoplex: Rickie Lee Jones, 8. Tue: I See Hawks in LA, Mike Stinson, Psychedelic Cowboys, 8:30. Wed: British Sea Power, Colourmusic, Castledoor, 8:30; In the Echoplex: The Dub Club, 9. El Cid, 4212 W Sunset Bl, L.A., (323) 6680318. Elcidla.com. Thur: Almardiente Flamenco Dinner Theater, 6:30; The Super Sexy Show, 10. Fri: Flamenco Dinner Theatre, 6:30; Mash Di Place, 10. Sat: Flamenco Dinner Theatre, 5:30; Buddy, James Combs, Willie Wisely, 10. Sun: Flamenco Dinner, 6:30. Mon: Garage Comedy, 8. Tue: Open Mike, 7. Wed: Flamenco Dinner, 6:30. El Rey, 5515 Wilshire Bl, L.A., (323) 9366400/4790. Theelrey.com. Shows at 8. Thur: Olmec, Gethesemane, She Died, 7. Sat: Liars, No Age, 8. Sun: Windward School Battle of the Bands. Tue: Missy Higgins, Robert Francis, 8. 14 Below, 1348 14th St, Santa Monica, (310) 451-5040. 14below.com. Call for showtimes. Thur: West Side Rhythm Section, Sanford Street, Stereo Box, 9. Fri: The Hard Goodbye, Stobo, The Modeens, The Savages, 9. Sat: Chinese Democracy, Cast of Kings, Resident Cain, Demitri, 9. Sun: Cubensis, 8. Mon: Comedy Jam, 7; Original Understudies, 11. Tue: Long Nguyen, Crystalblue, John Clinebell, Soul Cloud, Zach Lupetin and the Dustbowl Revival, Gabe and Friends, 9. Wed: Candy, The Deepsea Goes, The Chase, The Cause, Spence, 8. Genghis Cohen, 740 N Fairfax Av, West Hollywood, (323) 653-0640. Genghiscohen.com. Thur: Randi Driscoll, Pauline Drossart, Maggie Walters, Ainjel Emme, 8. Fri: Sarah Hethcoat, Michael R. Harris, Jane Carrey Band, 8. Sat: Victoria Wallace, Pamela Lillard, Randy Kaplan, Geoffrey Clay, 7:30. Mon: Brian Green Band, Aaron Liebowitz, 8. Tue: Peech, Marianne Keith, Noah Sugarman, Bobby Syvarth, My Dolls, Max Larkin, Woodmaste, 7:30. Wed: Jami Ross, Tamar, 8. The Gig, 7302 Melrose Av, L.A., (323) 9364440. Liveatthegig.com. Thur-Wed: Call for info. Good Hurt, 12249 Venice Bl, West L.A., (310) 390-1076. Goodhurt.net. Thur: Chris McFarland, Early Dolphin, Blonde Bazaar, 8:30. Fri: Tango Kilo, Sonsoles, A Fifth of Reason, Lo Fi Man, Casa Do Samba, 8:30. Sat: Pretentious Pidgins, Bleeding Deacons, Orange Sky Blue, PenFifteenClub, Casanova Jones, 9. Mon: Nettie Rose, The Rhythm Coffin, Clyde Bonnie Clyde, Black Whole Sons, 8:30. Tue: The Rustic Tone Kings, Canobliss, 10. Wed: Charlie Superfly, 9:15. Hallenbeck’s General Store & Café, 5510 Cahuenga Bl, North Hollywood, (818) 985-5916. Hallenbecks.net. Tue: Open Mike, 7. The Hotel Café, 1623 N Cahuenga Bl, Hollywood,

✭ ✭ ✭

✭ ✭ ✭ ~ ASG ~

Pearl; Airbourne; ASG Some nights, Sunset Boulevard is simply The Place To Be, and this week the best concerts on the Strip aren’t on Amateur Nights (a.k.a. Friday and Saturday). Wanna know where ta go? Check out blond hellion Pearl Aday, daughter of the mighty Meat Loaf, whose backing band includes her sweetie, Anthrax guitarist Scott Ian, as well as plenty of guys from superior whiteboy-blues jammers Mother Superior. (Mon., Key Club, opening for Metal Skool.) Pearl just finished recording her debut with master producer Joe Barresi, so results should fly like a bat out of, um, something … . Wilmington, North Carolina’s ASG (the Amplification of Self-Gratification, dude!) are four fellows whose latest disc, Win Us Over, is a fine example of the band’s heavy-duty Southern barrelhouse thunder ’n’ roll. Again, hard to go wrong here if you like groups that bring the rock most heartily. (Tue. at the Viper Room. With Mondo Generator and HDR.) … That same night, a group of funny-looking miscreants from Down Under are threatening to throw down a night of catchy, heavy riffage just down the road. They’re called Airbourne, and with a sound like AC/DC and a logo ripped-off from their old Metallica shirts, these wild-eyed goons from Warrnambool, Australia come nicely hyped and with a loud record named (aptly) Runnin’ Wild in the shops on the Roadrunner label. (Tue., the Roxy.) Clearly, it’ll be one of those weeks for earplugs … . –Joshua Sindell For details, see Rock, Pop, Acoustic listings.

(323) 461-2040. Hotelcafe.com. Thur: Eric Hutchinson, Adam Stidham, Chris Trapper, 7. Fri: Waz, Michael Mazochi, Porcelain, Steve Carlson, Wynn Walent, 7. Sat: Tony Lucca, Kat Parsons, Todd Carey, Rose Rossie, Maggie Waters, Saint America, 7. Sun: Andy Clockwise, Billy Harvey, Chuck Cannon & Friends, Ari Shine & Adrienne Pierce, 7. Mon: Tracy Spuehler, Alicia Witt, Samantha Mollen, Gaby Moreno, 7. Tue: Lelia Broussard, Marina V, On the Surface, Jenni Alpert, 8. Wed: Carina Round, Brian Wright and the Waco Tragedies, The Brendan Hines, 8. House of Blues, 8430 Sunset Bl, West Hollywood, (323) 848-5100. Hob.com. Fri: Latin Fusion Night, 8. Fri-Sat: Queensryche, Don Dokken, The Hits Acoustic, 8. Sun: Rotting Christ, Immolation, Belphegor, 8. Mon: All that Remains, 8. Tue: The Generators, Second Chance, Longway, Deadbeat Sinatra, 8. Wed: Every Time I Die, From First to Last, The Bled, August Burns Red, Human Abstract, 7. Key Club, 9039 Sunset Bl, West Hollywood, (310) 274-5800. Keyclub.com. Call for showtimes. Thur: Atomic Punks, Paperback Hero, Tattooed Millionaires, 7:30. Fri: Four Star Youth, Daughters of Mara, Art of Chaos, Digital Summer, Trigger Point, Centox. Mon: Metal Skool, Pearl, Burning Brides, Drive A, 8:30. Tue: Ruby Tuesdays with Pop Noir, 8. Wed: Choreographer’s Ball. King King, 6555 Hollywood Bl, Hollywood, (323) 960-9234. Kingkinghollywood.com. Thur: L’Effleur Des Sens, 8. Fri: Samantha James, Autonomous Unit, Josh Evangelista, Mandosoria, 10. Sat: DJ Kemal, JASK, 10. Tue: Descargo con Timba with Sono-Lux and DJ Saoco, 10. Wed: Automatique, Sex Cobra, 9. Knitting Factory, 7021 Hollywood Bl, Hollywood, (323) 463-0204. Knittingfactory.com. See also Knitting Factory AlterKnit Lounge. Thur:

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Girl in a Coma, Killola, Oslo, Lisa Dewey, 7:30; In the Front: Dismantle, Lethal Dosage, Neurotoxin, Embattled, Violent Reprisal, War Machine, 7. Fri: Badfish, Scotty Don’t, Three Day Weekend, 7:30; In the Front: Time Again, Majority Lost, The Reverend, Trashed Idols, 7:30. Sat: Something Invisible, New Kingdom, Offvibe, Point Zero, Pillbox Porno, 7; In the Front: The Redwalls, Catfish Haven, Sabrosa Purr, My Pet Saddle, 8. Mon: In The Front: Model K, The Trainwrecks, Charles the Band, Lobate Scarp with the Comedy of Ramsey Moore, 7. Tue: In the Front: Mikah Avery, 3rd Degree, Cybil, D-Skyy, Rymz Well, Raymeo, Deadly Literature, Kacious, 8. Wed: 8mm, Miniature Tigers, Edison Gem, Black Black, 7:30; In the Front: Perpetual Groove, Underground Orchestra, 8. Knitting Factory AlterKnit Lounge, 7021 Hollywood Bl, Hollywood, (323) 463-0204. Knittingfactory.com. See also Knitting Factory. Thur: Comradery, Culprit, Spence, The Chase, 7. Fri: Killing Casanova, The Effects of Cable Television, The Janks, 8. Sat: The L.A. Storytellers Tour, 8. Mon: The Unaware, The Boozehounds, Wardogs, The Ignorant, 7. Tue: Good With Grenades, Radio Racer, 7. Bluebeat Lounge: Rum Boogie, Chris Murray Combo, Dub 8, 9. Wed: Songs Rock! 7. Kulak’s Woodshed, 5230 1/2 Laurel Canyon Bl, Nor th Hollywood, (818) 766-9913. Kulakswoodshed.com. Thur: Karen Tobin and Friends, 8. Fri: Chuck Cannon and Friends, 8. Sat: Rescued Animal Adoption Night, 8. Mon: Open Mic, 7. Wed: Acoustic Jam Session, 8. Largo, 432 N Fair fax Av, L.A., (323) 8521073/1851. Largo-la.com. Call for showtimes. Thur: The Watkins Family Hour. Fri-Sat: Jon Brion. Mon: Sarah Silverman and Friends. Tue: Anna Waronker & Band. Wed: BJ Novak and Friends. Little Temple, 4519 Santa Monica Bl, L.A., (323) 660-4540. Littletemple.com. See also Temple Bar. Shows at 9. Thur-Wed: Call for info. The Malibu Inn Bar and Restaurant, 22969 Pacific Coast Hwy, Malibu, (310) 456-6060. Malibu-inn.com. Shows at 8. Thur: Amplication, Rob Shogry, Goodbye Elliot, 8. Fri: Prezident Brown, Andrew Diamond, 8. Sat: Arrow Dynamics, Trees for Treehouses, The Deltaz, 8. McCabe’s Guitar Shop, 3101 Pico Bl, Santa Monica, (310) 828-4497. Mccabes.com. Sat: Jorma Kaukonen, 8. Sun: Matinee Kids’ Show with Jambo, 11 a.m.; Jorma Kaukonen, 7. The Mint, 6010 W Pico Bl, L.A., (323) 954-9400. Themintla.com. Thur-Wed: Call for info. Molly Malone’s Irish Pub, 575 S Fairfax Av, L.A., (323) 935-1577. MollymalonesLA.com. Thur: The Flutterbies, Jazz Callner, The Dirges, 8:30. Fri: Luke Boor, Doshus, Craig Range, Pawbox, 8. Sat: Henry Phillips, Larry Marciano, Marc Platt, B-Side Band, The Lincoln Bedroom, 7. Sun: Henr y Phillips, Spin It Indie, 7. Mon: Adjoa Skinner, Tommy King, Carney, 8. Tue: Celtic Arts Night, 8. Wed: Krandon, Mandi Perkins, Phillip Sayce, 8. Mr. T’s Bowl, 5621 1/2 N Figueroa St, Highland Park, (323) 256-7561. Mrtsbowl.tripod.com. Call for showtimes. Thur: The French Semester, Codpiece, Health Club, Manhattan Murder Mystery. Fri: Monogrove, Firethorn, Star No Star, The Digs. Sat: Backbiter, Motorcycle Black Madon-

nas, Pat Todd and the Rank Outsiders, The Urinals, The Curbhounds. Sun: Studiofix, Halloween Swim Team, Pizza!, Blue Jungle. Mon: David Higgins, Silver Phial, The Burlington Family, The Digs, Eagle Winged Palace. Wed: Unpopable. Portfolio Coffeehouse, 2300 E Fourth St, Long Beach, (562) 434-2486. Por tfoliocof feehouse.com. Fri:Marc Why Group, 9. Sat: Steve Harris, 9. Wed: Open Mic, 9. Room 5 Lounge, 143 N La Brea Av, second floor, Hollywood, (323) 938-2504. Room5lounge.com. Thur: Mark Franco, 8. Fri: Acoustic Playhouse, noon. Sat: Christina B 12; Glass Plastiks, Anahita, 9. Sun: Brad Stewart, 7. Mon: Acoustic Mondays, Amber Rubarth, Joey Ryan, Jay Nash, Joel Eckels, 8. Tue: Laura Jansen, Jeremy Silver, Kyler England, Rob Giles, Joey Ryan, Gabriel Mann, David Hopkins, Jay Nash, 8. Wed: Lisa Brenner, Jackie Tohn, Rob Giles, 8. The Roxy, 9009 Sunset Bl, West Hollywood, (310) 276-2222. Theroxyonsunset.com. Thur: Afrika, Bambaataa, Swamphouse, Tribal Bitches, 8; In the Rox: Totally Rad, 9:30. Fri: Black Gold, Crash Kings, Walter Meego, 8; In the Rox: Lions, Who Rides the Tiger, Thee LA Gentleman Callers, 9. Sat: Dreadstarr, Veronica Torres, Latch Key, 8; In the Rox: Jackie Rae, 4th Element, Troy This, Ice Rod, Ed Vallance, 8:30. Mon: Coreyoke, 9. Tue: Airbourne, Endeverafter, Stone Rider, The Bingers, 7:30. Wed: An Evening with Julia Fordham, 8. Safari Sam’s, 5214 Sunset Bl, Hollywood, (323) 666-7267. Safari-sams.com. Thur: Generator, Unida, The Knives, 8:30. Fri: Kings of the Internet, 8. Sat: Whiskey Circus, Omission, Fuji Minx, ISA, Irish Goodbye, 8. Sun: Brunch Americana with LA Kingpins, noon; The US Bombs, Far From Finished, Orange, Longaway, 6. Mon: Venus Infers, Hello Vegas, City Museum, Fat City Reprise, 8:30. Tue: Phathom, Allura, Beastlee, Asthmatique, 7. Wed: Twin Sticks, Right the Wrong, Vibration Army, Al’s Peace, Tomas O’Grady, KRAJ, 7. Scene Bar, 806 E Colorado St, Glendale, (818) 241-7029. Thescenebar.com. Shows at 9. Thur: The Monolators, Wait Think Fast, Summer Darling, Shirley Rolls. Fri: Seasons, Co-Op, Ghost Machinists. Sat: Sexy Time Explosion, Ladykillers, PC101, Authentic Sellout. Sun: Killola, Girl in a Coma, Blood Red Orchestra, The Dirty City Brothers. Mon: The Lamps, Haunted George, The Black, The Golden Boy. Tue: You Me and Iowa, Vaudeville, The Coma Lilies, Blanket. Wed: Daddy-O, The Dirges, Zero to Kill, The Hounds. Silverlake Lounge, 2906 Sunset Bl, Silver Lake, (323) 666-2407. Foldsilverlake.com. Thur: The Entrance Band, Crystal Antlers, Lord Jerr, What Made Milwaukee Famous, 8. Mon: The Shys, BigBang, February Fifths, Maryandi, 8:30. Tue: The Meemies, Branden Mayer and the Hidden Powers, Heartstrings Symphony, Denver Smith, 8:30. Wed: The Weather Underground, Francisco the Man, Ladies and Gents, Flashing Red Lights, 9. The Smell, 247 S Main St, L.A., (213) 625-4325. Thesmell.org. Shows at 9. Thur: Captain Ahab, Naomi Elizabeth, Xrin Arms, Tik//Tik, Pukers. Fri: Anavan, The Pharmacy, Lipstick Terror, Bad Dudes. Sat: Swann Danger, SWFT WNGS. Tue: Shayne Keator, USAforLSD, Nite Jewel, Gary War, Geneva Jacuzzi, DJ Malcolm Zillion Cash. Spaceland, 1717 Silver Lake Bl, Silver Lake, (213) 833-2843. Clubspaceland.com. Thur: Eject, Radars to the Sky, The Hectors, Cosio, 8:30. Fri: The Gray Kid, 8:30. Sat: Dirty Sweet, Lions, 8:30. Sun: Neil Hamburger, Tom Green, Paul F. Tompkins, Totally Darryl, Art Hinty, 8:30. Mon: The Pity Party, Film Meho Plaza, Rolling Blackouts, 8:30. Tue: The Helio Sequence, The Builders and the Butchers, 8:30. Wed: Club NME, 8:30. Taix 321 Lounge, 1911 W Sunset Bl, L.A., (213) 484-1265. Taixfrench.com. Shows at 10:30. Thur: Penelope, Danny B. Harvey, The Downbeats. Fri: The Neighborhood Bullys, Boll Weevil. Sat: Disco Night. Wed: Madame Pamita, Mike Stinson, Danny B. Harvey, 50 Cent Haircut. Tangier Lounge, 2138 Hillhurst Av, L.A., (323) 666-8666. Tangierrestaurant.net. Sun: Alex and Sam, Haim, Dustin Boyer, 8. Wed: Kassia Conway, Katy Rose. Temple Bar, 1026 Wilshire Bl, Santa Monica, (310) 393-6611. Templebarlive.com. Thur: Sidestreet Reny, Peter Goetz, Crash Davis, DJ Anthony Valdez, 9. Fri: Evidence, LMNO, 9. Sat: Salvador Santana, Ignacio Val, DJ Anthony Valdez, 9. Sun: Jesse Boykins III, Don Castor, Amy Lacour, 9. Tue: Suzy Williams and Her Solid Senders, Javier Colis, 8. Wed: Reflection, The Spirit Theory, Breathing Room, Sahaja Uprockers, Babystone, 8:30. Troubadour, 9081 Santa Monica Bl, West Hollywood, (310) 276-6168. Troubadour.com. Thur: West Indian Girl, Dios (Malos), Woven, Drugstore Cartel, 8:30. Fri: The Lovemakers, Something for Rockets, Astra Heights. Sat: I Am Ghost, We Are Machines, Millionaires, Dose of Adolescence, 8. Mon: Solare, Exit Music, The Valley Arena, Xanimo, Kav, 7:45. Tue: Jay Farrar, Anders Parker, 9. Wed: Stellastarr*, Oohlas, 9. UnUrban Coffee House, 3301 W Pico Bl, Santa Monica, (310) 315-0056. Unurban.com. Fri: UnUrban Open Mike, 7:30. Viper Room, 8852 Sunset Bl, West Hollywood, (310) 358-1880. Viperroom.com. Thur: The Vacation, Rolling Blackouts, Telecasters, 8:30. Fri: Dirty Sanchez, Lords of Jack, Just Jinjer, 9. Sat: The Pegs, Pistol Pistol, Blackbird, Guilt By Association, Thirty Round Clip, 8. Mon: Casxio, Electrocute, Holly Marilyn, 8:30. Tue: Mondo Generator, ASG, HDR, Sean Costello, 7. Wed: Kings Royal, Halestorm, Into the Presence, Valentine, 8:30.

DANCEBEAT

S AT U R D AY N I G H T AT

T h e W o r ld- Fa m o us C i rc us, Is home to some of the Largest and hottest parties in the city Los Angeles! Every week Circus brings the best DJs to the decks! Circus is LA's largest nightclub featuring 40,000 square feet of indoor and outdoor clubbing. The sound at Circus is HUGE featuring a 120,000-watt EAW Avalon sound system. Circus also features seven separate areas, ten fully stocked bars, outdoor patio, private bungalow and VIP lounge.

Dubfire As one-half of American superstar DJ duo Deep Dish, Dubfire has always been

thought of as the sober, soulful one. When partner Sharam Tayebi was trancing it up, Ali “Dubfire” Shirazinia was keeping it real with true-blue house music. These days Dubfire has been going off like a recently divorced MILF, testing the waters of driving, minimal techno and unleashing industrial-tinged floor stormers on his new digital label SCI+TEC. Along with the likes of Richie Hawtin and John Digweed, Dubfire has become one of those DJs you watch just to trainspot the new hits. So watch, listen and learn, Saturday at Vanguard. –Dennis Romero Giant presents Dubfire, Saturday at Vanguard, 6021 Hollywood Blvd., Hollywood. 21+. Doors at 9:30 p.m. Tickets: $25 advance. Info: giantclub.com.

★★★ THIS WEEK’S HIGHLIGHTS ★★★ THURSDAY, FEBRUARY 21 Respect is a give and take of drum ’n’ bass at Jimmy's Lounge, 6202 Santa Monica Bl, Hollywood. This week: APX1, Whytboi, more. 18+. Info: myspace.com/respectclub. Root Down digs deeper than commercial hip-hop with WyaTT Case, Miles, and Loslito at Little Temple, 4519 Santa Monica Bl, Silver Lake, (818) 7596374. 21+. Info: rootdownclub.com. Afro Funke takes you to the motherland of dance music with organic grooves at Zanzibar, 1301 Fifth St, Santa Monica. This week: Anthony Valadez. 21+. Info: afrofunke.com.

FRIDAY, FEBRUARY 22 Spider After Dark goes after-hours for the post-red-carpet crowd at Spider Club, 1735 N Vine St, Hollywood. This week: Dino G. 21+. Info: avalonhollywood.com. Samantha James goes Incognito at King King, 6555 Hollywood Bl, Hollywood. 21+. Info: kingkinghollywood.com.

SATURDAY, FEBRUARY 23 Avaland anchors Hollywood nightlife with superior sound at Avalon Hollywood, 1735 N Vine St, Hollywood. This week: Felix Da Housecat. 21+. Info: avalonhollywood.com. Giant flaunts oversized DJs at Vanguard, 6021 Hollywood Bl, Hollywood. This week: Dubfire. 21+. Info: giantclub.com. Red raves up the biggest room in town at Circus Disco, 6655 Santa Monica Bl, Hollywood. 21+. Info: nexxez.com. Balance feng-shuis your house at King King, 6555 Hollywood Bl, Hollywood. This week: Jask. 21+. Info: balance-la.com.

SUNDAY, FEBRUARY 24 Deep gets down with Marques Wyatt’s all-stars at Vanguard, 6021 Hollywood Bl, Hollywood. This week: Wyatt. 21+. Info: deep-la.com. Moonshadows Blue Lounge has the ocean motion of DJs Mick Cole, Julien Couly, and Jean Louis, at Moonshadows, 20356 Pacific Coast Hwy, Malibu. Info: moonshadowsmalibu.com.

A big new night of Big Top electro and house attractions:

FEBRUARY 23

THEE-O & TORIN CARLOS IZAGUIRRE and RUBEN DIAZ MIKHALE D'ORR

MARCH 1

DYLAN RHYMES MARCH 8

M.I.K.E./KENNETH THOMAS MARCH 15

MONDAY, FEBRUARY 25 Monday Social lubricates the dance biz with e-music by Freddy Be, Mick Cole, and global guests at Nacional, 1645 Wilcox Av, Hollywood. This week: Audiofly, Droog. 21+. Info: budbrothers.com.

DJ IRENE

TUESDAY, FEBRUARY 26 Dim Mak Tuesdays has anti-DJ Steve Aoki and the celebutantes who mix for him at Cinespace, 6356 Hollywood Bl, Hollywood, (323) 817-3456. 21+. Info: cinespace.info.

WEDNESDAY, FEBRUARY 27 Therapy takes the right steps with local house hero Scott K and friends at Tokio, 1640 N Cahuenga Bl, Hollywood. 21+. Info: balance-la.com. Dub Club has existential dance music producer Tom Chasteen and friends at The Echo, 1822 Sunset Bl, Echo Park, (213) 413-8200. 21+. Info: attheecho.com. –Dennis Romero

FEBRUARY 21~27, 2008

CIRCUS is located at 6655 Santa Monica Blvd. 2 blocks east of Highland Ave. Behind Arena

323.462.1291 • www.circusdisco.com 9pm-4am • 21+ • Tickets available at groovetickets.com CITYBEAT

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Viva Cantina, 900 Riverside Dr, Burbank, (818) 845-2425. Vivacantina.com. Thur-Wed: Call for info. Whisky a Go-Go, 8901 Sunset Bl, West Hollywood, (310) 652-4202. Whiskyagogo.com. Thur: Vinyl Soul, Harry Perry Band, Telepathic Catholic, Full Force Rising, Mind Riot, Dane Moreton. Fri: Random Ninjas, Silent Noise, Stellaâ&#x20AC;&#x2122;s Notch, Of the Saints, Distant, Marv. Sat: Caress of Steel, Mavick, The Outliars. Sun: A Life Once Lost, Skeletonwitch, Veilmaya, Gravest Days, Oblivion, War Machine, Another Day in Vain. Wed: State of Grey, Jon Franco, Chris Bendt, Nina Firooz, Lisa Pollack, Semi-Conscious Gloria, Cadence, Joseph Eid, Jessica Burks, Me By Myself. Zeropoint, 1049 E 32nd St, L.A. Zeropointspace.org. Thur-Wed: Call for info â&#x20AC;&#x201C;Ashley Archibald

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Evaluations in the San Fernando Valley

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Arcadia Blues Club, 16 E Huntington Dr, Arcadia, (626) 447-9349. Arcadiabluesclub.com. Shows at 9:30 and 11:30. Fri: Dennis Jones Band. Sat: Big Sandy & His Flyright Boys. Babeâ&#x20AC;&#x2122;s & Rickyâ&#x20AC;&#x2122;s Inn, 4339 Leimert Bl, Leimert Park, (323) 295-9112. Bluesbar.com. Thur: Jam Session with Mamaâ&#x20AC;&#x2122;s Boys. Fri-Sat: Mighty Balls of Fire. Mon: Jam Night, Mickey Champion. Back Room at Henriâ&#x20AC;&#x2122;s, 21601 Sherman Way, Canoga Park, (818) 348-5582. Shows at 8. Thur-Wed: Call for info. The Baked Potato, 3787 Cahuenga Bl, Studio City, (818) 980-1615. Thebakedpotato.com. Shows at 9:30 p.m. and 11:30 p.m. Shows at 9:30 p.m. and 11:30 p.m. Thur: The Kyle Eastwood Band. Fri: Volto. B.B. Kingâ&#x20AC;&#x2122;s Blues Club, 1000 Universal Center Dr, Universal City, (818) 622-5464. Bbkingclubs.com. Blue CafĂŠ, 210 Promenade, Long Beach, (562) 983-7111. Thebluecafe.com. Call for showtimes. Thur: Rory Seldon with InnerSession, 8; In the Blue: Rick Parrot Booking. Fri: The Dingees, The Free Way & NightLite; In the Blue: Live Music. Sat: Lights and Fan Halen; In the Blue: Deal by Dusk, 11. Sun: The Midnight Boys, Tex Beaumont & the Fabulous Dialtones, Seatbelt & The Pecking Order, 8; In the Blue: Live Music. Tue: Mic Check Tuesdays; In the Blue: Live Music. Wed: Zephro; In the Blue: Live Music. CafĂŠ Boogaloo, 1238 Hermosa Av, Hermosa Beach, (310) 318-2324. Boogaloo.com. Thur: Catherine Denise, 9. Fri: Janiva Magness Band, 9:30. Sat: Sean Costello, 9:30. Sun: Doug Macleod & The Doola Devils, 8. Wed: Trunk Full Oâ&#x20AC;&#x2122; Funk, 9. CafĂŠ Metropol, 923 E Third St, downtown L.A., (213) 613-1537. Roccoinla.com. Fri: Joe-Less Shoe, 8. Sat: Josh Welchez Quartet, 8. Catalina Bar & Grill, 6725 Sunset Bl, Hollywood, (323) 466-2210. Catalinajazzclub.com. Shows at 8:30 & 10:30 unless noted. Thur-Sat: Lainie Kazan. Tue: San Gabriel Seven with Kevyn Lettau. Wed: Max Haymer Trio. Charlie Oâ&#x20AC;&#x2122;s, 13725 Victory Bl, Van Nuys, (818) 994-3058. Charlieos.com. Thur: Composersâ&#x20AC;&#x2122; Sextet. Fri: Zane Musa Quartet. Sat: Pete Christlieb Quartet. Sun: Doug Webb Quartet. Mon: Frank Capp Juggernaut Big Band. Tue: Bob McChesney Quintet. Wed: Jack Sheldon Quartet. Cozyâ&#x20AC;&#x2122;s Bar & Grill, 14058 Ventura Bl, Sherman Oaks, (818) 986-6000. Cozysblues.com. Thur: Los Devastrados, 9. Fri: Sean Costello, 9:45. Sat: Jackie Payne and Steve Edmonson Band, 9:45. Mon: Pro Blues Jam with John Marx & Blues Patrol, 9. Tue: Watchawount hosted by Trevor Wesley, 9. Wed: CSON Lounge, 9. Csardas, 5820 Melrose Av, Hollywood, (323) 962-6434. Mon: The Harmony Club Jam Session, 8. El Floridita, 1253 N Vine St, Hollywood, (323) 8718612. Elfloridita.com. Fri: Jam Sessions with Orquesta Charangoa. Sat: Salsa bands. Mon: Johnny Polanco y Su Orquesta Amistad. Wed: Cuban Jam Session with Conjunto Guama. Harvelleâ&#x20AC;&#x2122;s, 1432 Fourth St, Santa Monica, (310) 395-1676. Harvelles.com. Thur: Philip Sayce, 9:30. Fri: The Soul of John Black, 9:30. Sat: CafĂŠ R&B, 9:30. Sun: The Toledo Show, 9:30. Mon: All-Star Pro Jam, 9. Tue: Bongo Fury, 9:30. Wed: House of Vibe, 9:30. JAX, 339 N. Brand Bl, Glendale, (818) 5001604. Jaxbarandgrill.com. Thur-Wed: Call for info. The Jazz Bakery, 3233 Helms Av, Culver City, (310) 271-9039. Jazzbakery.com. Shows at 8 & 9:30 unless specified. Shows at 8 & 9:30 unless specified. Thur-Sat: Curtis Fuller & Nicholas Payton Quintet. Sun: Ross Garren, 4; The Miller Quartet. Mon-Tue: Nik Bartschâ&#x20AC;&#x2122;s â&#x20AC;&#x153;Roninâ&#x20AC;? Quintet. Wed: Carmen Lundy. La Granada, 17 S First St, Alhambra, (626) 2272572. Letsdancela.com. Thur: Salsa Dance, 10. Fri: Salsa Central feat. Johnny Polanco. Sat: Salsa Central with Chino Espinoza. Sun: Ballroom Dance! Mon: Samba, 8:30. Tue: Salsa Dancing, 10. La VĂŠ Lee, 12514 Ventura Bl, Studio City, (818) 980-8158. Laveleejazzclub.com. Shows at 8:30 & 10:30. Thur: Gor Mkhitarian Band. Fri: David Garfield & The Cats. Sat: Poncho Sanchez. Tue: Marco Mendoza, Joey Heredia, Steve Weingart. Wed: Human Element, Scott Kinsey, Arto Tuncbayciyan, Jimmy Earl, Gary Novak. Mama Juanaâ&#x20AC;&#x2122;s, 3707 Cahuenga Bl W, Studio City, (818) 505-8636. Mamajuanas.com. Shows at 7. Thur: DJ Karloz, Salsa lessons with Alex Da Silva. Fri: Tropical Fridays with Orquesta Opa Opa. Sat: Latin Experience Saturdays with Angel Lebron y Su Sabor Latino. Tue: Burning Salsa Nights with Johnny Polanco y Su Conjunto Amistad. Wed: Colombian Wednesdays with DJ Byron.

~ RONIN ~

Luxuriant Precision Saturday at the Harbor College Recital Hall (1111 Figueroa Pl., Wilmington; 8 p.m.; 310-5384341), Lira productions present a luscious bill with Indian sitar master Aloke Dasgupta and tabla master Sri Arnab Mukherjee. A sextet with reedman Maury Gainen and drummer Chris Garcia opens, recasting Beatles songs in Indian garb. Minimal pianist Nik Bartsch â&#x20AC;&#x201C; at the Jazz Bakery Monday â&#x20AC;&#x201C; plays spare, repetitive motifs. His band, Ronin, plays with space and dynamics in subtle and dramatic ways. An extended placid module will lull the listener into a near trance-like state. Then a forcefully rhythmic passage will obliterate the mood and take the audience into a new direction. They create a sonic landscape thatâ&#x20AC;&#x2122;s neat and orderly and, as such, itâ&#x20AC;&#x2122;s an acquired taste. Itâ&#x20AC;&#x2122;s precise, arranged music and the current Holon CD (on ECM, natch) imparts the shifting currents but doesnâ&#x20AC;&#x2122;t indicate how intuitive the process is. Youâ&#x20AC;&#x2122;ll have to go to the Bakery to find that out. By contrast, youâ&#x20AC;&#x2122;ll find very little withheld in the music of the vocal ensemble Ladysmith Black Mambazo, at USCâ&#x20AC;&#x2122;s Bovard Auditorium (3551 Trousdale Pkwy., L.A.; 7 p.m.; 213-740-2167) Tuesday. With dense vocal harmonies that move in surprising and delightful rhythmic ways, Ladysmith exults in the precision of the ensemble singing and the wild card aspect of the improvised vocal asides. Their current Ilembe: Honoring Shaka Zulu (HeadsUp) is so sonically full that only after awhile do you realize that itâ&#x20AC;&#x2122;s an a capella recording. Word is that this is the victory lap for founder Joseph Shabalala â&#x20AC;&#x201C; who is handing the leadership over to his son. â&#x20AC;&#x201C;Kirk Silsbee For info, see Jazz, Blues, Latin and Concerts listings.

Miceliâ&#x20AC;&#x2122;s, 1646 N Las Palmas Av, Hollywood, (323) 466-3430. Micelisrestaurant.com. Live performances at 6. Thur-Wed: Call for info. 2nd Street Jazz, 366 E Second St, downtown L.A., (323) 680-0047. Myspace.com/landon2ndstreetlivejazz. Thur-Wed: Call for info. Spazio, 14755 Ventura Bl, Sherman Oaks, (818) 728-8400. Spazio.la. Shows at 8. Thur: The Very Hot Club. Fri: Harvey Newmark Trio. Sat: Yevette Stewart Quartet. Sun: Bevan Manson and Jeff Dâ&#x20AC;&#x2122;Angelo, Gaea Schell Trio. Mon: Frank Fontaine Latin Jazz Quintet. Tue: John Pisanoâ&#x20AC;&#x2122;s Guitar Night with Tommy Kay. Wed: Carl Saunders Trio. Vibrato Grill Jazz, 2930 Beverly Glen Circle, Bel Air, (310) 474-9400. Vibratogrilljazz.com. Thur: Llew Matthews Quartet. Fri: Bob Sheppard. Sat: Steve Huffsteter. Sun: Josh Nelson/Pat Senatore Duo. Tue: Pat Senatore and Eden Alpert Duo. Wed: Josh Nelson/Pat Senatore Duo. The Vic, 2640 Main St, Santa Monica, (888) 3675299. Thevicforjazz.com. Call for showtimes. Thur: Mike Garson, Christian Howes, Dave Carpenter, Billy Mintz. World Stage, 4344 Degnan Bl, Leimert Park, (323) 293-2451. Theworldstage.org. Call for showtimes. Thur: Jazz Jam Session, 9:40. Fri: World Stage Stories, 8; Concert Series, 9:30 & 11. Sat: Saturday School, 9:45 a.m.; Jazz workshop, noon; Concert Series, 9:30 & 11. Sun: Sisters of Jazz, 7:30. Mon: Drum workshop, 7. Tue: Vocal workshop, 6:30. Wed: Anansi Writers Workshop, 7:30. â&#x20AC;&#x201C;Emma Gallegos

CONCERTS FEBRUARY 21-27 Note: Unless otherwise indicated, tickets are available through Ticketmaster, (213) 480-3232 or Ticketmaster.com. The Chieftains, Thur, Walt Disney Concert Hall, 111 S Grand Av, downtown L.A., at 8. (213) 9727211 The Lovemakers, Phoenix and The Turtle, Thur, Glass House, 200 W Second St, Pomona, at 7. (909) 865-3802. Conjunto Primavera, Horoscopos de Durango, Fri, Nokia Theatre L.A. Live, 777 Chick Hearn Ct, downtown L.A., at 8:15. (213) 763-6000. Kimya Dawson, Fri, Amoeba Music, 6400 W Sunset Bl, Hollywood, at 7. (323) 245-6400. Divisadero, Foot Foot, Fri, Pehrspace, 325 Glendale Bl, Historic Filipinotown, at 9. (213) 4837347. Heart, Fri, Gibson Amphitheatre at Universal CityWalk, 100 Universal City Plaza, Universal City, at 8:15. (818) 622-4440. Marilyn Manson, Fri-Sat, The Wiltern, 3790 Wilshire Bl, L.A., at 9. (213) 380-5005. 3 Leg Torso, Fri, Getty Center, Harold M. Williams Auditorium, 1200 Getty Center Dr, L.A., at 7:30. (310) 440-7300. Morris Day and The Time, Sat, Cerritos Center

FEBRUARY 21~27, 2008

for the Performing Arts, 12700 Center Court Dr, Cerritos, at 8. (800) 300-4345. Intocable, Sat-Sun, Gibson Amphitheatre at Universal CityWalk at 8:15. Anthony DiGennaro, Vinny Golia, Sun, Dangerous Curve, 1020 E Fourth Pl, downtown L.A., at 7. (213) 617-8483. Pat Metheny Trio, Sun, The Wiltern at 7:30. Hellyeah, Machine Head, Nonpoint, Bury Your Dead, Tue, The Grove of Anaheim, 2200 E Katella Av, Anaheim, at 8. (714) 712-2700. Ladysmith Black Mambazo, Tue, USC, Bovard Auditorium, 3551 Trousdale Pkwy, L.A., at 7. (213) 740-4211. â&#x20AC;&#x201C;Alfred Lee

STAGE OPENING THIS WEEK All Shook Up. This musical twist on Shakespeareâ&#x20AC;&#x2122;s Twelfth Night features 24 Elvis Presley songs, and tells the story of a young smalltown girl who falls in love with a rock â&#x20AC;&#x2122;nâ&#x20AC;&#x2122; roll rebel. Written by Joe DiPietro. Directed by Steven Glaudini. Musical Theatre West, 4350 E Seventh St, Long Beach, (562) 856-1999. Opens Sat at 8. Thurs-Fris at 8; Sats at 2 and 8; Suns at 2. March 1 at 2 only. Closes March 9. Bus Stop. A bus is forced to layover near a diner, where a hodge-podge of characters are trapped in a blizzard. Written by William Inge. Directed by Brian MacDonald. Rubicon Theatre, 1006 E Main St, Ventura, (805) 667-2900. Rubicontheatre.org. Opens Sat at 8. Weds at 2 and 7; Thurs-Fris at 8; Sats at 2 and 8; Suns at 2. Closes March 16. Chicano Rehab y Mas. Teatro Izcalli presents original Chicano comedy, political satire, and educational skits. Josefina Lopezâ&#x20AC;&#x2122;s Casa 0101, 2009 E First St, Boyle Heights, (323) 263-7684. Opens Fri at 8. Fris-Sats at 8; Suns at 3. Closes March 2. The Credeaux Canvas. In Expat Productionsâ&#x20AC;&#x2122; debut, three struggling young friends in the East Village hatch a plan to forge an artwork styled after a little-known French master named Credeaux. Written by Keith Bunin. Directed by Dado. Stages Theatre Center, 1540 N McCadden Pl, Hollywood. Opens Thur at 8. Thurs-Sats at 8. Closes March 15. A Good Smoke. Comedy about a dysfunctional family, featuring a drug-addicted mother who quits cold turkey with the birth of her granddaughter. Written and directed by Don Cummings. The Chandler Studio Theatre Center, 12443 Chandler Bl, Valley Village, (800) 8383006. Opens Fri at 8. Fris-Sats at 8; Suns at 3. Closes March 29. My Heartâ&#x20AC;&#x2122;s in the Highlands. William Saroyanâ&#x20AC;&#x2122;s comedy-drama, about a poet and his son. Directed by Tamar Hovanissian. Luna Playhouse, 3706 San Fernando Rd, Glendale. Info: (818) 500-7200 or Lunaplayhouse.com. Opens Fri at 8. Fris-Sats at 8; Suns at 2. No perfs March 2123. Closes March 30.

On an Average Day. VS. Theatre Company presents a play about two abandoned brothers haunted by their upbringing. Written by John Kolvenbach. Elephant Performance Lab, 6324 Santa Monica Bl, Hollywood, (323) 860-3283. Elephantstageworks.com. Opens Sat at 8. ThursSats at 8; Suns at 7. Closes March 22. Othello. The all-female cast of Los Angeles Women’s Shakespeare Company presents the Bard’s tragedy, setting it in 1930s Fascist Italy. Directed by Lisa Wolpe. Boston Court Theatre, 70 N Mentor Av, Pasadena, (626) 683-6883. Bostoncourt.com. Opens Sat at 8. Thurs-Sats at 8; Suns at 2. Closes March 23. Ravensridge. A striking American steelworker travels to Russia to confront his boss, who is a fugitive under the protection of the richest man in Russia’s new ownership class. Written by T.S. Cook. Directed by James Reynolds. Fremont Centre Theatre, 1000 Fremont Av, South Pasadena, (866) 811-4111. Opens Sat at 8. Fris-Sats at 8; Suns at 3. Closes March 30. Riff Raff. Snikrep Productions presents a Los Angeles revival of Laurence Fishburne’s play, in which a drug heist gone sour turns into a threeway confrontation. Directed by Hezekiah Lewis. Alexia Robinson Studio, 2811 W. Magnolia Bl, Burbank. Info: (323) 960-1052 or Plays411.com/riffraff. Opens Fri at 8. Fris-Sats at 8; Suns at 2. Closes March 2. Sex a.k.a. Weiners and Boobs. The creators of Wet Hot American Summer and The State create a comedic tale featuring hookers, gigolos, musical numbers, and the titular anatomical references. Written by Joe Lo Truglio, Michael Showalter, and David Wain. The Garage Theatre, 251 E Seventh St, Long Beach, (562) 4338337. Opens Fri at 8. Thurs-Sats at 8. Closes March 22. The World Goes Round. A survey of dozens of songs from John Kander and Fred Ebb’s list of hit show tunes from the stage and screen. Directed by Cindy Robinson. The Eclectic Company Theatre, 5312 Laurel Canyon Bl, Valley Village, (818) 508-3003. Opens Fri at 7. Fris-Sats at 7; Suns at 2. Closes March 16. The World’s Largest Rodent. This satire focuses on Billy, who is going through life’s crises with the help of his friends. Written by Don Zolidis. Directed by Tom Ormeny. Victory Theatre Center, 3326 W Victory Bl, Burbank, (818) 8415421. Opens Fri at 8. Fris-Sats at 8; Suns at 4. Closes Apr 13. –Ed Carrasco and Alfred Lee

★★★ CONTINUING ★★★ @Heart. A young couple communicates via e-mail and IMs, after 9/11 inspires the husband to enlist in the Army, in J-Powers’s chronicle of a troubled marriage. The (triple cast) actors sit at laptops while images appear on a rear screen. Paul Linke’s staging is engaging, but the script’s detours into heard-but-not-seen melodrama feel contrived. Ruskin Group Theatre, 3000 Airport Dr, Santa Monica, (310) 397-3244. Ruskingrouptheatre.com. Fris-Sats at 8; Suns at 2. Closes Feb 24. (Don Shirley) Accidental Death of an Anarchist. Dario Fo’s dated Italian radicalism is injected with current American references in Diana Wyenn’s staging of Fo’s tale of a clever agitator (Taras Los) who goes incognito in a police headquarters, investigating the titled incident. The quick-talking actors freely admit the artifice of the updates. It works reasonably well. Unknown Theater, 1110 N Seward St, Hollywood, (323) 466-7781. Unknowntheater.com. Thurs-Sats at 8; Suns at 6. Closes March 15. (DS) Alice Sit-by-the-Fire. In James M. Barrie’s 1905 comedy, a British couple returns from years in India to reunite with their growing children. Misunderstandings multiply in a delightfully funny second act, but the third act provides a lyrical sense of generations exchanging roles. Joe Olivieri’s cast, with Alley Mills and Orson Bean, is remarkable. Pacific Resident Theatre, 705 1/2 Venice Bl, Venice, (310) 822-8392. Pacificresidenttheatre.com. Thurs-Sats at 8; Suns at 3. Closes March 30. (DS) Almost, Maine. Nine 30ish couples in a small Maine town navigate romance in John Cariani’s clever scenes, played by only four actors (Caroline Kinsolving, Louis Lotorto, Donald Sage Mackay, Dee Ann Newkirk) in David Rose’s elegant staging. A series of surreal, literalized metaphors provide sudden jolts of unexpected laughter. The Colony Theatre Company, 555 N Third St, Burbank, (818) 558-7000. Colonytheatre.org. Fris-Sats at 8; Suns at 2 and 7. Closes March 9. (DS) Another Vermeer. After World War II, an imprisoned Dutch art dealer (dynamically desperate Robert Mackenzie) must prove that the Vermeer he sold to Goering was actually his own forged copy. Bruce J. Robinson’s play speaks wryly about art and situation ethics, but Alex Craig Mann’s direction could use a little more clarity. Theatre 40 at Reuben Cordova Theatre, 241 Moreno Dr, Beverly Hills, (310) 364-0535. Theatre40.org. Call for performance schedule. Closes March 9. (DS) The Bald Soprano. Director Frederíque Michel uses most of Donald M. Allen’s very English translation but sets Ionesco’s brilliant take on middle-class inanity firmly in France. Pourquoi? Mrs. Smith, obsessed with nail polish, is played by a man (David E. Frank) in drag, without adding many laughs. Still, essential ingredients are in place. City Garage, 1340 1/2 Fourth St (in the alley), Santa Monica, (310) 319-9939. Citygarage.org. Sats at 8; Suns at 5:30. Closes March 2. (DS) The Brig. Kenneth H. Brown’s landmark 1963 dra-

ma presents one harrowing day in the hellhole where four Marines monitor and govern every move of 10 fellow Marines, who are imprisoned for unknown infractions and forbidden to say one word to each other. Tom Lillard choreographs a grim, dehumanizing but remarkably riveting spectacle. Odyssey Theatre Ensemble, 2055 S. Sepulveda Bl, West L.A., (310) 477-2055. Odysseytheatre.com. Thurs-Sats at 8; Suns at 2. March 5, 12, 19, & 26 at 8; March 23 at 7. Closes March 30. (DS) Cabaret. Director Jules Aaron creates chilling intimations of the Third Reich in the Kander/Ebb/Masteroff musical about a bisexual writer (Christopher Carothers), a blithe showgirl (Erin Bennett), a spectral emcee (Jason Currie), and a conflicted landlady (Eileen T’Kaye) in 1930 Berlin. Much of the audience sits at tables close to the stage. International City Theatre, 300 E Ocean Bl, Long Beach, (562) 436-4610. Ictlongbeach.org. Thurs-Sats at 8; Suns at 2. Closes March 9. (DS) Carnage. Adam Simon and Tim Robbins have barely updated their 1987 satire of two types of televangelists – the greedy (V.J. Foster) and the political (Justin Zsebe). But the vitality of Beth Milles’s staging lifts it above relic status. And the Actors’ Gang’s current high-ceilinged space gives the show’s spectacle and final gravitas more breathing room. Ivy Substation, 9070 Venice Bl, Culver City, (310) 838-4264. Theactorsgang.com. Thurs-Sats at 8; Suns at 3. Closes March 8. (DS) Cartoon. See Stage feature review. The Color Purple. A few superb performances rescue Marsha Norman’s game attempt to corral Alice Walker’s sprawling feminist novel (and subsequent film) into a musical, with a score by Brenda Russell, Allee Willis, and Stephen Bray. Jeanette Bayardelle’s Celie is spine-tingling, but the parade of purple passions over four decades is unwieldy. Ahmanson Theatre, 135 N Grand Av, downtown L.A., (213) 628-2772. Centertheatregroup.org. Regular schedule Tues-Fris at 8; Sats at 2 & 8; Suns at 1 & 6:30. Closes March 9. (DS) The Common Air. Alex Lyras convincingly plays six men who meet, one by one, during an 18-hour airport security incident, in sequence: Iraqi American cabbie, gay art dealer, hyped-up attorney, hiphop DJ, Texas philosophy prof, and Iraqi American caterer – whose tale is the least plausible. Written by Lyras and director Robert McCaskill. Theatre Asylum, 6320 Santa Monica Bl, Hollywood. Info: (323) 960-4443 or Thecommonair.com. Fris-Sats at 8. Closes March 1. (DS) Dickie & Babe: The Truth About Leopold & Loeb. Daniel Henning’s extensively researched script about the famous ’20s murderers (Aaron Himelstein, Nick Niven), also directed by Henning, is steeped in psychological and sociological veracity and begins to sag only near the ending. The excessively young casting of the victim is a rare misstep. The Blank’s 2nd Stage Theatre, 6500 Santa Monica Bl, Hollywood, (323) 661-9827. Theblank.com. Thurs-Sats at 8; Suns at 2. Closes March 16. (DS) Edge. The usual pitfalls of solo shows about famous people have seldom been as obvious as in Paul Alexander’s whiney, repetitive script about Sylvia Plath (Angelica Torn). Unless you’re up for more than two hours of bitter, pre-suicidal rants about the men in Plath’s life, I suggest waiting for a revival of the two-actress Plath play, Letters Home. Odyssey Theatre Ensemble, 2055 S Sepulveda Bl, L.A., (310) 477-2055. Odysseytheatre.com. Thurs-Sats at 8; Suns at 2. March 2 at 7 only. Closes March 2. (DS) Frankie and Johnny in the Clair de Lune. In Terrence McNally’s 20-year-old romantic comedy, a middle-aged short-order cook (lean Darin Cooper) tries to turn a one-night stand with a pudgy waitress (Lisa Lee Cooper) into true love. Silas Weir Mitchell’s staging, with evocative sound by John Zalewski, is effortlessly charming. Hudson Mainstage Theatre, 6539 Santa Monica Bl, Hollywood. Info: (323) 960-7863 or Plays411.com/frankie. Thurs-Sats at 8; Suns at 7. No perf Feb 24. Closes March 1. (DS) The Golden State. In Lauren Wilson’s version of Molière’s The Miser, a cantankerous old woman (Joan Schirle) in L.A.’s fire-threatened hills plans to marry her own gay son’s latest crush, while her daughter canoodles with the undocumented gardener. Michael Wilson’s staging for Dell’Arte Company (reviewed at a larger venue) is wild and woolly. 24th Street Theatre, 1117 W 24th St, L.A. Info: (800) 838-3006 or Dellarte.com. FrisSats at 8; Suns at 3. Closes Feb 24. (DS) Harm’s Way. As an Army prosecutor (Jack Stehlin) investigates U.S. killings of Iraqi civilians, his unstable daughter (Katie Lowes) runs off with the AWOL suspect (Ben Bowen). Despite a cliched, coincidence-driven reporter character, Shem Bitterman’s second go at a military investigator/troubled daughter play beats the first, Man.Gov. Circus Theatricals Studio Theatre at the Hayworth, 2511 Wilshire Bl, L.A., (323) 960-1054. Circustheatricals.com. Sats at 8. Closes March 15. (DS) Hedwig and the Angry Inch. Chuck DiMaria, last seen as the Bootleg’s macho Evel Knievel, is even better as the would-be German transsexual turned American rock star in Ben Kusler’s revival of the John Cameron Mitchell/Stephen Trask musical, with Renee Cohen as Hedwig’s “husband.” But I still prefer the much more fleshed-out film version. Met Theatre, 1089 Oxford Av, Hollywood, (323) 960-1055. Plays411.com/hedwig. Fris at 8; Sats at 8 and 11; Suns at 7. Closes Feb 24. (DS) Il Bidone. Patrick Mapel and Rushforth Productions adapt Fellini’s realistic, black-and-white 1955 movie about an aging swindler (Ralph P. Martin) and younger cohorts into a play. Mapel uses

colorful, stylized costumes, trying to evoke the circus atmosphere that epitomized Fellini’s later work. But the smaller cast and simpler set hurt more than help. Bootleg Theatre, 2220 Beverly Bl, L.A., (213) 455-1495. Thurs-Sats at 8. Closes Feb 24. (DS) Joan Rivers: A Work in Progress by a Life in Progress. Even Bart DeLorenzo’s direction and the gimmick of secondary characters who join Rivers in her downgraded dressing room don’t make this much more than a Rivers routine. Her jokes about sex among seniors are her funniest, but nothing rises above rather self-obsessed chatter. Geffen Playhouse, 10886 Le Conte Av, Westwood, (310) 208-2028. Geffenplayhouse.com. TuesThurs at 7:30; Fris at 8; Sats at 4 & 8; Suns at 2 & 7. Closes March 30. (DS) The Kid From Brooklyn. Actor Brian Childers duplicates Danny Kaye’s graceful precision of speech and movement. But his brother Mark’s book, cowritten with director Peter Loewy, plods predictably through Kaye’s biography, rousing dramatic interest only after intermission. Kaye’s musical routines are executed well but feel dated and archival. El Portal Theatre, 5269 Lankershim Bl, North Hollywood, (866) 811-4111. Elportaltheatre.com. Thurs-Sats at 8; Sats-Suns at 3. Closes Feb 24. (DS) The Last Days of Desmond ‘Nani’ Reese. Heather Woodbury plays an ex-stripper, 108, as well as the would-be dissertation writer who interviews Reese

at her Elysian Park shack in 2014. Woodbury’s virtuosity as writer, actor, and sound artist is impressive, but the scholar’s history isn’t sketched fully enough to explain her final transformation. Bang, 457 N Fairfax Av, L.A., (323) 653-6886. Bangstudio.com. Sats at 8. Closes Feb 23. (DS) The Last Schwartz. A domineering older sister, three brothers, and two mates meet in upstate New York for the anniversary of a father’s death in Deborah Zoe Laufer’s comedy, which overcomes feelings of déjà vu with sharp dialogue and carefully timed revelations. Lee Sankowich’s staging is immensely helpful at illuminating the mishegas. Zephyr Theatre, 7456 Melrose Av, L.A. Info: (323) 960-7789 or Plays411.com/schwartz. Thurs-Sats at 8; Suns at 2 & 7. Closes Feb 24. (DS) Man.Gov. Shem Bitterman, whose The Job was a hit for Circus Theatricals, returns with a depiction of a Washington-based inspector of Iraqi arms in the pre-war period. The performances are more convincing than the script, which has an implausible ending and a tawdry subplot about the inspector’s daughter’s affair with his persecutor. Circus Theatricals Studio Theatre at the Hayworth, 2511 Wilshire Bl, L.A., (323) 960-1054. Circustheatricals.com. Fris at 8. Closes March 14. (DS) The Marvelous Wonderettes. Four queens (Bets Malone, Kim Huber, Julie Dixon Jackson, Kirsten Chandler) of the L.A. musical stage vie to be-

come queen of a 1958 high school prom in the first act of Roger Bean’s mirthful musicalette, using period hits. Later, the women re-unite with new problems, ’60s songs and costumes. Fun but formulaic. El Portal Forum Theatre, 5269 Lankershim Bl, North Hollywood. Info: (888) 505-7469, Tix.com, or Marvelouswonderettes.com. ThursFris at 8; Sats at 3 & 8; Suns at 2. Closes March 9. (DS) Melancholy Play. In Sarah Ruhl’s whimsical comedy, a young bank teller (Kristen Brennan) has developed such exquisite melancholy that four people fall in love with her, which makes her so happy that she loses her appeal to them. Barbara Kallir’s staging and the plaintive cello music are perfectly in touch with the play’s tongue-in-cheek disposition. Son of Semele Ensemble, 3301 Beverly Bl, L.A. Info: (800) 8383006 or Sonofsemele.org. Fris-Sats at 8; Suns at 7. Closes March 8. (DS) The Monkey Jar. See Stage feature review. Paging Dr. Chutzpah. A middle-aged Manhattan psychiatrist keeps seducing his female clients, although he ignores the come-ons of his own secretary. The arrival of his newly minted psychiatrist nephew sets off a wave of complications. The characters feel robotic, and the infrequent laughs feel force-fed in Mark Troy’s new but antiquated farce. Sidewalk Studio Theatre, 4150 Riverside Dr, Burbank, (818) 558-5702. Info: SidewalkStudioTheatre.com. Fris-Sats at 8; Suns

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Asha Bhosle Amit Kumar, special guest Bollywood playback singer Asha Bhosle celebrates her 75th year. Considered a living legend, she has performed over 12,000 songs!

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FEBRUARY 21~27, 2008

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2. Closes Feb 24. (DS) Schoolhouse Rock Live! Bubbly actors sing and dance about the parts of speech, numbers and the Louisiana Purchase, with no tongues in cheek, in this adaptation of the ’70s kidvid shorts, staged by Mark Savage. As the information flies by, the educational value seems dubious. A kid’s introduction to theater shouldn’t be a stream of factoids. Greenway Court Theatre, 544 N Fairfax Av, L.A., (323) 655-7679. Greenwayarts.org. Sats-Suns at 4 & 7. Closes Feb 24. (DS) Some Girl(s). Neil LaBute’s masterfully assembled series of encounters between a soon-to-be-married cad (Mark Feuerstein) and four ex-girlfriends might sound Neil Simonish, but a final surprise widens the focus beyond this one guy to comment on our sometimes cannibalistic culture. LaBute’s Rolling Stones-accented staging is a sour delight. Geffen Playhouse, Audrey Skirball Kenis Theater, 10866 Le Conte Av, Westwood, (310) 208-5454. Geffenplayhouse.com. Tues-Thurs at 8; Fris at 7:30; Sats at 3:30 & 8; Suns at 2:30 & 7:30. Closes March 9. (DS) Spatter Pattern (Or, How I Got Away With It). A morose gay widower (Jim Hanna), with a stymied screenwriting career, rents a room next to a straight ex-professor (Donald Robert Stewart) who’s accused of slaying a student. Derek Charles Livingston’s staging expertly evokes urban anxieties and probes the ambiguous corners of Neal

Bell’s script. Ark Theatre, 1647 S La Cienega Bl, L.A., (323) 969-1707. Arktheatre.org. Thurs-Sats at 8; Suns at 7. Closes Feb 23. (DS) Stay Forever: The Life and Music of Dusty Springfield. This pro forma script about the late pop singer is primarily a showcase for the star and primary playwright Kirsten Holly Smith, who does a respectable job in the musical numbers. But her use of one of the backup singers as a shadowy lover, with no spoken lines, is unnecessarily shallow. L.A. Gay & Lesbian Center, Renberg Theatre, 1125 N McCadden Pl, Hollywood, (323) 860-7300. Lagaycenter.org/boxoffice. Thurs-Sats at 8; Suns at 7. Closes Feb 24. (DS) Thrill Me. Stephen Dolginoff’s musical about Leopold (Stewart W. Calhoun) and Loeb (Alex Schemmer), the 1920s gay couple who murdered a boy. Leopold talks in flashback from his parole hearing, adding a fictitious motive. The two performances in Nick DeGruccio’s Havok Theatre staging are strong, but the one-piano score is a bit prosaic. Hudson Backstage Theatre, 6539 Santa Monica Bl, Hollywood. Info: (323) 9604429 or Plays411.com/thrillme. Fris-Sats at 8; Suns at 3 & 7. Closes March 16. (DS) Twice Upon a Time. Under hypnosis, a stressedout British lawyer in 2008 has recurrent images of being a gangster’s assistant in 1929 Chicago. Brandon Michael Perkins plays both roles well, but this new musical written and directed by farce master Ray Cooney, with a score by Chris Walker and Mary Stewart-David, remains at the middling level. Civic Light Opera of South Bay Cities at Redondo Beach Performing Arts Center, 1935 Manhattan Beach Bl, Redondo Beach, (310) 372-4477. Civiclightopera.com. Tues-Fris at 8; Sats at 2 & 8; Suns at 2 & 7. Closes March 2. (DS) Victory. The U.S. premiere of Athol Fugard’s short, moving, deeply pessimistic play is in the expert hands of director Stephen Sachs. A Fugard-like exteacher (Morlan Higgins) in a small South African town confronts the teenage daughter (Tinasha Kajese) of his late housekeeper and a burglar (Lovensky Jean-Baptiste) after they break into his house. Fountain Theatre, 5060 Fountain Av, Hollywood, (323) 663-1525. Thurs-Sats at 8; Suns at 2. Closes March 23. (DS) Voices From Okinawa. Jon Shirota’s fuzzy script glances at Okinawan-American tension but never puts any American GIs onstage. Especially awkward is a subplot about a genial American teacher with Okinawan blood (Joseph Kim) inheriting the land on which an old relative (Amy Hill) lives. Tim Dang directed for East West Players. David Henry Hwang Theater at the Union Center for the Arts, 120 N Judge John Aiso St, Little Tokyo, (213) 625-7000. Eastwestplayers.org. Weds-Sats at 8; Suns at 2. Closes March 9. (DS) What the Butler Saw. This Joe Orton farce, like his Loot but unlike his Entertaining Mr. Sloane, is showing its age since its 1969 shock value has

THEATER CRITIC’S CHOICE

✭ ✭ ✭

©A.M.P.A.S.

Going Out to See a Play During the Oscars Oscar hype seems to increase every year. The L.A. Times section “The Envelope” and all the Oscar-crazy web sites pump up the volume, and this year everyone was waiting to see whether the recent strike might pull the plug. The more the Oscars are over-covered, however, the less interested I become. So, even though a genuine L.A. theater producer (Gilbert Cates) is again producing the Oscars, I’d like to propose that you might want to go out to the theater instead. See live actors on stage, doing their job, instead of posing for the cameras. Of course, a lot of stage productions don’t normally perform on Sunday evenings, and even some that have scheduled Sunday evening performances might assess the box office before deciding whether the show will truly go on this Sunday. So double-check before you make your plans. However, due to the hordes who will be watching the Oscars, you can probably get an excellent seat Sunday evening in nearly any show that’s open. –Don Shirley

waned. Kiff Scholl’s staging goes for a lot more laughs than it gets, especially with a tentative performance by Carl J. Johnson’s pivotal Dr. Prentice. But Carolyn Hennesy is perfectly tart as Mrs. Prentice. The Sacred Fools Theater Company, 660 N Heliotrope, Hollywood, (310) 281-8337. Sacredfools.org. Thurs-Sats at 8. Closes March 1. (DS)

U L T R A

• • •

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Wicked. The musical steamroller about the formative years of Oz’s Wicked Witch and Glinda, powered by Joe Mantello’s propulsive staging. Stephen Schwartz’s score and Winnie Holzman’s script (from Gregory Maguire’s novel) are simultaneously tongue in cheek and heart on sleeve. Pantages Theatre, 6233 Hollywood Bl, Hollywood, (213) 365-3500. BroadwayLA.org. Call for performance schedule. (DS)

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FEBRUARY 21~27, 2008

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at 3. Closes March 1. (DS) Point Break Live! The New Rock Theater takeoff on the 1991 Hollywood thriller Point Break adds a tsunami of comedy to the original story, about an FBI agent (who’s cast nightly from the audience and gets to read cue cards) investigating a gang of bank-robbing L.A. surfers. Wicked caricatures and bare-bones action sequences abound. Charlie O’s in the Alexandria Hotel, 501 S Spring St, downtown L.A., (866) 811-4111. Theatermania.com. Sats-Suns at 7. (DS) Post Mortem. In A.R. Gurney’s little satire, staged by Jered Barclay for Insight America, a future grad student (Alan Bruce Becker) and his prof/inamorata (Anna Nicholas) transform an obscure script by the late A.R. Gurney into a world-saving sensation. Gurney mocks himself as well as rightwingers, but the cheeky humor is hit-and-miss. Lyric Hyperion Theater Café, 2106 Hyperion Av, Silver Lake. Info: (800) 595-4849 or Tix.com. Fris-Sats at 8; Suns at 7. Closes March 2. (DS) Say You Love Satan. A gay occult comedy, about a Baltimore guy (personable Doug Sutherland) who falls for a seductive stranger (Elias Gallegos), who is either the devil or his son. Roberto AguirreSacasa’s story becomes preposterous, in a winkwink way, but a few good laughs aren’t really enough. Brian Shnipper’s staging bounces briskly along. Attic Theatre, 5429 W Washington Bl, L.A. Info: (323) 525-0600 x 2. Fris-Sats at 8; Suns at

FEBRUARY 21~27, 2008

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