0950_MT

DECEMBER 16-22, 2009 · VOL . 25, NO. 42 · SAN JOSE, CA · FREE

Win Wi W Win Wi in in n Sugarland signed guitar | Dinner at Red Lantern METROGIVEAWAYS.COM eatt this ye ea year ear

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San Jo San Jose se filmma aker filmmaker Jacob Rangel’s Rangel’s Jacob shocki ngly shockingly ffast ast formula forrmula tto o cinematic cinematic suc cess success

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[02]

DECEMBER 16-22, 2009 M E T R O S I L I C O N VA L L E Y

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[03]

DECEMBER 16-22, 2009

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$ ALSO AVAILABLE ON

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[04] CONTENTS

DECEMBER 16-22, 2009 M E T R O S I L I C O N VA L L E Y

Cover Silicon Valley’s Weekly Newspaper

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M E T R O S I L I C O N VA L L E Y

DECEMBER 16-22, 2009

[05]

[06] LETTERS

DECEMBER 16-22, 2009 M E T R O S I L I C O N VA L L E Y

have phone conversation with his nearly teenage child.

There is no system in place to prevent or investigate such a cruel abuse of children by the psychologistsâ&#x20AC;&#x2122; inquisition. Any profession can be tainted by abuse, including psychologists.

My question is, â&#x20AC;&#x153;If there is abuse, how would anyone know it and how can it be proved?â&#x20AC;? I propose that all sessions be video recorded, and if there are allegations of abuse, investigators would be able to watch the recordings (between evaluators and child or parent) and compare that with the evaluatorâ&#x20AC;&#x2122;s recommendation.

Camcorders and memory are cheap, children are not.

Mike Bulea San Jose

Bring Them Home

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Beyond the Law A thank you for printing this article (â&#x20AC;&#x153;Childrenâ&#x20AC;&#x2122;s Crusade,â&#x20AC;?

MetroNews, Nov. 11). The Family Court has nothing to do with law or justice. The Family Court Services are running the system with absolute powers.

The screeners and evaluators do not have to prove or show evidenceâ&#x20AC;&#x201D;which is the foundation of law and justiceâ&#x20AC;&#x201D;they just make â&#x20AC;&#x153;recommendationsâ&#x20AC;?; problem is,

99 percent of the time, the judge goes blindly with it. Parentsâ&#x20AC;&#x2122; attorneys, even court-appointed childrenâ&#x20AC;&#x2122;s attorneys, are wasting their time and money.

Under the pretext of conďŹ dentiality, the Family Court Services can hide evidence and testimony from children and parents. Since children are not allowed in court, the judge never hears them. If the evaluators canâ&#x20AC;&#x2122;t ďŹ nd anything wrong with the blacklisted parent, they will

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use the â&#x20AC;&#x153;emotional abuseâ&#x20AC;? charge based on any comment that is interpreted as â&#x20AC;&#x153;negativeâ&#x20AC;? about the other parent.

I have been as close to perfect as a father and husband as one can be. My daughter and I are close, no matter how much and how long theyâ&#x20AC;&#x2122;ll try to keep us apart. The irony is that a convicted criminal in prison has the right to spend time with his/her children while an innocent parent falsely accused is not even allowed to

I am saddened and disappointed

by President Obamaâ&#x20AC;&#x2122;s decision to send more troops to Afghanistan but not surprised. When running for office he said Afghanistan was a war he believed in. It seems he doesnâ&#x20AC;&#x2122;t understand the lessons of Vietnam and Iraq. Our military presence only exacerbates a bad situation. How much death and destruction must we cause?

Further, he stated that the United States doesnâ&#x20AC;&#x2122;t seek world domination, that we only want to spread democracy and freedom.

If he believes that, he is sadly misinformed. If he doesnâ&#x20AC;&#x2122;t, then heâ&#x20AC;&#x2122;s manipulating the public by waving the ďŹ&#x201A;ag and telling the Disney version of American history. We have military bases all over the planet. We have sent troops into other countries many times, especially south of our border. And covert operations have overthrown democratically elected leaders in Chile, Iran and other places. We have had an embargo against Cuba for half a century. We have supported military dictatorships, trained their soldiers in torture and armed them to the teeth.

If other countries did to us what we have done to them, would we see them as fostering democracy and freedom? Or would we hate them and ďŹ ght?

Our empire has often been economic exploitation with an iron ďŹ st in the background but it has been, and remains, an empire all the same.

I call on President Obama to bring all of our troops home from Afghanistan and Iraq now. It is past time. Thereâ&#x20AC;&#x2122;s enough blood on our hands.

Moss Henry Santa Rosa

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Titillating Trollop

I saw you traipsing along South First Street in your skimpy Britney-wanna-be regalia on Friday night. I didnâ&#x20AC;&#x2122;t know if you were a prostitute, but you looked like one so I thought Iâ&#x20AC;&#x2122;d take a chance. My white Mercedes convertible was just detailed, and I was feeling bold. But when I pulled up to you for the third time, you acted offended and then darted into a club. Well, Iâ&#x20AC;&#x2122;ll tell you something, if you keep acting that way, I might just give up on you. You canâ&#x20AC;&#x2122;t expect to keep playing hard to get forever. Iâ&#x20AC;&#x2122;m not as young as I used to be, eventually Iâ&#x20AC;&#x2122;ll give up. But not yet.

SEND US your anonymous rants, raves, gripes and diatribes about your co-workers, bosses, enemies or any badly behaving citizen who rankles your ireâ&#x20AC;&#x201D;or about citizens you admire. Send to: I SAW YOU, Metro, 550 S. First St., San Jose, 95113, or via email to isawyou@metronews.com.

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M E T R O S I L I C O N VA L L E Y

DECEMBER 16-22, 2009

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mashup MASHUP DECEMBER 16-22, 2009 M E T R O S I L I C O N VA L L E Y

best of the local web

A roundup of news, commentary and opinion from around the valley. Opinions expressed do not necessarily reflect Metro’s editorial views.

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DoE’s Plan to Jump-start Clean Energy

BY FAR, the most controversial issue at the U.N.’s climate talks in Copenhagen is how the developed world will help industrializing nations reduce greenhouse gas emissions while not sacrificing GLOBAL POWER Uif!Pcbnb! benjojtusbujpoÖt!EpF!sfq!tipxfe! growth. Most believe this can’t vq!bu!uif!V/O/Öt!Dpqfoibhfo!dmjnbuf! be done, causing countries like dibohf!tvnnju!xjui!b!qmbo/ China and India to balk at a binding international treaty. [Monday], the United States used the summit’s spotlight to announce its own $85 million plans for bringing advanced and efficient green energy to the developing world under the banner of the Renewables and Efficiency Deployment Initiative (Climate REDI).

As can be expected, the strategy—to be executed in tandem with other developed nations—is wide-ranging and multitiered.

But the key takeaway is that Climate REDI is designed to help companies in the United States—including many in Silicon Valley— while bringing affordable, clean energy to countries that will be able to compete with coal and oil.

The big question is whether this will be enough to appease the countries that would potentially benefit. Today, a group of delegates representing 130 of these nations walked out of treaty negotiations, arguing that developed countries aren’t willing to do more than pony up an insufficient amount of funds.

Their industrializing peers would still be carrying the brunt of the economic burden, they say. If their signatures on a treaty are going to be bought, they want more money or more involvement. But it’s unclear whether the plan put forward by the United States today will be any different. —CAMILLE RICKETS, VENTUREBEAT.COM > Vb hjgeg^hZY i]Vi ?VeVc ^h cdi iV`^c\ bdgZ d[ V aZVY ^c ZcZg\n Z[Ò X^ZcXn VcY! d[ XdjghZ! Y^hVeed^ciZY i]Vi ÆXaZVcÇ XdVa ^h ZkZc dc i]Z iVWaZ # ?jhi i]Z di]Zg YVn > ]ZVgY V gZedgi i]Vi hiViZY i]Vi ?VeVc dlch )% eZgXZci d[ i]Z Æ\gZZcÇ eViZcih ^ciZgcVi^dcVaan# I]Z J#H# XdbZh ^c hZXdcY Vi V bZVhan &' eZgXZci# 6cn ^YZV l]n i]Zn VgZcÉi V W^\ e^ZXZ d[ i]Z ZcZg\n Z[Ò X^ZcXn Y^hXjhh^dch4 ÅDeZcan 7VaVcXZY

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M E T R O S I L I C O N VA L L E Y

DECEMBER 16-22, 2009

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MASHUP DECEMBER 16-22, 2009 M E T R O S I L I C O N VA L L E Y

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M E T R O S I L I C O N VA L L E Y DECEMBER 16-23, 2009 NEWS

Santa Clara Valley, California

“On Steve Poizner Orange Alert”

[11]

December 16-23, 2009 METRO: How did the Self-Esteem Task Force come about, and what did it actually achieve?

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Innocence and Experience Retired state Sen. John Vasconcellos on teen killers, self-esteem and battling despair By Diane Solomon

JOHN VASCONCELLOS: The year I was elected I began doing psychotherapy with a priest at Santa Clara University named Leo Rock. I studied with humanist psychologists Carl Rogers, Abe Maslow and Rollo May, and I read a lot of books that talked about self-esteem.

I saw there was a pattern—we had to find out how self-esteem operated to help society prevent drug abuse, child abuse, teen pregnancy and so forth. So I worked with my friend Jack Canfield, who later became the author of the Chicken Soup books, and we put together the legislation that in 1986 created the Self-Esteem Task Force. Members were Republicans, Democrats, cops, housewives, gay therapists and fundamentalist Christians. It was a real mix of Californians who met faithfully for three years and released a report in January 1990 that said self-esteem is a social vaccine. So now all over the world the role of self-esteem is widely recognized and valued. I think it’s really proven to be all we thought it was and more.

As the author of the legislation that created the California Commission on Crime Control and Violence Prevention, what are you’re your thoughts about the accused teenage killers, who could be sentenced to life without parole?

First our society should get serious about understanding the root causes of violence. Second, for a young person or anyone who’s dangerous, they should be kept off the streets and put in programs that enable them to grow healthy and cure themselves. I don’t believe in the death penalty. I never have morally or intellectually. I once witnessed an execution of a client of mine. It was grotesque to see a life and suddenly no life.

AN JOSE isn’t notorious for teens killing teens.

But recently there have been two such slayings: one on Halloween night, and the Nov. 10 homicide of a Santa Teresa High School student. The accused could face life imprisonment without the possibility of parole because the U.S. Supreme Court is currently deciding if that is legal.

These two events were of interest to state Sen. John Vasconcellos, who represented Silicon Valley in the California Legislature for 38 years. While chairing virtually every important Assembly committee,

and then for five years in the state Senate, Vasconcellos focused on youth in crisis. He championed higher education, mental health initiatives, community-based conflict resolution projects and funding for California’s poorest performing public schools.

Vasconcellos was born in San Jose. His father taught public school at Mission San Jose and his grandfather ran the Casa Grande theater, which used to be in Santa Clara’s historic downtown.

He attended Bellarmine College Preparatory, then Santa Clara University and its law school after

serving two years in the Army.

Vasconcellos became nationally known when cartoonist Garry Trudeau’s Doonesbury character Boopsie joined “The California Task Force to Promote Self-Esteem and Personal and Social Responsibility,” lampooning a program that Vasconcellos’ legislation actually created in 1986.

Retired five years this month and now spearheading a new project called “The Politics of Trust,” Vasconcellos sat down with Metro to talk about the role of self-esteem in the administration of justice and California’s budget crisis.

38

15 Number of years Vasconcellos

50 Years since the Master Plan for

300,000 Number of

chaired the Assembly Budget Committee

Education promised universal access to a baccalaureate education for California high school graduates

applicants turned away from California’s community colleges and universities in fall 2009

S

Number of years that John Vasconcellos represented Silicon Valley in California Legislature

California’s criminal justice system sends young people to the California Youth Authority. Does it help them? &'

[12]

NEWS NOVEMBER 16-23, 2009 M E T R O S I L I C O N VA L L E Y

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It’s a school for crime. The California prison system is an abomination. Federal courts are about to take it over. It’s operated by people who are cynical, who don’t believe in any good to start with and believe if you cross the law you ought to be treated like scum, which of course means you become more and more angry and enraged and more dangerous.

During your tenure in the Legislature you saw the growth of California’s prison industrial complex.

“DOWNTOWN FOR THE HOLIDAYS.” YES!

Oh, I saw it and I opposed it every step of the way. There are better ways to deal with people who are outside the law and are dangerous. Prisons ought to be humane places where people learn how to get better.

To leave them to wallow in a violent system that gets them more sick and more rageful is to me about as dumb a thing as we could do. Our system is an abomination. We’re working with an old paradigm that doesn’t fit people anymore, and California’s future is in peril unless the people of California tell the government to shape up, to wise up and to grow up. It’s time for profound reform, and it will take people with some courage to put a bill on the governor’s desk.

You were considered a skillful fiscal manager and chaired the Committee on Ways and Means. Can California’s budget crisis be fixed?

DOWNTOWN SAN JOSE 50 blocks of shimmering magic, with traditional holiday events and attractions around almost every corner.

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A governor’s job is to get people who don’t agree to come together and solve things. But [Gov. Schwarzenegger] has no idea how to negotiate and get people who don’t believe in the same things to build something together. The majority party spent too much money taking care of their friends who helped them get elected. We have a minority party that doesn’t believe in government except for cops and prisons and the more cops, prisons and penalties, they’re happy. And there’s no majority rule in California; it’s a two-thirds vote rule and it’s paralyzing.

Nobody can serve more than six years in the Assembly or eight years in the Senate, so by the time you learn where the bathroom is and how to make things happen you’re sent home. It’s chaos; it’s like a bunch of freshman all of the time. There’s no memory, there’s no mentoring, no camaraderie and no perspective. All these things together

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contribute to a state that probably can’t be fixed except by really courageous leaders, and those seem to be lacking, I’m sad to say.

What are you working on?

We created a nonprofit called the Vasconcellos Legacy Project. The Assembly gets 30 new members every two years.

We’ve persuaded 85 former legislators to coach newcomers so they learn how to collaborate and govern together. We’re hoping to be part of a major orientation program next year for new legislators.

What’s ahead for California?

I can’t even imagine what it is, it’s so desperate. I’m not a negative guy but I can’t see a way through this one. I’m afraid about the college cuts. We’ve always been the leading state for universal access to higher education, but this fall we turned away 300,000 people who should be in college. Next year it could be 2 million.

While the rest of the world is increasing its educational output, we’re reducing ours. In a global economy that emphasizes technology this is self-defeating and stupid.

And the public sits by and says, “Too bad I don’t know what to do.”

What can they do?

If I were a student I’d take my sleeping bag to the Capitol and sit in the governor’s office and say, “I’m staying here until you open the doors of the university again for me.”

If I was a parent of kids in public schools, I’d take my sleeping bag to the Capitol and tell the governor, “We’re staying here until you fund our schools. “This governor is very thin-skinned. If enough students and parents made it clear that they’re not kowtowed by his bravado, I think California might be saved. Absent that I think California is going to collapse and I don’t know how to prevent that other than to urge Californians to wake up, join up and make your wishes known in effective nonviolent ways.

Seriously consider what you’d like California to be for your children and grandchildren and yourself and then find a place to involve yourself to see that it happens. Visit www.politicsoftrust.net to find resources to help make yourself politically effective in the time of California’s greatest ever peril. There’s a role and responsibility for every Californian with a heart. M

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M E T R O S I L I C O N VA L L E Y

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[13]

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K N OW L E D G E YO U P U T TO WO R K

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Keyes to the Underbelly

W

HILE SCOPING out the kaleidoscope of underbelly scattered along Keyes Street, the urban-blight exploration junkie hazily recalled a little antiquarian booklet titled A Lute of Jade: Being Selections From the Classical Poets of China. The junkie had particularly adored the chapter on the Tang Dynasty Poets because, according to the book, “They were at once painters and poets, musicians and singers. And because they were philosophers and seekers after the beauty that underlies the form of things.” The composition and color of their work contained “a deep simplicity touching many hidden springs, a profound regard for the noble uses of leisure, things which modern critics of life have taught us to despise.”

Those passages were enough to inspire the junkie as he embarked on a journey from 12th and Keyes streets westward through an exhilarating cross-section of discarded San Jose. Right at that intersection sits a wonderful yard to prowl around in: The Art Craft Trading Company.

Need secret locales to investigate? This is one. At first, it looks like any other patio and landscaping wholesaler, but the yard itself contains a labyrinth of oddball marble giraffe statues, dolphins, Buddhas, Virgin Marys and Chinese temple adornments. Plus there are solid concrete fountains, Greek goddesses, 10-foot ceramic lizards, snakes, warehouse racks of bowls up to 5 feet in diameter and stone alligators in every earth tone imaginable. This is probably the only locale in San Jose where you can get a 15-foot-high concrete statue of Themis, the goddess of justice, for $19,500. The junkie spent at least 15 minutes just wandering around the yard, barely avoiding a head-on collision with a Vietnamese dude wielding a mean pallet jack. Yikes.

From there, Keyes unfolds with a mishmash of contemporary urban wasteland ambience.

For a few blocks, tightly knit ethnic enclaves dominate the landscape, only to give way to shoddy-looking auto-repair sites. A few dilapidated but occupied homes seemingly co-exist with new-car lots. Defunct railroad tracks plunge right through fenced-off vacant lots and industrial spillover from the side streets. San Jose Furniture Warehouse holds perpetual clearance sales just across the lane from a seedy Cash ’n’ Carry outlet. Sounds of semi trucks, buses and air ratchets dominate the audio environment.

It gets even better. Two time-tested watering holes populate this authentically derelict stretch of Keyes. What used to be S&H Keyes Club in whatever past incarnation now carries on as Tap’s Keyes Club. It is a murky establishment in many regards. Down the street sits Bar la Palma, butting up against one of the many dirt alleys This is probably the running perpendicular to Keyes. If you only locale in San Jose didn’t think alleys still existed in San where you can get a 15Jose, think again.

Approaching the home stretch and foot-tall concrete statue stench of the Keyes experience, the of Themis, the goddess junkie reacquainted himself with the of justice, for $19,500 proverbial ancient transmission shop, a nonoperational Mexican market and that legendary Spartan Gas sign left over from decades ago. What a ’hood!

The end of Keyes eventually becomes Goodyear, for whatever botched urban-planning reason, right where First and Second streets begin to merge into each other. At that point, there arrives a denouement unlike any other in our fair city. Two institutions await to refresh any world traveler after a long amble down this forgotten thoroughfare: (1) The legendary Burger Bar eatery, and (2) The Place, one of San Jose’s classic dive bars.

Albert Berger opened the Burger Bar in 1953, and it still endures. Even though the burgers have skyrocketed to five for $5.99, as opposed to five for a dollar, like they probably were in the ’50s, the joint refuses to die. The Place claims to have “the longest bar in town.” One can enter from First or Second Street. The bar stretches exactly one city block.

In that regard, a wasteland stroll down Keyes Street provides something for the entire family. In the end, you can easily dump the kids at Burger Bar while you hammer a few Pabst Blue Ribbons at The Place. The urban-blight exploration junkie gives thanks to the Tang Dynasty Poets. May their inspiration live on.

A Dynasty? Definitely: SiliconAlleys@metronews.com

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M E T R O S I L I C O N VA L L E Y

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ALAMEDA- (510)864-8255 2601 Blanding Ave., Ste. A

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[16]

SAN JOSE INSIDE DECEMBER 16-22, 2009 M E T R O S I L I C O N VA L L E Y

a look inside san jose politics and culture

Could Convention Center Expansion Get the Ax? Silicon Valley Newsroom

THE expansion of the McEnery Convention Center has long been the crown jewel of the San Jose Redevelopment Agency’s list of projects. Then came the budget crisis— city and state—which clobbered potential funding for the project, and caused the proposal to be scaled down by more than half, from $300 million to $140 million.

So now Mayor Chuck Reed is asking the most fundamental question of all: Can we really afford to go ahead with the expansion?

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The reasoning is purely economic. The state is poised to take $75 million of the Redevelopment Agency’s funds, the city owes the county about $72 million, which must be paid off over the next three years, and the municipality is now faced with another budget deficit, this time projected to be $96 million. Of course, the city has already spent $17 million on expanding the center, with nothing to show for it. According to Reed, it can’t afford to spend much more.

The mayor has the support of Councilmember Sam Liccardo, who believes that the expansion project will threaten the solvency of the RDA itself.

“I’m not willing to do anything that puts the RDA’s future viability in peril,” Liccardo says.

But Dan Fenton, CEO of Team San Jose, which operates the Convention Center, argues that the expansion project could add 650 new construction jobs to the local economy, as well as 200 permanent jobs once it is completed. He adds that this is the ideal time to build because construction costs are so low.

Meanwhile, the mayor had some sharp words for Fenton, who has only allowed local San Jose– based Teamsters to do the required setup for events at the Convention Center.

“Team San Jose has created a terrible industry perception of the changes in the operation of the facility that has caused people to cancel events. People in the industry are advising their clients to go elsewhere,” he says.

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M E T R O S I L I C O N VA L L E Y DECEMBER 16-22, 2009 SAN JOSE INSIDE

[17]

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[18] COVER STORY

DECEMBER 16-22, 2009 M E T R O S I L I C O N VA L L E Y

Speed Dem San Jose filmmaker Jacob Rangel doesn’t waste time wrestling with his inner demons he finishes his movies in 48 and 72 hours . . . tops By Richard von Busack

L

AST AUGUST, at about 4am on a Saturday, San Jose filmmaker Jacob Rangel began to worry about the unfinished script he was due to start shooting at 9:30 in the morning. Having scrapped his previous idea, Rangel was doing

a little more work after two of his fellow writers had gone to bed.

Recalling the early-hours process later, Rangel admitted, “It was not a good idea” to get rid of what he had already written, just over five hours before filming.

Weird enough that Rangel would put himself through that much deadline stress once; the weirder part was seeing him do it again a few months later, with only an extra 24 hours to solve the problem of what to put on film.

21

M E T R O S I L I C O N VA L L E Y DECEMBER 16-22, 2009 COVER STORY

on

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DECEMBER 16-22, 2009 M E T R O S I L I C O N VA L L E Y

M E T R O S I L I C O N VA L L E Y DECEMBER 16-22, 2009 COVER STORY

SPEED DEMON

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Rangel is one of the many filmmakers involved in the creation of instant movies to enter in competitions like the 48 Hour Film Project. The difference is that he and his group are very good at it. Rangel and Team Stroganoff, a collective of local filmmakers, garnered five awards at San Jose’s branch of the most recent 48 Hour Film Project.

At the Sept. 13 awards ceremony after the August public screening, Rangel’s sixminute entry, Ratón, earned five awards.

These included best film, audience-choice award, best directing and best actor for Jake Lyall.

Now San Jose’s Team Stroganoff is one of a few dozen teams worldwide trying for the International Shootout, a competition selected from the judges’ favorite 48 Hour teams in various cities where the festival takes place. The Shootout allows 72 hours for the creation of a film.

If all goes well, Stroganoff will be represented at Filmapalooza, part of the NAB (National Association of Broadcasters) show in Las Vegas, where 80,000 digital-media professionals will descend in April 2010. If luck holds out further, Rangel and Stroganoff will have a shot at one of the 10 to 15 slots in the short-film competition at Cannes in May. The 48 Hour Film Project started in spring 2001 when Washington, D.C., filmmakers Mark Ruppert and Liz Langston decided to start a contest among their filmmaking friends to see who could make the best film in only 48 hours. Today there are some 150 editions of the 48 Hour Film competition around the world, with about 130,000 participants in the last nine years.

Ratón (visible at jakefilm.com) is easy to understand and doesn’t look like anyone’s 48-hour film; in acting, photography and editing, it’s a thoroughly professional short.

All the team had, before the filming began, was an inkling of an idea: as Rangel put it, “Gattaca meets Children of Men, set at a Laundromat.”

Under the rules of the 48 Hour Film Project, Rangel and his three writers had to meet several requirements. They were told they must include a crystal chess piece and a particular line of dialogue. The line the judges gave them is a sturdy friend of all screenwriters: “Tell me again why this matters.” Also, the rules mandated that an exterminator, female or male, must figure in the plot.

Sometime before sunrise on the first day of shooting, Ratón’s twist materialized.

Ratón is a little parable of a near-future world full of human degradation, shot at the Diamond Laundry underneath the Guadalupe Parkway overpass, next to the landmark “Miss Careful Works Here” billboard. (The business is run by the parents of Jason Burton, director of photography and executive producer of Stroganoff ’s upcoming 72-hour film: “My right-hand dude, and the man who helped get me into this,” Rangel calls him.)

A pair of exterminators—wearing black suits and white ties, as per Jean-Pierre Melville and Quentin Tarantino—come in to deal with an infestation problem. The true nature of the infestation is revealed in the shocking last shot.

Go Pro I met Rangel at La Victoria Taqueria in downtown San Jose for a quick lunch a couple of weeks ago. He is unmistakably a showman—fast, energetic, able to get to the point without detouring. For a man in his 20s, Rangel has led an interesting life.

He moved around between parents in 23

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SPEED DEMON

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various locations in Northern California, starting in Martinez, then resettling in Sonora, where family troubles aided his decision to drop out of school. He spent some time in McKinleyville, living with his father.

Rangel was educated everywhere from home school to “six or seven years” at De Anza College’s first-rate film department.

He had even done Toastmasters for a year— all the better to learn how to pitch his films to investors and the crew: “Helped me to rile people up and convince them one at a time—and in a group, too.”

Rangel is currently running his own moving business as his day job. He handed me a card: “Go Pro, ‘Moving Made Simple.’

See us at Yelp.” Rangel noted that the trucks and the warehouse were useful for his vocation.

Rangel is one of the many filmmakers involved in the creation of instant movies to enter in competitions like the 48 Hour Film Project.

The difference is that he and his group are very good at it.

Rangel had tried to get into USC film school but was rejected; he then moved to New York City to stay with a friend who was learning to be a filmmaker at NYU. In New York, Rangel worked as an editor and a production assistant for Sam Baer—the video director who did “Smells Like Teen Spirit” for Nirvana and Green Day’s “Boulevard of Broken Dreams”—who was working on a commercial for the failed bid to bring the 2012 Olympics to New York.

Rangel said, “I got tired of New York after a year, because I’m California born and raised.”

In San Jose, Rangel’s friend Michael Chance, an indie filmmaker who made the cop feature The Reason, had talked Rangel into trying the 48 Hour Competition.

“I had the usual procrastination,” Rangel recalled, “and I wanted to opt out. He said, ‘Dude, you know, whether it’s good or bad, we’ll have a film.’ Sometimes it’s good to just tie a rock to your leg and push it off the hill.”

Since the film industry boasts its share of cheats, I wondered how Team Stroganoff could prove the film had been made in 48 hours, even with the plot elements the judges introduce at the last minute.

“It’s an honor system,” Rangel explained, “and there’s a lot of people on a film set, and it’s easy to piss one of them off, what with the long hours and no pay. So they could easily squeal on you.” The postproduction took place at Chance’s house in the Bird and San Carlos area, with 15 people gathered at six laptop work stations.

“It all comes together in postproduction, but the first night of shooting was the real wringer,” Rangel said. “The script wasn’t there; we had one night to shoot outdoors; and the closing shot was set at dusk, everyone inside having to run outside. We made it at the deadline at 7:30 sharp, the four of us racing to South Street Billiards, where the films were supposed to be turned in. Right when we dropped it off, the editor realized he left the house without his shoes on.”

As for Team Stroganoff, the name— Rangel explained as he squirted some orange sauce on his burrito—was one he had always wanted for a band. It’s a good name because it is perhaps a little embarrassing. “There’s an underlying meaning. Stroganoff is supposed to rhyme with ‘stroking off.’ How seriously were we taking ourselves? We gotta have fun, and we were seeing that the other teams had names like ‘Deep Red’ and ‘Unlimited Edge.’”

Yet Rangel hopes that these instant films are more than stunts. As we parted, he mentioned his admiration for low-scale yet powerful cinema such as Let the Right One In. He wondered why filmmakers have to exile themselves to New York or Los Angeles. “San Jose has everything you need as a filmmaker, and I’m committed to trying to make it happen here.”

Chaos and Art A few days after I interviewed him, Rangel emailed me: “Come see how chaos and art go hand in hand.” Team Stroganoff was going to tackle its new 72-hour film.

Producer Chance reiterated the invite for Saturday morning, Dec. 5, via phone, and I quote: “Just about now we’re brainstorming. We have a crew call about 8 o’clock, basically a cast call around 9. First shot about 10. It’s a two-day shoot if all goes as planned.”

I drove down off of Hacienda Avenue on the far side of Campbell. It was a neighborhood that had been settled so long ago there was a “Gay Street.” On the right was a private driveway with townhouses clustered around it. I drove up about 100 yards and instantly the neighborhood turned semirural: old onestory houses with barred windows and 24

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[24] COVER STORY

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DECEMBER 16-22, 2009 M E T R O S I L I C O N VA L L E Y

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LET THE RIGHT ONES IN!!Sbohfm!)dfoufs*!qsfqt!Ufbn!Tuphbopgg!gps!b!tipu!jo!ijt!fjhiu.njovuf!pqvt/

jumbo yards big enough to accommodate some chickens or a big dog.

About 20 people were milling about in the side yard of Burton’s house, a small cottage with a latticed porch wrapped around the front, woven with bougainvillea vines. Black plastic was taped over the picture window so that filming could take place inside. A couple of the figures were clad in black: black helmets and black gas masks. They carried dummy automatic weapons.

Most of the rest were wearing ski caps to ward off the cold. The hatless, shaven-headed Rangel was easy to spot; he was standing around the base of a half-dead citrus tree talking to director of photography Burton. He came over.

“It’s a bit hectic today,” Jacob said.

“About 7:05 last night is when we got the email telling us what the genre was: ‘End of the world.’ We’re supposed to mention our city and show it in some fashion.

There’s no key phrase or other props we have to use.”

The other rule was that the film could only be eight minutes long, maximum.

Some 20 members of the team had been gathered the previous night, waiting for the official word. They snapped into action. Rangel started writing until Chance ordered him to stop at about 3:30am.

“We decided on something quirky,” Rangel told me. He spun out a tale of a couple of male roommates eating breakfast and getting the news report on the TV: “‘Streets in crisis, thousands killed,’ and then the TV goes dead, zzzzzzzz.” Rangel made a static television noise. He sketched out scene 2AB, which he was setting up.

“Simon, played by Galen Howard, decides to go looking for his girlfriend, but then he finds out his car’s battery is

stolen. At that point, that’s when you see the guy crash through the fence over there, with the SWAT guys in pursuit.” Rangel indicated a redwood-slat fence.

“David Bettencourt was the name of the guy who went through the fence,” he told me. “He’s one of the producers.”

Rangel mentioned a few of the other things he and the team had organized—an end-title song by Corpus Callosum to conclude this as yet untitled film on a whimsical note.

Producer Chance came over and introduced himself. For years, Chance had worked at the video and multimedia house Shepherd Video in Los Gatos. Chance also had an AA in film at De Anza College.

“I try to refocus Jacob,” Chance explained. “He’s a creative guy, and he gets lost in the details; like last night when he was co-writing the script, worrying about the motivation when we needed to get the scene done.”

Crane Shot Photographer Burton walked over and said hello. He was worrying a lasso of rope in his hands, so I asked him if he was going to be acting in the picture. “No, this is to make sure the camera doesn’t fall out of the crane.”

Burton was supervising three cameras for the scene, Panasonic HVX200s with Redrock adapters, meaning that the digital cameras could be used with 35 mm lenses.

One of these three cameras would be in the bucket of Area Custom Tree Services’ cherry-picker crane, driven there by the father of one of the teammates.

The crane was fired up, making an uneasy creaking noise as it carried the dad and a cameraman skyward. They went up to what I would have thought was a

satisfactory altitude, about the height of a parking-lot Ferris wheel. Then they went up dismayingly higher, the crane groaning as it settled.

Goldie Chan, cast as the girlfriend Julie, came by. She was wearing a blue hoodie and belted leather boots. Chan had got the notice of the 78-hour film push in advance and was on standby; she had hooked up with Stroganoff through castingconnection.com.

“A great resource,” she told me. “There’s a bunch of projects out there, but this one looked particularly cohesive and professional, which is not always the case in the Bay Area.”

The petite, intelligent-looking Chan— “actor first, casting director second, writing third”—earned a degree in biology and then switched careers. She plugged her upcoming locally made film, Underachievers: Champions of Mediocrity (“Going live in February, it’s hilarious”), and also mentioned that she had done an industrial film for Wells Fargo. “We’re telling them how to dress appropriately and so forth. Everybody who gets a job as a bank teller there is going to see my lovely smiling face.”

Chan leaned back against the chassis of a parked car and went back to studying her script. “They’re rewriting it now,” she commented. “I mean, they’re perfecting it.”

The film set exhibited the usual hurrying up and waiting, but it was as focused as any set I had ever seen. The crew dealt without apparent panic with the handicap of having one of the shorter days of the year for a shoot. You could practically see the light waning by the minute.

I heard the actor whose job it was to crash through the fence explain what was up to Tara the production assistant: “I happen to be an anarchist or freedom fighter, whatever.

But then they fire at me—the government, the SWAT team, whatever.”

The scene started to get organized.

Everyone blocked out his or her part, and the fluffy boom mics and gel-covered can lights were moved in around the talent. At 3pm, a high school football game started about a mile away. First came the quavery warble of “The Star Spangled Banner” and then one after another dull roar drifted in on the wind.

“Quiet on the set,” Rangel yelled.

Galen Howard’s Simon looked under the hood of the plundered and exclaimed, “We’ve got to find Julie!”

His cool buddy, played by Jake Lyall, the star of Ratón, abstractedly arranged his long hair back as he studied the engine.

Lyall calmed Howard down: “It’s just propaganda. It’s not the end of the world.”

“Bang!” Rangel shouted, to indicate this was the cue when the wounded unfortunate was going to smash through the redwood fence, with the SWAT team in hot pursuit.

They went through the drill a couple of times. “Give all the credit to this boy. He could get hurt,” someone said.

“We’ve got some lookie loos,” someone else shouted, indicating a couple of kids sitting on a neighbor’s roof. Finally, all was stillness, except for the crane, swaying slightly.

“We’ve got to find Julie!

“It’s just propaganda, it’s not the end of the world.”

The film set exhibited the usual hurrying up and waiting, but it was as focused as any set I had ever seen. The crew dealt without apparent panic with the handicap of having one of the shorter days of the year for a shoot. You could practically see the light waning by the minute.

With a gratifying crash, sure to be amped up in post-production, the actor burst through the fake board in the fence, to be shot dead by a pair of black-clad killers yelling, “Bang! Bang!” Down he went, dying on the grass.

“Boom! Perfect cut!” Rangel shouted.

Everyone applauded, me the loudest I hope, and I left them to figure out the rest of the marathon.

Post-Production Three days later, I got an email from Rangel: “What a ride! This was our most difficult task yet, twice as hard as the Ratón shoot! But it was four times as fun! My core team was up for the last 48 hours straight, we rushed to the 24-hour FedEx on Blossom Hill and turned it in at five 26

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[26] COVER STORY

minutes to midnight, the cutoff time for mailing your movie out. We had some last-minute problems with the audio but managed to get it to an acceptable level before having to export. We aimed big, literally using up every second of the eightminute time limit (not counting credits).”

He was full of praise for Corpus Collosum: “Avery, the lead singer, brought us a French press and two pounds of freshly ground gourmet coffee to help us get through the second night.”

And he had a title for his 72-hour film, Knuckle Berry. I called him on the phone to ask about that.

“The two main characters have different facets,” he explained. “Galen Howard is the weaker character, the berry; Jake Lyall, is the hard-ass. It also refers to the cereal the two stars are eating at the beginning of the film and also to the nasty-looking neck blisters that are a sign of the plague ending the world.”

Unfortunately, no one can see Knuckle Berry quite yet. The rules of the International Shootout stipulate that filmmakers aren’t supposed to put the work online until the judges have checked for copyright violations—things as small as

a song half heard in the background or a logo on a bottle.

“We checked all that,” Rangel said. “We got releases from the actors and locations.

We got the music, too.” The rules of the Shootout forbid composing music in advance. “We sent Corpus Callosum QuickTime files of the film and they spent Sunday night to Monday morning composing. They brought the music over and played different tracks for me, and I’d say yes or no.”

What was the last dash like?

“Well, I mean, I was so tired. As soon as I dropped off the film, I called to the house and told them we made it, and they were joyous because they didn’t think we’d make the deadline. As soon as I got back to Jason’s house, they poured a bottle of water over my head. We had some cases of beer and wine for the crew. Once you finish something, there’s this rush of euphoric energy. Everyone stayed up, everyone was stoked. They had the film set up on video in Jason’s room, and we all stayed up until 4am watching it, figuring out what we could do better next time. And I was the last one up, there was no place to sleep on the floor, so I got in the car and went home.” M

M E T R O S I L I C O N VA L L E Y

DECEMBER 16-22, 2009

[27]

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[28] SPORTS

DECEMBER 16-22, 2009 M E T R O S I L I C O N VA L L E Y

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M E T R O S I L I C O N VA L L E Y

DECEMBER 16-22, 2009

[29]

[30] EVENTS

DECEMBER 16-22, 2009 M E T R O S I L I C O N VA L L E Y

attorneys

& legal services

SOCIAL SECURITY/DISABILITY

The Law Offices of

The Law Offices of

Ronald Z. Berki

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CRIMINAL DEFENSE

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Cynthia G. Starkey

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Classes & Instruction

Enjoy life! Calm the mind. Improve relationships. Make better decisions. Meditation and Buddhist View with Reed Sherman. Everyone is welcome. No previous experience necessary. $10 per class. Every Wednesday evening, 7:30-9, Unitarian Universalist Fellowship of Los Gatos, 15980 Blossom Hill Rd. Los Gatos, 95032. Call Kelsang Gamo 408/226-0595 for information or visit us at www.MeditationInSanJose.org

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DECEMBER 16-22, 2009

[31]

[32] STYLE

DECEMBER 16-22, 2009 M E T R O S I L I C O N VA L L E Y

SIGNED, SEALED, DELIVERED Uif!ipmjebzt!bsf!jo!gvmm!txjoh!bu!Gsfti!Mfnpo!Cmpttpnt-!xifsf! pxofs!Njlj!Cfofejdu!iboe.nblft!gvodujpobm!qbqfs!bsu-!mjlf!uiftf!hjgu!ubht!boe!hsffujoh!dbse!tfut/

Flowering Success 180 Woz Way • San Jose, CA 95110 • 408.298.5437 • www.cdm.org

Children of Hangzhou: Connecting with China Open through January 24, 2010 Discover that Chinese life today mixes ancient traditions with modern lifestyles.

Children of Hangzhou: Connecting with China was produced by Boston Children’s Museum. All underlining materials, including all artwork and the use of Children of Hangzhou: Connecting with China characters are used with permission of Boston Children’s Museum.

Gift Memberships and Gift Cards available!

Find out more at www.cdm.org/giftmemberships.

A

S A STAY-AT-HOME mom, B>@> 7:C:9>8I dreamed of owning her own little business where she could use her love of crafting to help provide for her family. Last year, she took a leap and founded her own handmade paper crafting company, naming it ;G:H= A:BDC 7ADHHDBH after her love of flowers and food.

What started out as a scrapbook hobby has now expanded into her own paper and crafting operation, run out of her home in Modesto.

Benedict hand-makes and sells her original range of button, ribbon, glitter and stamp-adorned paper products, including greeting cards, notepads, minicard sets and themed gift tags. “I love girly stuff, so making girly gift tags and cards is really fun for me, it’s a good outlet,” Benedict says. “I especially love working with flowers, and I think that comes from having a boy. I didn’t get to use the girly colors for a long time, so I love working the pinks and reds and the yellows.”

Benedict has been successful in selling her wares on her Fresh Lemon Blossoms blog (freshlemonblossoms.blogspot.com) and on Etsy.com (http://www.etsy.com/shop/Fresh LemonBlossoms), and she is now looking to expand the business in 2010, hopefully to be carried in craft shops throughout San Jose and the South Bay. Benedict, 38, says that she lets her medium inspire her. “I get bored making the same thing over and over, so sometimes a product moves me or a certain pattern does. Or I think, ‘Oh, today I want to work with paper flowers and see what happens.’”

In preparation for the holidays, Benedict has been primarily focused on cutting, gluing and adorning her products with her own artistic interpretations of snowflakes, holly and reindeer. Still, Benedict says she also tries to keep up with motif trends and incorporate them into her paper craft art.

“Cupcakes and owls are huge right now. It’s such a ’70s thing. When I was growing up, owls were a big thing, like the Tootsie Roll pop owl. Now he’s really making a comeback,” Benedict says. Her works range in price from $2.75 for greeting cards to $11.50 for custom note-card sets.

“I’m just still really excited to be doing this every day. It’s every mom’s dream to be able to have their own little business that they enjoy doing, and this still allows me to volunteer at my son’s school,” Benedict says.

Jessica Fromm

Heald Student

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[33]

[34]

DECEMBER 16-22, 2009 M E T R O S I L I C O N VA L L E Y

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M E T R O S I L I C O N VA L L E Y DECEMBER 16-22, 2009 MENU

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[35]

tjmjdpo!wbmmfzĂ&#x2013;t!hvjef!up!Ă&#x;of!ejojoh Mjwf!Gffe Looking back in hunger at the best meals of 2009_41

Oaxacan Wonders ;Za^eZ 7j^igV\d

San Joseâ&#x20AC;&#x2122;s Juquilita belies its modest location with a marvelous menu of regional Mexican dishes

By Stett Holbrook

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UQUILITA is a tiny taqueria located in a little strip mall on West Alma Avenue in San Jose thatâ&#x20AC;&#x2122;s currently being remodeled. It doesnâ&#x20AC;&#x2122;t even look like itâ&#x20AC;&#x2122;s open. But it is, and you should deďŹ nitely go in. Some of Silicon Valleyâ&#x20AC;&#x2122;s best restaurants are located in dumpy minimalls and Juquilita is a case in point.

Juquilita serves typical taqueria stuff, but the real attraction is the restaurantâ&#x20AC;&#x2122;s selection of top-notch Oaxacan specialties. Drawing from Zapotec and Mixtec traditions, Oaxacan food is one of Mexicoâ&#x20AC;&#x2122;s most distinct and complex regional cuisines. The restaurant takes its name from Juquila, a town in Oaxaca with a tiny statue of the Virgin Mary thatâ&#x20AC;&#x2122;s believed to have been working miracles since the 16th century. It has become a pilgrimage site for Catholic true believers. For believers in the power of great Mexican food, the restaurant named after the village is a major draw as well.

Thereâ&#x20AC;&#x2122;s plenty at Juquilita to recommend. The tamales are particularly good. I confess that cornhusk-wrapped, northern Mexicanâ&#x20AC;&#x201C; style tamales donâ&#x20AC;&#x2122;t do much for me.

Too often, they are just a big slab of masa ďŹ lled with but a speck of meat and cheese.

The tamal de mole ($2.75) is different. Wrapped in a big, artfully

folded banana leaf, the tamal is rather ďŹ&#x201A;at and ďŹ lled with coarse grained masa stuffed with lots of rich and savory mole negro and bits of chicken. Equally good is the tamal de frijol negro ($1.50), a similar package ďŹ lled with purĂŠed black beans and chicken. They are really outstanding.

Iâ&#x20AC;&#x2122;m planning on ordering a couple dozen for Christmas Eve. The empanadas are exceptionally good, too, especially the empanada de amarillo ($3). Fashioned from handmade tortillas, they look like crescent-shaped quesadillas, but the masa has been cooked to a chewy crispness and ďŹ lled with shredded chicken and a lightly applied but delicious salsa that really sets off the mild chicken and the richness of the fried masa.

If youâ&#x20AC;&#x2122;re going to Juquilita with a crowd, order the tlayuda ($8.99). It looks something like an oval-shaped Mexican pizza, but itâ&#x20AC;&#x2122;s made with a thin and crisp masa â&#x20AC;&#x153;crustâ&#x20AC;? topped with shredded cabbage, avocado, tomatoes, mozzarellaâ&#x20AC;&#x201C;like Oaxacan cheese, salsa and your meat of choice.

I say go for the tasajo, thinly sliced dried and cured beef. To eat it, just snap off a piece with your ďŹ ngers.

The molotes ($5.99) are another good starter. Looking like little torpedoes, the fried cylinders of masa are ďŹ lled with chorizo and potatoes and topped with creamy purĂŠed

black beans. Iâ&#x20AC;&#x2122;ve had some versions that are heavy and dense; here, theyâ&#x20AC;&#x2122;re wonderfully light.

Mole is the most famous dish from Oaxaca, or I should say moles since there are several different versions of the complex sauce made in the southern Mexican state. Mole negro is the best known. Looking like melted chocolate, the viscous sauce is typically draped over a leg of chicken.

North of the border, I ďŹ nd mole negro too sweet, but at Juquilita the mole negro ($9.99) is savory, with a subtle but pleasing hint of bitterness.

Almost as dark and considerably spicier is the mole coloradito ($9.99). Itâ&#x20AC;&#x2122;s rare to ďŹ nd this dish in Silicon Valley, and it is particularly well rendered here. My only disappointment was the watery and bland mole verde ($8.99), made with tomatillos and pumpkin seeds.

But I had a hard time ďŹ nding a bad dish. The tostada de tinga ($2.99) is a tiny plate of food loaded with ďŹ&#x201A;avor. Pulled chicken is cooked in a smoky chipotle sauce and tossed with slightly crunchy onions and more of that Oaxacan cheese and piled onto a crisp tortilla. I could eat three of these in a row and still want more.

Whatâ&#x20AC;&#x2122;s also notable about Juquilita is its lineup of beverages, especially the atole-based hot drinks.

Atole is basically a cup of hot masa

and water, typically seasoned with sugar and cinnamon. Itâ&#x20AC;&#x2122;s a ďŹ lling and warming drink. The atole de leche ($1.50) adds milk to the slurry to make it even richer. Better still is the champurrado ($1.50), atole de leche with chocolate added. Itâ&#x20AC;&#x2122;s the thickest cup of hot chocolate youâ&#x20AC;&#x2122;ll ever have.

And for a real taste of Oaxaca get the tejate ($3). Itâ&#x20AC;&#x2122;s an iced drink so itâ&#x20AC;&#x2122;s not really the time of year for it, but itâ&#x20AC;&#x2122;s so good youâ&#x20AC;&#x2122;ll want it anyway.

Tejate is an ancient beverage made from toasted corn ďŹ&#x201A;our, fermented cacao (chocolate) beans, mamey pits (a kind of fruit) and rosita de cacao (the ďŹ&#x201A;ower of the funeral tree thatâ&#x20AC;&#x2122;s actually unrelated to cacao), which gives the drink itâ&#x20AC;&#x2122;s frothy consistency and complex ďŹ&#x201A;avor. All these ingredients are ďŹ nely ground and mixed with water by hand.

The drink is served with a straw in a round-bottomed, hand-painted gourd bowl called a jĂ­cara. Itâ&#x20AC;&#x2122;s placed on a little ring of straw to keep it upright. Donâ&#x20AC;&#x2122;t make the mistake I did and pick it up and set it down elsewhere only to have it spill over.

The drink is like a really interesting cup of chocolate milk, further proof that the best food and drink in Silicon Valley is found in the most unlikely places.

[36] DINING GUIDE

DECEMBER 16-22, 2009 M E T R O S I L I C O N VA L L E Y

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M E T R O S I L I C O N VA L L E Y DECEMBER 16-22, 2009 DINING GUIDE

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Generosa Closes

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HEN <:C:GDH6 winery says itâ&#x20AC;&#x2122;s having a last-chance sale, it really means it. The Los Gatos wineryâ&#x20AC;&#x2122;s ďŹ nal two days of business are Dec. 19 and 20. After that, the winery is closing its doors for good, although some wines may still be available through local retail outlets. How the winery reached the end of the road is a bittersweet story.

Generosaâ&#x20AC;&#x2122;s winemaker and owner, 8=G>H <:B><C6C>, died unexpectedly 2 1/2 years ago. It was a tragic loss for his wife, A6G6 <:B><C6C>, and their son, now 11. Lara closed the winery after his death and decided to sell it. Generosaâ&#x20AC;&#x2122;s wines were the expression of her husbandâ&#x20AC;&#x2122;s passion for robust, Italian-style wines, and she wasnâ&#x20AC;&#x2122;t interested in ďŹ nding another winemaker to take his place. â&#x20AC;&#x153;It wasnâ&#x20AC;&#x2122;t something I would try to replicate,â&#x20AC;? she said.

While Lara waited for the sale to go through, she also had to wait for federal regulators to permit the transfer of the winery from her husbandâ&#x20AC;&#x2122;s name into hers to allow her to reopen the winery and sell off its remaining inventory. The process dragged on for more than two years while Generosaâ&#x20AC;&#x2122;s wines sat untouched and untasted in storage.

In an ironic twist, during the same week, Lara learned that the sale had ďŹ nally gone through and that she had received a short-term permit to reopen in order to sell off the remaining wine. She was opening and closing at the same time.

Lara takes pleasure in offering her late husbandâ&#x20AC;&#x2122;s wines to the public one last time. â&#x20AC;&#x153;Itâ&#x20AC;&#x2122;s making me extremely happy to see these wines my husband created in peopleâ&#x20AC;&#x2122;s hands again,â&#x20AC;? she said.

The new owners donâ&#x20AC;&#x2122;t plan to operate a winery of their own. Proceeds of the property sale will go toward Laraâ&#x20AC;&#x2122;s sonâ&#x20AC;&#x2122;s college education, a legacy from his late father. â&#x20AC;&#x153;It ties the past to the future,â&#x20AC;? she said.

For wine lovers, the winery is offering some great deals. All winesâ&#x20AC;&#x201D;cabernet sauvignon, pinot noir, sangiovese and red wine blendsâ&#x20AC;&#x201D;are $30. Cases of wine are 30 percent off. Six bottles are 20 percent off, and a trio of wines gets a 10 percent discount. These are big, luscious wines available at great prices. And make no mistake.

When theyâ&#x20AC;&#x2122;re gone, theyâ&#x20AC;&#x2122;re gone. This really is a last-chance offer. â&#x20AC;&#x153;This is the last of the line,â&#x20AC;? said Lara.

Stett Holbrook (Twitter.com/Stett_Holbrook) GENEROSA winery will be open noonâ&#x20AC;&#x201C;5pm on Dec. 19â&#x20AC;&#x201C;20. The winery is at 22649 Summit Road, Los Gatos. (www.Generosawines.com)

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DECEMBER 16-22, 2009 M E T R O S I L I C O N VA L L E Y

M E T R O S I L I C O N VA L L E Y DECEMBER 16-22, 2009 DINING GUIDE

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31 UNIVERSITY AVE. | OLD TOWN LOS GATOS | 408.395.CRAB

[39]

[40]

DECEMBER 16-22, 2009 M E T R O S I L I C O N VA L L E Y

M E T R O S I L I C O N VA L L E Y DECEMBER 16-22, 2009 DINING GUIDE

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[41]

Memorable Meals of 2009

T

WO thousand and nine was another stinker of a year, but looking back at the all meals I had over the course of the past 12 months I realize it wasnâ&#x20AC;&#x2122;t a total loss. Far from it.

Below I give you the most memorable dishes I sampled in my travels across Silicon Valley. The list is in no particular order.

Hereâ&#x20AC;&#x2122;s to a delicious 2010.

IDGI6 9: :ADI:/ G:EDH69D Reposado serves a menu of traditional and modern Mexican food. The biggest pleasure on the menu was the spectacularly delicious torta de elote.

Itâ&#x20AC;&#x2122;s a cheesecake of sorts, but itâ&#x20AC;&#x2122;s made with mascarpone cheese and sweet corn and a graham crackerâ&#x20AC;&#x201C;like crust. The result is an ethereal dessert that leads with rich yet light-textured cheesecake and then reveals the earthy, sweet ďŹ&#x201A;avor of the corn after a second or two. 236 Hamilton Ave., Palo Alto; 650.833.3151. ;6A6;:A 9:AJM:/ 86H67A6C86Ă&#x2030;H 86;: Owner Faraz Hamad grinds garbanzo beans with onions, garlic, pickled chile peppers, fresh cilantro and parsley and various spices, most noticeably cumin. As a result, the fried garbanzo balls are much more moist and ďŹ&#x201A;avorful that your typical falafel. In addition to wonderfully creamy hummus, tangy tahini sauce and pickled red cabbage, the falafel deluxe is gilded with strips of baked eggplant, fried cauliďŹ&#x201A;ower and fried potatoes. If you like it spicy, the ribbon of shatta (hot sauce) delivers a blast of chile pepper heat. The sandwich probably weighs in at well over a pound, but in spite of its sauciness and abundance of ingredients it holds together well. 185 Lincoln Ave., San Jose; 408.993.8636. Ă&#x2C6;E:@>CĂ&#x2030; 9J8@/ B6G8=w I canâ&#x20AC;&#x2122;t remember a duck dish as good as the one I had at MarchĂŠ. The â&#x20AC;&#x153;Pekinâ&#x20AC;? duck breast is intensely meaty and tender and matched with fat lobes of gamboni mushrooms and barely sweet notes of purĂŠed parsnips and golden raisins. A dab of deep-green purĂŠed stinging nettles added a burst of color and unique vegetal ďŹ&#x201A;avor. 898 Santa Cruz Ave., Menlo Park; 650.324.9092.

7JGG6I6 7GJH8=:II6/ B6N;>:A9 76@:GN 6C9 86;w Not everything at this restaurant succeeded but the burrata bruschetta represents MayďŹ eldâ&#x20AC;&#x2122;s cooking at its best.

Two crusty slices of grilled bread are topped with the fresh, sweet, gooey over-the-top

cheesy goodness of the burrata (mozzarella ďŹ lled with cream and more mozzarella), grilled artichokes and the salty-tangy spike of a rough-chopped green-olive vinaigrette.

Smoky, crunchy, sweet and salty combine for delicious results. Town and Country Village 855 El Camino Real, Palo Alto; 650.853.9200.

6ABDC9 8GD>HH6CI/ ;A:JG 9: 8D8D6 Los Gatosâ&#x20AC;&#x2122; Fleur de Cocoa is rightly known for its chocolate confections and pastries, but I canâ&#x20AC;&#x2122;t stop thinking about the little pastry shopâ&#x20AC;&#x2122;s spectacular almond croissants. They are simply the best Iâ&#x20AC;&#x2122;ve ever had. Unlike most versions of the sweet pastry, which are made with marzipan, pastry chef and owner Pascal Janvier makes his with a light cream ďŹ lling and then bakes them until they are brittle crisp at the edges and yet still light and ďŹ&#x201A;aky inside. They are sweet but not overly so. The abundance of butter makes them supernaturally crisp and rich.

Like ripe peaches and meteor showers, the croissants are ďŹ&#x201A;eeting wonders best enjoyed at the peak of deliciousness soon after theyâ&#x20AC;&#x2122;re pulled from Janvierâ&#x20AC;&#x2122;s ovens. 39 N. Santa Cruz Ave., Los Gatos; 408.354.3574.

L6II6A6EE6B/ HE>8N A:6K:H Spicy Leaves serves food from all over India but also a few excellent Sri Lankan specialties. My favorite was the wattalappam, an uncommon, ďŹ&#x201A;anlike dessert made from coconut milk, honey and cashews that offers a break from the same old gulab jamun and halwa that dominate Indian dessert menus. Although the light and creamy texture of the dessert resembles ďŹ&#x201A;an, itâ&#x20AC;&#x2122;s not made with eggs. 4546 El Camino Real, Los Altos; 650.948.9463.

E=D <6/ 8DB <6 C6B 6C Iâ&#x20AC;&#x2122;m a big fan of the beef noodle soup, but more often than not I would take instead a bowl of pho gaâ&#x20AC;&#x201D;chicken noodle soup. Itâ&#x20AC;&#x2122;s lighter and leaves me feeling satisďŹ ed and nourished.

Nam Anâ&#x20AC;&#x2122;s version is stellar. The broth is light, clean and sparkling fresh. The ďŹ&#x201A;at noodles are a few sizes smaller than linguine and reportedly delivered fresh daily. They keep their snap and vigor throughout the meal. The chicken is available with or without skin. Go for the skin. You donâ&#x20AC;&#x2122;t have to eat it, but the fat underneath melts and enriches the already delicious broth.

A squeeze of lime and a few pinches of fresh herbs and youâ&#x20AC;&#x2122;ve got a beautiful bowl of soup. 348 E. Santa Clara St., San Jose; 408.297.3402.

:CIDB6I69D/ 86H6 9: 8D7G: The standout dish of my visits to this Michoacan-style Mexican restaurant was the entomatado, a slow-simmered beef stew made with chipotle, tomatillos, onions, tomatoes and chile de arbol. The smoky ďŹ&#x201A;avor of the chipotle enveloped the dish but still allowed the other ďŹ&#x201A;avors to come through. Spooned into a fresh corn tortilla, it was just superb.

14560 Big Basin Way, Saratoga; 408.867.1639.

H=>D G6B:C/ H6CIDJ@6 The salt-ďŹ&#x201A;avored ramen, or shio ramen for ramenophiles, is Santoukaâ&#x20AC;&#x2122;s ďŹ&#x201A;agship offering. The milky, opaque broth is luxuriously rich with a salt-edged sweetness that comes from the addition of shellďŹ sh broth to the pork-bone and salt broths. The yellow, curly noodles are ďŹ rm and chewy and hold up well in the hot broth. Floating on top is a raft of goodies, including thick slices of buttery braised pork, pickled bamboo shoots, a thin slice of ďŹ sh cake, green onions, wood ear mushrooms and a single bright-red pickled plum. Itâ&#x20AC;&#x2122;s tremendous. 675 Saratoga Ave., San Jose; 408.255.6699.

H:6 H86AADEH/ H6@DDC At Sakoon, chef Sachin Chopra is pushing the boundaries of Indian food. Case in point: the delicious sea scallop appetizer ($10). Marinated with smoked Spanish paprika, the fat and juicy scallops are paired with a mango and garbanzo bean salad and a rich drizzle of roasted pepper/tahini sauce. You wonâ&#x20AC;&#x2122;t ďŹ nd a dish like that anywhere else in Silicon Valley.

357 Castro St., Mountain View; 650.965.2000.

G:J7:C H6C9L>8=/ I=: G:;J<: Iâ&#x20AC;&#x2122;ve had a lot of good pastrami this year, but the Refuge wins the prize. The restaurantâ&#x20AC;&#x2122;s house-made pastrami is carved thick and piled high to make an outstanding Reuben sandwich. The Belgian ale on tap makes it taste even better.

At $16 the sandwich doesnâ&#x20AC;&#x2122;t come cheap nor should it. This is a premium product that has become increasingly hard to ďŹ nd.

Unless youâ&#x20AC;&#x2122;ve spent time hanging out in the right delis in New York or L.A., youâ&#x20AC;&#x2122;ve never had anything like this. This is a truly great sandwich. It looks like itâ&#x20AC;&#x2122;s too much to eat, and youâ&#x20AC;&#x2122;ll tell yourself youâ&#x20AC;&#x2122;ll only eat half and save the rest for later, but if youâ&#x20AC;&#x2122;re like me, you wonâ&#x20AC;&#x2122;t. 963 Laurel St., San Carlos; 650.598.9813.

Stett Holbrook (Follow me at twitter.com/stett_holbrook)

[42] DINING GUIDE

DECEMBER 16-22, 2009 M E T R O S I L I C O N VA L L E Y

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Autumn and the For the Win Homestead Lanes Fall Guys Streetlight Records 980 S. Bascom Ave, San Jose 408.292.1404 Sat – 4pm; free

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Toys for Tots

Bring It Back

Roosevelt Community Center

Common House Gallery

20990 Homestead Rd, Cupertino

21st and Santa Clara streets, San Jose

1025 S. Sixth St, San Jose

408.255.5700

Sat – 9am-1pm; 408.794.7528

Sat – 8pm; $8

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Noon – 6:30pm; free with canned food donation

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[46]

DECEMBER 16-22, 2009 M E T R O S I L I C O N VA L L E Y

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[47]

METROGUIDE

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James Cameron lets his ‘Avatar’ stars get blue in the face_52

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Theft-proof plastic packaging isn’t just irritating: it’s bad for your health

By Jessica Lussenhop

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ANY VIEWERS may have found themselves howling their agreement with Larry David during a recent episode of Curb Your Enthusiasm.

After two minutes of attacking a hermetically sealed plastic package with a butter knife, a screwdriver and a chef ’s knife, he—and many of us—wanted to know: “Why would you manufacture a product you can’t open?”

Why indeed? Who among us has not spent a Chanu-ChrisKwanzaa morning going 10 rounds with the plastic packaging around a new MP3 player or tool or toy? And by far the worst part is when it adds injury to insult: the damned things, often called “clamshells,” are sharp, and a slip of the hand can result at the very least in the equivalent of a paper cut on steroids—and at the very worst a trip to the emergency room.

There’s actually a term for this phenomenon. It’s called “wrap rage.” Think about it. Uncle Frank

has had a couple of eggnogs by the time Little Sally comes running with her new Bratz doll, all hopped up on sugar and giftopening adrenaline. She shrieks when her doll is still sealed in the plastic tomb five minutes later, and an agitated and tipsy Uncle Frank goes for the sharpest knife in the drawer. It’s a recipe for disaster.

Dr. Greg Whitley, medical director of Dominican Emergency Services in Santa Cruz, agreed via email. “I/we have definitely seen lacerations from opening clear plastic containers. Most of the injuries involve opening the containers with a knife, and people cutting themselves with the knife or with the sharp edge of the plastic,” he says. “These injuries can involve tendons and nerves in the hand, so they can be quite serious.”

In the last few years, something like 6,000 wrap ragers hurt themselves badly enough to get those ambulance bells jing-alinging all to the emergency room, according to the U.S. Consumer

Product Safety Commission.

That’s not the only problem. As the nation becomes increasingly concerned with going green, the seemingly indestructible cases are easily imagined whiling away the centuries in a landfill or beefing up the Pacific Ocean plastic gyre.

“It’s going to end up in that Pacific gyre, it’s going to kill sea life, it’s going to contribute to climate change and global warming,” says District 27 Assemblyman Bill Monning. “The moment you’re opening it you face the risk of cuts, of lacerations. But perhaps the greater risk is where it goes after you open it.”

All this is not news to the packaging industry. One source in package manufacturing contacted for this article would not even talk about them, “because people hate them,” she said.

“Teaching packaging, everybody complains about these things constantly,” says Dr. Fritz Yambrach, associate professor of packaging in the Applied Sciences and Arts Department at San Jose

State University. “Here’s the deal— it’s on items that can be pilfered pretty easily. Anything people will steal and jam down their pants.”

The reason clamshells are impossible to open is because they’re supposed to be impossible to open. According to Yambrach, the plastic is made mostly from pellets of polyethylene terephthalate (PET) and extruded out into sheets before being molded into shape and diffusionbonded, or heat-sealed, closed.

Your puny weapons are no match against industrial-strength heat sealing.

About a year ago, it was all the rage for companies to badmouth the clamshell. Sony even launched something it called the “Death to the Clamshell” campaign. But one year later, you’ll probably still be able to find many of their products heat-sealed out of reach.

“We’re certainly cognizant of the environmental health aspects involved in packaging,” says David Migdal, VP of public relations at )-

[48] ARTS

R OL LS EI LYI C O N VA L L E Y DECEMBER 16-22, 2009 M E T R O S I L I CMO ENTVA

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),

Sony, in San Diego. â&#x20AC;&#x153;The rub here is, how do we effectively display some of our smaller products and keep them safe from thieves at the same time?â&#x20AC;?

There is some good news. Yambrach says the industry has steered away from making the shells out of polyvinyl chloride (PVC), which is believed by some to release cancer-linked chemicals.

And some businesses are moving more aggressively toward a clamshell-free future, like Amazon.com, which launched its â&#x20AC;&#x153;Frustration-Free Packagingâ&#x20AC;? initiative last year with 19 products available to be shipped in a simple cardboard box. This year, the count is up to 30 manufacturers and 350 products available frustrationfree. â&#x20AC;&#x153;Wrap rage is real,â&#x20AC;? wrote Amazon. com spokeswoman Anya Waring in an email. â&#x20AC;&#x153;Customers have been responding very positively to the program.â&#x20AC;?

Health insurance, climate changeâ&#x20AC;&#x201D; one puny package can touch on some of the most crucial challenges facing our country. But thatâ&#x20AC;&#x2122;s the power of the clamshell.

Amazon, however, has the beneďŹ t of being an online business, and manufacturers say theyâ&#x20AC;&#x2122;re boxed in by the simultaneous need to draw customers in and shut thieves out.

One solution, says Monning, in the spirit of Styrofoam and plastic bag bans, is political. â&#x20AC;&#x153;Extend producer responsibility,â&#x20AC;? he says. â&#x20AC;&#x153;Maybe theyâ&#x20AC;&#x2122;re going to have to pay through fees that anticipate the cost of recycling and recovery. Whatâ&#x20AC;&#x2122;s the real cost of that package in terms of climate change, in terms of danger to the environment, the danger to the consumer? Does that victim of the cutâ&#x20AC;&#x201D; do they have health insurance?â&#x20AC;?

Health insurance, climate changeâ&#x20AC;&#x201D;one puny package can touch on some of the most crucial challenges facing our country.

But thatâ&#x20AC;&#x2122;s the power of the clamshell.

Man has long wondered if his creations would one day turn on him. We need only look beneath the tree in all those pretty packages to see evidence that itâ&#x20AC;&#x2122;s happened.

Consider yourselves warned this holiday season, before all shells break loose. M

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M E T R O S I L I C O N VA L L E Y DECEMBER 16-22, 2009 STAGE/ART/LIT

DANCE REVIEW

[49]

TICKETS MAKE GREAT GIFTS! CHRIS BOTTI 50TH ANNIVERSARY TOUR

ONE SHOW FIFTY YEARS A MILLION LAUGHS

AMERICA'S GREATEST COMEDY THEATRE SAT. JAN. 30, 2010 • 8PM

A GIRL NAMED MARIA!!Nbsjb!Kbdpct.Zv!tubst!jo!Cbmmfu!Tbo!KptfÖt!ÕOvudsbdlfs/Ö

Holiday Ritual

Ballet San Jose satisfies the season itch for some magical fantasies with ‘The Nutcracker’ IKE A LOT of older brothers, at some point in elementary school, the thought of seeing yet another Nutcracker filled me with dread. That’s because my sister was an aspiring ballerina, which meant that every December I was dragged to see her dance in this most favorite of all holiday chestnuts. I’m pretty sure part of the torture involved getting there early for my sister’s call and then hanging around until the audience arrived, but my ailing memory has not served me well on that particular detail. So I wasn’t overthrilled at the prospect of Ballet San Jose’s production of The Nutcracker, but a funny thing happened between the last time I saw The Nutcracker and this occasion—I had kids.

Sons, I might add, who, for better or worse, were as uninterested in The Nutcracker as I had been. But as a parent, I could see that The Nutcracker was like some version of the Super Bowl to the hundreds of little girls who had packed a recent matinee. Their enthusiasm was contagious.

I grew up with the version of The Nutcracker that featured a little girl named Clara in the lead role. Most ballet companies go the Clara route because that’s the way George Balanchine choreographed it. This version, which was choreographed 30 years ago by Ballet San Jose’s artistic director, Dennis Nahat, uses the name of Maria for the lead ballerina, which is the name author E.T.A. Hoffmann used for the character in his 1816 book The Nutcracker and the Mouse King. Choosing Maria over Clara is one of several scholarly touches in this Nutcracker, but I’m pretty sure all the little girls in the audience, their hair crowned with tiaras or big bows, were more focused on the fantasyland before them than on music history. What could be better than a magical place were people danced and pranced in beautiful, flowing gowns?

The boy dancers on the stage are having none of this, and you can sense that the little boys in the audience can relate. Their hair combed back and held in place by a bit too much “product,” they are at attention when their onstage alter egos disrupt the rapt dance numbers of Maria and her serene cousins. “Cool,” we can easily imagine them thinking.

For the most part, the kids I was sitting near were fully engaged during the first act, which, on the day I attended, featured Nahat in the role of kindly Godfather Drosselmeyer. It’s fun to watch presents being handed out, to spot the puppet mice popping out of nowhere, to enjoy the Snowflakes dancing in unison as snow falls from above. Act 2 is more adult, where the dancing is the thing. By the time we get to the czar and czarina’s throne room, a lot of the kids—boys and girls alike—are in full fidget-and-squirm, resting their heads on an armrest, a shoulder, whatever’s handy. But hey, we’ve all been there.

L

Ben Marks THE NUTCRACKER, a Ballet San Jose production, plays Dec. 18 at 7:30pm, Dec. 19 at 1:30 and 7:30pm, Dec. 20 at 1:30pm, Dec. 22 at 7:30pm, Dec. 23 at 1:30pm, Dec. 24 at 1:30pm, Dec. 26 at 1:30pm and Dec. 27 at 1:30pm at the Center for the Performing Arts, 255 Almaden Blvd., San Jose. Tickets are $30–$85. (408.288.2800)

WED. FEB. 10, 2010 7:30PM

SAT. MAR. 6, 2010 • 2:30 & 5:30PM

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800.745.3000

For the Performing Arts

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a production

[50]

DECEMBER 16-22, 2009 M E T R O S I L I C O N VA L L E Y

M E T R O S I L I C O N VA L L E Y DECEMBER 16-22, 2009 STAGE/ART/LIT

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[52] FILM

DECEMBER 16-22, 2009 M E T R O S I L I C O N VA L L E Y

METROGUIDE

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Pandora’s Boxed In

A strange world tries to resist the invasion of earthlings in James Cameron’s ‘Avatar’

By Richard von Busack

B

OTH AN eyeful and a brain drain, Avatar is like meeting a gorgeous, high-cheekboned fashion model who has just had a lobotomy.

Avatar caps a year that was to animation what 1939 was to studio films—the increased color range and delicacy of CGI were essential to 2009’s banquet of 2-D and 3-D animation, and Avatar’s visuals are part of that triumph.

Despite what’s been claimed, though, you know you’re watching animated characters. Motion capture doesn’t always mean motion release.

The timing appears off and the facial expressions oversimplified. It’s clear that we’re looking at synthespians.

And another thing: director James Cameron’s script is an absolute embarrassment. Avatar’s financial success or failure isn’t my problem, but this time maybe Cameron will be exposed. Something needs to test his faith in his own ability to source other people’s plots without being detected.

In the future, an unnamed Very Big Corporation is shipping mercenaries to the planet Pandora, where 9-foot-tall, blue-skinned noble savages called Na’vi live in a phosphorescent forest full of saurian beasts. The earthling invaders have excavated a vast open-pit mine, guarded by mercenaries.

Jake (Michael J. Fox avatar Sam Worthington) is the paraplegic brother of a dead soldier who has agreed to take his brother’s place in an experimental program. The idea is to link Jake’s brain to a

genetically engineered Na’vi shell; the program is under the direction of a chain-smoking biologist (Sigourney Weaver, no help). And—after the usual rituals—Jake becomes a member of this peace-loving people’s tribe, helped by the space Pocahontas Neytiri, played by a motion-captured Zoë Saldana.

This princess sports giraffe ears and spots, brandy-snifter-size golden eyes and a literal Barbie-doll physique, with an elongated torso and teeny hips. Wide-set eyes are essential to movie glamour—if you can’t tell what a person is looking at, they are mysterious. The Na’vi’s long Zardozlike braids conceal filaments; they can plug into the plants and animals of Pandora to commune with their spirits.

Jake spends his days learning Na’vi lore, reverence for “Eywa,” the mother goddess of them all, and how to pray for the spirits of animals he skewers.

But he is also reminded of his duties by a Marine colonel (Stephen Lang) who proudly wears his scarred face as a reminder of how the Na’vi can kill you—and also that scar-faced people are always evil. The plan to relocate the Na’vi will include deadly force.

There’s a kind of romance in the idea of a forest giantess and a crippled human gasping in the thin air; the movie will appeal to men who love strong women for all the wrong reasons. Yet it’s also an insult to the women in the audience when Neytiri tells Jake to break a Pandoran horse, “You must choose him, and he must choose you,” but it’s up to him,

the male, to choose a bride for life.

Plotwise, Avatar is a blue-dyed remake of Dances With Wolves.

Politically, Avatar has resonance; it fits in with our horror of redwood and rainforest crunching and the terror that no one will ever be able to fix the environment on Earth.

There are certain references to the Forever War in Afghanistan and guilt at the terrible age of colonization.

In actual history, there are shades to this tragedy: there are usually wars between tribes, and conquerors always use disaffected tribespeople as intermediaries. Cameron glosses over this potential plot thickener. Why go to all the trouble to infiltrate the Na’vi by disguising as them, especially when it’s clear to them right away that the humans are “Dreamwalkers”—fake Na’vi?

The cast stumbles around the knowledge of the all-interconnected life on Pandora, as if no one had heard the Gaia hypothesis. Perhaps we’re supposed to approach the movie so wowed by the visuals that we won’t ask any questions. As a line reminds us, “It is hard to fill a cup that is already full.” (“That’s what the Moonies tell you,” retorted a friend.)

Cameron purées a lot of nonEuropean cultures into a blueberrycolored pudding. The Na’vi engage in South Pacific–style seated dances and they paint initiates into their tribe as Australian aboriginals do, but they’re also like Plains Indians, yipping as they ride. A cavalcade of movie references (“We’re not in Kansas anymore”) will still be in effect a

century or two from now, and this planet’s witty name is one of the only references to a broader Earth culture.

Strange, though, that there are so few Philip K. Dick references to the question of who Jake is, even as he loses sleep trying to lead two lives at once.

The action sequences, however modified by the backdrops, are fairly routine: some relatively good early jungle-adventure moments give way to a neo–helicopter armada attack on a fortress of floating rocks or the bulldozing of a sacred tree several miles high. A very improved Michelle Rodriguez plays one of the pilots; she has certainly learned how to give a little to the camera since her first films. Much is recycled from Aliens in a new location despite the whirligig birds, the air jellyfish (seeds of the sacred tree) and the modified dinosaurs.

Fans who insist that there’s no reason to make an intelligent story to go with superior graphics hold back the cause of science fiction.

Umberto Eco wrote that Casablanca wasn’t a movie, it was the movies.

Similarly, Avatar isn’t a movie, it is the tragedy of the movies: a thrilling technology capable of uniting the world in the hands of types who can’t see past the good-guys, bad-guys rites of a playground.

AVATAR (PG-13; 162 min.), directed and written by James Cameron, photographed by Mauro Fiore and Vince Pace and starring Sam Worthington and Zoë Saldana, opens Dec. 18.

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Reviews by Michael S. Gant, Steve Palopoli Mel Valentin and Richard von Busack.

New Avatar (PG-13; 162 min.) See review on page 52.

Did You Hear About the Morgans?

(PG-13) A New Your couple see a murder and must be relocated to a small Western town for their safety. Fish-out-of-water hilarity ensues. Stars Hugh Grant and Sarah Jessica Parker. (Opens Dec 18.)

Lâ&#x20AC;&#x2122;orfeo A ďŹ lm of the La Scala, Milan, production of Verdiâ&#x20AC;&#x2122;s opera. (Plays Dec 16 at 7pm at Camera 7 in Campbell.)

Me & Orson Welles (PG-13; 114 min.) Richard Linklater directs a look back at the heady days of the great directorâ&#x20AC;&#x2122;s stage career in the late 1930s, with Christian McKay channeling the master. Also stars Claire Danes and Zac Efron as young arty types thrown together by Wellesâ&#x20AC;&#x2122; latest project, a radical adaptation of Julius Caesar. (Opens Dec 18 at CinĂŠArts Santana Row.) Navidad, S.A. (Christmas Inc.) In 1959, Mexicoâ&#x20AC;&#x2122;s Rene Cardona made a Santa Claus movie that still enthuses weed smokers and weird nihilists when they can ďŹ nd it at Walgreenâ&#x20AC;&#x2122;s. Despite (or because of) lucha libre scenes between Santa and Satan, it won the best family ďŹ lm award at that yearâ&#x20AC;&#x2122;s San Francisco International Film Festival. This new Mexican Santa Claus movie looks light-years better. The alwayssuave Pedro Armendariz Jr. plays a Santa Claus opposed by a greedy elf, in a real world of global warming (goodbye North Pole) and globalization. Reputedly Mexicoâ&#x20AC;&#x2122;s ďŹ rst carbon-neutral ďŹ lm. In Spanish with English subtitles, and hereâ&#x20AC;&#x2122;s the good news: Free. Presented by CineMas and CineLatino. (Plays Dec 19 at 3pm in San Jose at the Montgomery Theater). (RvB)

Revivals A Christmas Carol (1938) See story on page 54. (Plays Dec 19-20 at 1 and 6pm in San Jose at the California Theatre.)

Funny Face/The Band Wagon (1957/1953) Fred Astaire plays a ďŹ ctionalized version of fashion photographer Richard Avedon. During a photo shoot in a New York bookstore, he is taken with the offbeat beauty of the store assistant (Audrey Hepburn) and sweeps her into the Paris fashion world. Songs include â&#x20AC;&#x153;How Long Has This Been Going On?â&#x20AC;? and â&#x20AC;&#x153;Sâ&#x20AC;&#x2122;Wonderful.â&#x20AC;? BILLED WITH The Band Wagon. Wish you could see another movie as good as Singinâ&#x20AC;&#x2122; in the Rain? You canâ&#x20AC;&#x2122;t, but The Band Wagon is the next best thing. The ďŹ rst image is of Astaireâ&#x20AC;&#x2122;s top hat and cane about to be put under glass in a museum, while Astaire (playing Astaire, pretty much) prepares to be put out to pasture. He leaves Hollywood and returns to 42nd Street, ďŹ nding what once was a sea of black coats and white ties is now a riot of color: Times Square is in the process of becoming what it was going to be when Travis Bickle found it. Thanks to the help of a young actress (Nanette Fabray), this tuxedoed, genteel ďŹ gure of the Art Deco 1930s ďŹ nds harmony with the widescreen brassiness of the 1950s.

The highlight is the show-stopping Mike Hammerâ&#x20AC;&#x201C;themed â&#x20AC;&#x153;Girl Huntâ&#x20AC;? number, in which Astaire has his best duet with longlegged Cyd Charisse. (Plays Dec 16-17 in Palo Alto at the Stanford Theatre.) (RvB) The Wizard of Oz (1939) See story on page 54. (Plays Dec 17-18 at 7:30pm in San Jose at the California Theatre.) (RvB)

M E T R O S I L I C O N VA L L E Y DECEMBER 16-22, 2009 FILM

Reviews Armored (PG-13; 88 min.) What did they always say in ďŹ lm noir? You canâ&#x20AC;&#x2122;t pull off an armored-car theft unless itâ&#x20AC;&#x2122;s an inside job? Columbus Short, Matt Dillon and Laurence Fishburne star in a heist ďŹ lm built on that time-honored premise.

The Blind Side (PG-13) The ďŹ lm focuses on Michael Oher (Quinton Aaron), who overcame homelessness as a teenager to receive a football scholarship to the University of Mississippi and later played in the NFL. Oher succeeded with the help of a wealthy Christian couple, Ole Miss grads Leigh Anne (Sandra Bullock) and Sean Tuohy (Tim McGraw), who took Oher in and made him a part of their family. Most of the attention is on Oherâ&#x20AC;&#x2122;s experiences as the only African American student at a private Christian school, his homelessness after being abandoned by a caretaker and his relationship with the Tuohy family.

In adapting Michael Lewisâ&#x20AC;&#x2122; nonďŹ ction bestseller, writer-director John Lee Hancock eliminated the most controversial aspects of Oherâ&#x20AC;&#x2122;s case: the Tuohysâ&#x20AC;&#x2122; motivation for adopting him. Would they have taken him in if he wasnâ&#x20AC;&#x2122;t athletically gifted and a potential football star at left tackle?

Hancock refuses to see or acknowledge any ambiguity, instead leaving moviegoers with a simple, simplistic answer: They did what they did ďŹ rst out of compassion and later out of unqualiďŹ ed love. (MV) The Boondock Saints II: All Saints Day (R; 117 min.) Two vigilante Irish brothers (Sean Patrick Flanery and Norman Reedus) blast their way through Bostonâ&#x20AC;&#x2122;s underworld. Also stars Peter Fonda and Judd Nelson.

Brothers (R; 110 min.) Jim Sheridanâ&#x20AC;&#x2122;s dud remake of a 2004 Danish original. Itâ&#x20AC;&#x2122;s shot in wintry New Mexico (which is doubling for Minnesota); the scenes in Afghanistan match the frozen ďŹ elds there, so the ďŹ lm is all one icy plain ďŹ lled with familial pain. Tommy (Jake Gyllenhaal) is just out of the joint after three years for bank robbery; his brother, Sam (Tobey Maguire), is a captain in the Marines, about to head back for another stint. Grace (Natalie Portman), Samâ&#x20AC;&#x2122;s wife, and the mother of his two children, settles down to wait for his return. But Samâ&#x20AC;&#x2122;s helicopter is shot down by the Taliban, and heâ&#x20AC;&#x2122;s taken prisoner and brutalized. In stress mode, wielding a gun and screaming to the heavens, Maguire

showboats with all smokestacks belching.

Portman looks like a Prius parked outside a honky-tonk. (RvB) An Education (PG-13; 95 min.) Lone ScherďŹ gâ&#x20AC;&#x2122;s British coming-of-age ďŹ lm ends with a marathon session of tea brewing, but it has its good points. The look is coolâ&#x20AC;&#x201D;1960ish England may be more interesting than the full-blown and overexposed later â&#x20AC;&#x2122;60s. Twickenham-raised Jenny (Carey Mulligan) is studying for Oxford when she gets picked up by David (Peter Sarsgaard), a slightly older rotter; his slightly cruel eyes and ďŹ&#x201A;at smile forecast trouble to come. Until then, Jenny gets to see London highlife and nightclubs, and voyages to Paris. Smelling class, and wanting to make their hard-working daughter happy, Jennyâ&#x20AC;&#x2122;s parents (Cara Seymour, Alfred Molina) relax the leash. And thatâ&#x20AC;&#x2122;s when the young girl learns how David makes his money without working days. No one in the movie apparently saw one of those melodramas about the wealthy seducer who steals a poor but honest girl; letting that matter aside, Mulligan is charming, the meet-cute is deft and Olivia Williams bears all the movieâ&#x20AC;&#x2122;s spine as a deliberately drabbed-down English teacher. Nick Hornbyâ&#x20AC;&#x2122;s screenplay, from Lynn Barberâ&#x20AC;&#x2122;s memoir, might have meant he had input on the ďŹ lmâ&#x20AC;&#x2122;s excellent preâ&#x20AC;&#x201C;Swinging London soundtrack. Singer Beth Rowley steals the show as the breathy canary at one nightspot. (RvB) Everybodyâ&#x20AC;&#x2122;s Fine (PG-13; 100 min.) Minor but honorable remake of the Giuseppi Tornatore movie.

Robert De Niro expertly downplays the lead role of an upstate New York widower named Frank, trying to investigate what became of his family. Left in solitude, Frank comes up with a bad plan: heâ&#x20AC;&#x2122;ll surprise his four children in the cities where they live. He ďŹ nds disenchantment in Chicago (staying with distracted successful daughter Kate Beckinsale), in New York and in Denver (where Sam Rockwell plays a disillusioned classical musician). The movie seems slightly anachronistic, as if it had been in development forever. But it has an essential dignity: in the light conversations on a train with a stranger and in the rich welcome that Rosie (Drew Barrymore) gives her traveling father. British director Kirk Jones (Waking Ned Devine) is a little myopic when it comes to class in America, but one cuts holiday movies slack.

Everybodyâ&#x20AC;&#x2122;s Fine makes the sensible choice

*)

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FILM DECEMBER 16-22, 2009 M E T R O S I L I C O N VA L L E Y

FILM REVIEW

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Lights, Camera, Action The California Theatre rings in the holidays with a series of $5 matinees

T

HAT PEOPLE’S PALACE, the 1927 California Theatre in downtown San Jose, is practically a shrine to the riches of the Ghost of Christmas Past. A trip there caps a downtown ice-skating party or a wander past the world (or at least Bay Area) famous Christmas in the Park display, now celebrating its 30th year. A Christmas Eve (at 9pm) screening of >IÉH 6 LDC9:G;JA A>;: (1946) runs simultaneously with the Stanford Theatre’s annual showing in Palo Alto.

Director Frank Capra maintained that It’s a Wonderful Life had been made to combat atheism by fostering a belief in divine providence. What’s up front is an honest air of panic about the holiday. The film is equally honest about something else that’s in the air during the holidays: a feeling of failure, a feeling of not fufilling duties to family and friends.

Dickens is clearly at the root of the Capra tale. Lionel “Mr. Potter” Barrymore had played Scrooge on an annual radio broadcast: “a character I’ve loved for many years,” Barrymore said in theater previews for the 1938 film version of 6 8=G>HIB6H 86GDA (playing Dec. 19–20, 1 and 6pm). Appearing in the coming attractions was Barrymore’s way of putting his seal on a role he was born to play—but couldn’t play, because of his crippling arthritis. As with James Bond, so with Scrooge—whoever you saw first in the role is your ideal. My first Scrooge was the one Barrymore introduced: the Anthony Hopkins–ish Reginald Owens, a fleshy snarler. The version is a trim 69 minutes with the uncredited film noir factotum John F. Seitz behind the camera. In her introduction to the new Everyman’s Library A Christmas Carol and Other Christmas Books, Margaret Atwood supposes a couple of reasons why Scrooge sticks around. First, he gives us the pleasure of imaging a boycott of Christmas, bahhing and humbugging all the way. Second, the tale is grounded in Scrooge and Dickens’ own deprived childhoods and a fantasy of living them over happily. When Ebenezer reforms, he says that he is as merry as a schoolboy; Atwood responds, “Now, what schoolboy might that be?”

The holiday theme of making a past better continues in the modern favorite, 1983’s 6 8=G>HIB6H HIDGN, playing on the 25th itself (at 7:30pm). It became a classic because of the never-ending delight in dangerous toys, Bob Clark’s sturdy, fast direction and the vastly underrated actress Melinda Dillon as the mom. As a Boxing Day afterthought—and as an urging-on to populist triumph in the new year, 1938’s all-color I=: 69K:CIJG:H D; GD7>C =DD9 (Dec. 26–27, 1 and 6pm) features Los Gatos’ own then-17-year-old Olivia de Havilland, fit to make Natalie Portman look like Ugly Betty. I=: L>O6G9 D; DO (Dec. 17–18, 7:30pm) needs neither outline nor justification: everyone’s favorite film, on a big screen in a true picture palace, not an overpriced shoebox. And at $5 a ticket, these screenings are doable. A rough end for a rough year begs for a little working-class luxury, which calls to mind the banner outside a New Orleans theater, seen in the novel The Moviegoer by Walker Percy: “Where happiness costs so little.”

Richard von Busack THE WINTER MOVIE SERIES, presented by Team San Jose and Stanford Theatre Foundation, runs Dec. 17–27 at California Theatre, 345 S. First St., San Jose. Tickets are $5.

*(

to wrap the action around snow, Christmas trees and good old C-9 Christmas lights.

(RvB) Fantastic Mr. Fox (PG; 87 min.) A real artist learns to turn his limitations into strengths. In switching gears entirely from live action to stopaction animation, director Wes Anderson has created his most consistently enjoyable film. Anderson has softened his typical aura of disappointment with a sense of rejuvenating play. Based on a short Roald Dahl children’s book, Fantastic Mr. Fox is a fairy tale, but it’s a realistic, slightly bleak one. Fox (voiced by George Clooney) is living a straight life with his wife (Meryl Streep). A midlife crisis rouses the beast; he decides to turn hunter once again.

Retaliation comes fast and hard: the Fox is robbed of his tail by a shotgun blast. In the war that follows, Fox and his family—and,

soon, all the creatures in the woods— become refugees. Clooney is a fox in full: we see both the humorous suavity and the realization of possible failure. Clooney is our Cary Grant, but what people forget about the original Grant is something that this superbly compelling Clooney remembers: the buried fears that a suave man harbors of being out of control. (RvB) The Hurt Locker (R; 131 min.) The soldiers of Bravo Company are stationed in Baghdad for the 2004 fighting. Central to the film is the mystery of Staff Sgt. James (Jeremy Renner) who comes in to replace a slaughtered demolition expert. James’ risktaking amazes and angers his subordinate, Sgt. Sanborn (Anthony Mackie). The suspenseful, grimly funny script is by coproducer Mark Boal. Renner is outstanding as the inhumanly brave demolition expert. Director Kathryn Bigelow does what Howard Hawks would do: she finds

the cooperation between men of great competence in a killing trade, rather than pumping up rivalry. Bigelow breaks through the sense of anonymity that characterizes most Iraq war movies, where helmeted men move alike and talk the same terse slang. However, The Hurt Locker takes an essentially knightly view of the war, of men suiting up and closing their visors. Thus this is the first Iraq film an American audience can feel good about.

Boal’s script does discover the hollow inside the brave James: the missing part that made him never stop to realize why he did his job.

That final revelation is smart filmmaking.

It’s just that the hollow inside this movie— inside almost all war movies, even the good ones—isn’t as easily seen. If war is a drug, as The Hurt Locker claims, who’s pushing it?

(RvB) Invictus (PG-13; 124 min.) The tunnel-visioned sports movie par excellence. Based on John Carlin’s book Playing the Enemy, Clint Eastwood’s film tells of South African president Nelson Mandela (Morgan Freeman) exhorting the South African Springboks to greatness in the Rugby world cup as a public-relations move to heal the racial divisions. It’s obvious Freeman could do the role in his sleep. It’s the kind of part where someone says of Mandela “He’s not a saint!” because this conception of Mandela is such a saint. Team captain Francois Pienaar is not much of a role, but Matt Damon makes it a model of recessive, intelligent interpretation. Rugby is not a game made for screen poetry, though, and the dog piles and all-but-drag-out fights on the field have no shape to them. (RvB) The Maid (Unrated; 96 min.) The thrilling yet nuanced performance by Catalina Saavedra—a highlight of the year in film—makes The Maid everything that The Powers That Be claim that Precious was.

Raquel (Saavedra), the maid of the title, takes care of a large family in Santiago, Chile. The mom, Pilar (Claudia Celedón), is too distracted by her own career to pay attention to Raquel’s increasingly ominous moods, and she underestimates the cold war between Raquel and Pilar’s daughter, whom the maid loathes. Director Sebastián Silva doesn’t patronize his subject, whom he tracks with such admirable intimacy.

About halfway through, you’re certain that The Maid can only end in violence, but the film delivers an unexpected development: the newest assistant maid, Lucy (Mariana Loyola), arrives; she’s a bohemian type, who likes jogging and sunbathing. And she brings to the movie moments of unexpected happiness, no more strained than the quality of mercy itself. (RvB) The Messenger (R; 105 min.) Woody Harrelson’s Capt.

Stone is a CNO (Casualty Notification Officer), one of the pair of soldiers who turn up on doorsteps to regret to inform.

Stone’s new partner, Sgt. Montgomery (Ben Foster), is a simmering, tattooed fan of punk rock; he’s scarred from the war and is boiling with his own contempt for the civilians around him. The two-man team keep the pity for themselves and not for the survivors. But we start to see celebrity actors playing the bereaved: Steve Buscemi as a spitting, furious father; Samantha Morton, plumped and cushiony, with hair swept back to look like late-period Ann-Margret. That’s when the film’s previous death’s-head irony starts to grow domestic. One can’t stop watching Harrelson, who—despite cartoony work this year—seems on the verge of something great. Writer-turneddirector Oren Moverman did the research; the slang sounds right. He also uses ideas and symbols that could have been done without: the first shot of Sgt. Montgomery, putting eye drops in his wounded eye, all but says, “This man cannot weep.” The locations, in New Jersey’s aluminum-siding

*+

M E T R O S I L I C O N VA L L E Y DECEMBER 16-22, 2009 FILM

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FILM DECEMBER 16-22, 2009 M E T R O S I L I C O N VA L L E Y

*)

belt, give the story some kind of realism.

Inside this movie is a much harsher and bigger film, and Harrelson, who is excellent, might have shown the way to it. (RvB) Ninja Assassin (R; 99 min.) The shiny Orientalism of Ninja Assassin’s dialogue is more of a treat than the fight scenes, which consist, basically, of a lot of whipping razor chains and puréed ninjas, who go up in what look like explosions in a Ragu factory.

James McTeigue, of V for Vendetta, tells of an apostate ninja named Raizo (Korean pop star Rain), who turned against the Clan of Black Sand and is hiding in Berlin.

Suffering nobly, he tries to protect an Interpol-like investigator (Naomie Harris) from the wrath of his seemingly hundreds of fellow warriors. In flashbacks, we see the savage training: kidnapped children

are beaten into the ninja lifestyle under the glare of Lord Ozuni (venerable martial artist Shô Kosugi). When McTeigue slows down the camera, the violence has an effect, and there’s the odd sick-artistic effect, like the calligraphy of blood sprawling on paper screens. More often, we get grotty stuff: an edit between a bisected fool and tomato sauce splotching on a paper dish of Berlin-style curlywurst. The Wachowski brothers developed this comicbook-like film. Despite the playfulness of scripters Matthew Sand and J. Michael Straczynski, the story gets stuck up in origins; the fountains of gore are not so much nauseating as lulling. (RvB) Old Dogs (PG; 88 min.) John Travolta and Robin Williams star in a kid-friendly comedy about two old buddies who must care for 7-year-old twins. Co-stars Kelly Preston, Bernie Mac, Matt Dillon and Ann-Margret.

Planet 51 (PG) An animated kids’ film. When an earth astronaut (voiced by Dwayne Johnson) arrives on an alien planet, he causes a panic among the cozy suburban inhabitants.

Precious: Based on the Novel Push by Sapphire (R; 110 min.) Much lauded, but it’s a bulldozer. It’s 1987, during some of Harlem’s most suffering years. A girl of immense girth, 16-year-old Claireece (Gabourey “Gabby” Sidibe) makes her way through life. She has intelligence, but she can’t focus, and we learn why in flashback; she was serially raped by her mother’s boyfriend. Her scathing, angry mother, Mary (Mo’Nique), blames Precious for this and her resulting pregnancy), urging her to stop this foolishness about school and go on welfare. Watching Sidibe, we see something of what this movie could have been if it hadn’t been so overcooked.

The film is practically a pre-Clinton-era dream of the need for welfare reform: here, welfare is a generational evil that Precious might fall heir to. As you’ve heard, Mo’Nique is great, but the film has a judgmental streak that won’t quit. And that’s been essential to a success worthy of its sensationalism. By the end of the movie, you know who all the heroes and all the villains are, and you can go home comfortable. (RvB) The Princess and the Frog (G; 97 min.) In New Orleans of the 1920s, a hard-working African-American girl, Tiana (Noni Rose), falls for the myth that a princess’s kiss can turn a frog back to a prince, but the curse turns out to work both ways, and soon the couple—now both frogs—are running for their lives from a voodoo conjurer (voiced by Keith David, reprising the malevolent silkiness of his Cat in Coraline). This 2-D cartoon supervised by John Lasseter of Pixar is slightly overstuffed and slightly redundant on the subject of the importance of work (the virtue of hard work is beaten by life into nine out of 10 knaves, as George Bernard Shaw said).

The disappointing soundtrack by Randy Newman is instant Creole, just add swamp water. (Better they should have called Chris Strachwitz and asked him what he had in his collection.) That said, the attempt to make a multiculti story is suitably enchanting. The full-length cartoon is a tribute to a century-long history of cellular animation—the kind smart people were going around saying was redundant. Here,

Showtimes

for all the local theaters are available online 24/7 at www.movietimes.com

M E T R O S I L I C O N VA L L E Y DECEMBER 16-22, 2009 FILM in the villainous Shadow Man (whom I adored) is a tribute to Cab Callowayâ&#x20AC;&#x2122;s ghostly gambler in Betty Boop; the blindness of Mr. Magoo is seen in a benign swamp witch; there are paintbrush traces of both Michigan J. Frog and Pepe Le Pew in the ďŹ&#x201A;eeing amphibians, and a spot of Tex Averyâ&#x20AC;&#x2122;s Red in the physique and crinolines of Tianaâ&#x20AC;&#x2122;s friend and foil Lotte. Some will be enamored of Ray the Cajun ďŹ reďŹ&#x201A;y, who has a Don Marquisâ&#x20AC;&#x201C;style romance with the unobtainable; me, not so much so. Iâ&#x20AC;&#x2122;m more rapt by the lambency, smoothness and stained-glass colors of this supposedly dead medium, restored to life. Likely it will be a success; it deserves to be. (RvB) Red Cliff (R; 148 min.) Carved from a two-part movie of nearly ďŹ ve hours, John Wooâ&#x20AC;&#x2122;s humongous Chinese hit seems to be either too short or too long. Promising subplots keep trying to break out. Emotional moments rise out of nowhere, only to have their force dissipated by yet another battle scene. Thousands die, most of them impaled by wide-gauge spears and arrows, but I couldnâ&#x20AC;&#x2122;t tell you for certain which side they were on. In 200 C.E., the powermad Prime Minister Cao Cao (Fengyi Zhang) has bled China into a kind of peace. But some of his former enemies are restless: a pair of them, Liu Bei (You Yong) and Sun Quan (Chang Chen) hole up at the Yangtze River fortress of Red Cliff to wait for the attack by sea. Among this cliff-side assembly of royals and generals are the warrior Zhou Yu (Tony Leung) and the most fascinating ďŹ gure of all, the Confucian paragon Zhuge Liang (Takeshi Kaneshiro). His tactics save the entrenched rebels from the vaster force. Whenever this calm, white-robed strategist enters, some particularly exciting business develops.

Kaneshiro is one of the coolest presences in the movies in 2009. The very end, of course, is a reprise of Wooâ&#x20AC;&#x2122;s most famous contribution to cinema, the multi-angle Hong Kong standoff. (RvB) The Road (R; 119 min.) Two ďŹ gures, half-starved on a perilous road to the sea, are the survivors of some thorough but indeďŹ nite holocaust.

All civilization has broken down utterly; long-pig consumption is on the rise. The ďŹ lm offers a serious vision of a world without warmth, humor or sex, and only a lightweight, one thinks, would ďŹ&#x201A;ee from it. The Roadâ&#x20AC;&#x2122;s postapocalyptic center is a moral struggle: even as his strength wanes, Vigo Mortensenâ&#x20AC;&#x2122;s Man tries pass

on the spirit of â&#x20AC;&#x153;the good guysâ&#x20AC;? to his son.

The son is called, as in Tarzan movies, â&#x20AC;&#x153;Boyâ&#x20AC;? (Kodi Smit-McPhee). My problem is that Iâ&#x20AC;&#x2122;ve seen the same movies novelist Cormac McCarthy saw. The us vs. them aspect is the same as in any video game, or any of the previous dozen movies about zombies or hillbilly ogres. The ďŹ lm has its moments. Mortensenâ&#x20AC;&#x2122;s real-to-the-pith suffering is unimpeachable, and a sightless Robert Duvallâ&#x20AC;&#x2122;s tales of apocalypse have some genuine weight to them. There isnâ&#x20AC;&#x2122;t a moviegoer alive that can take The Road as seriously as it wants to be taken. (RvB) 2012 (PG-13, 158 min.) Nutty but not crunchy ripoff of When Worlds Collide. A few minutes are absolutely high art: a lovingly detailed sequence of downtown L.A. wobbling on all sides of a mile-deep ďŹ ssure in the earth, the skyscrapers dancing around its brink or keeling over in slow faints. Being Roland Emmerich, the director must cut away from this splendor to John Cusack, his ex-wife Amanda Peet and his family (adorable daughter and bratty son), and the ex-wifeâ&#x20AC;&#x2122;s new squeeze, an expendable plastic surgeon (Thomas McCarthy)â&#x20AC;&#x201D;better the whole world be inundated than one American nuclear family should be sundered. No surprise, 2012 is a ďŹ lm of sequences and of wildly uneven tone. (RvB) The Twilight Saga: New Moon (PG-13; 130 min.) Visually, New Moon improves on Twilightâ&#x20AC;&#x201D;the forest primeval is a little more natural (the better to shelter the supernatural). More of the same, though: the troubled True Love Waits romance of Bella Swan (Kristen Stewart) with the vampire Edward Cullen (Robert Pattinson), interfered with by the formerly geeky, now studly Native American werewolf Jacob Black, called Jake (Taylor Lautner). Modeling Bella on the Jane Austen heroineâ&#x20AC;&#x201D;â&#x20AC;&#x153;loving longest . . . when hope is goneâ&#x20AC;?â&#x20AC;&#x201D;director Chris Weitz makes the mistake of letting the goods simmer until theyâ&#x20AC;&#x2122;re soggy.

Playing Bella, Stewart is consistently interesting. She has a very ambiguous mouth, and she plays everything way, way down, particularly her incrementally tiny reactions to the supernatural: â&#x20AC;&#x153;Youâ&#x20AC;&#x2122;re not the ďŹ rst monster Iâ&#x20AC;&#x2122;ve met.â&#x20AC;? The contrast here is ďŹ&#x201A;esh vs. spiritâ&#x20AC;&#x201D;Jake the werewolf wears few clothes and has muscles in his ears, and Edward is a pale, sulky stripling. One is more creeped out by the passage about the ďŹ ancee Emily (Tinsel

Korey), who had her face disďŹ gured by her werewolf lover, yet she still serves the wolfman and his buddies the mufďŹ ns she bakes herself. In Stephenie Meyerâ&#x20AC;&#x2122;s world, men never mean it when they lash out; the girl wants consummation, but the sensitive man delays it, and a father can still ground his daughter, even when sheâ&#x20AC;&#x2122;s past 18. (RvB) Up in the Air (R; 109 min.) As the predatory Ryan Bingham, George Clooney delivers a startlingly good performance. Sadly, the ďŹ lm is compromised by director Jason Reitman, who shows signs of morphing into Cameron Crowe. Bingham is a hired terminatorâ&#x20AC;&#x201D;a man brought in to ďŹ re people; he tolerates this job with beneďŹ ts of an executive life with plenty of travel.

Enter a young, seemingly equally callous rival (Anna Kendrick). Having this inexperienced girl along interrupts Ryanâ&#x20AC;&#x2122;s regularly scheduled no-strings ďŹ&#x201A;ings with a fellow constant business traveler, Alex (Vera Farmiga). The acrid ďŹ rst half is the best partâ&#x20AC;&#x201D;Clooney makes us admire Ryanâ&#x20AC;&#x2122;s gamesmanship. The ďŹ lm wants us to equate two different kinds of toxicitiesâ&#x20AC;&#x201D;to draw a line between the corporate bloodletting that juices up stock portfolios and the wrongness of the present-tense sex life that Ryan and Alex enjoy. Too bad that Farmiga and Clooney are such a scintillating pair that you donâ&#x20AC;&#x2122;t want to see them pay the piper. And as a critique of corporate culture, Up in the Air is about as bold as Connecticut salsa. (RvB) Zombieland (R; 81 min.) Under a plague of the living dead, the United States is in ruins, and the nervous college-age hero (Jesse Eisenberg) calls the dreadful landscape Zombieland.

He joins three reluctant companions: a Twinkies-loving cowboy called Tallahassee (Woody Harrelson), a fast female loner named Wichita (Emma Stone) and her little sis, Little Rock (Abigail Breslin).

They head to a place where they think the light at the end of the tunnel still shines: Disneyland, renamed â&#x20AC;&#x153;PaciďŹ c Playland.â&#x20AC;?

Thereâ&#x20AC;&#x2122;s merit to the idea of a turkey-shoot zombie-killing ďŹ nale amid colored lights and spinning rides, but the ďŹ lm doesnâ&#x20AC;&#x2122;t get more imaginative than anything seen in the previews. Under Ruben Fleischerâ&#x20AC;&#x2122;s barebones direction, Zombieland is slathered with narration. Harrelson is a ďŹ erce-looking party, but he doesnâ&#x20AC;&#x2122;t get Western-lyrical enough. (RvB)

For showtimes, advance tix and more, go to

cameracinemas.com

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â&#x20AC;˘ 288 S. Second, S.J. â&#x20AC;˘ 998-3300 THE HURT LOCKER (R) RED CLIFF (R) THE MESSENGER (R)

DISCOUNT (10 Admits/$60) / GIFT CARDS PURCHASE AT THEATER BOX OFFICE OR ON-LINE 12/25 AT C12/C7/LG! UP IN THE AIR 12/25 AT C12/C7! ITâ&#x20AC;&#x2122;S COMPLICATED NINE 12/25 AT C7! BROKEN EMBRACES 12/25 AT C12/LG! SHERLOCK HOLMES 12/25 AT C12! YOUNG VICTORIA CHIPMUNKS 2

[57]

FILM REVIEW

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Bargain Screens The Oaks Theater comes back to life as BlueLight Cinemas 5, with affordable tickets and specials

C

UPERTINOâ&#x20AC;&#x2122;S Art Cohen says that the newly renovated Oaks Theaterâ&#x20AC;&#x201D;now called the BlueLight Cinemas 5â&#x20AC;&#x201D;has its name for two reasons. One is the connotation of the â&#x20AC;&#x153;blue light specialâ&#x20AC;?â&#x20AC;&#x201D; the red-hot bargain advertised with a revolving police light. The second is that he hopes to put people in mind of high-tech visuals: Blu-Ray, letâ&#x20AC;&#x2122;s say. From the sound system to the screens to the carpets, this Cupertino multiplex has been redone. And itâ&#x20AC;&#x2122;s still in the same prime spot right off Stevens Creek Boulevard, almost across the street from one of the best ďŹ lm schools in the state, De Anza College. The BlueLight is seeking to lure everyone from students to seniors to families to come back to movie theaters. Every ticket is $3.75. The ďŹ lms may be second-run, but theyâ&#x20AC;&#x2122;re often ďŹ rst-rate; currently, one of my ďŹ nalists for Top 10 of 2009, The Informant!, is showing as well as the cult hit Paranormal Activity and the much praised (if not by me) Where the Wild Things Are. â&#x20AC;&#x153;We saw an opportunity,â&#x20AC;? says Cohen. Cohen was formerly in the consumer electronics business; after selling his company he made a move into exhibition, together with a silent partner who formerly ran ďŹ lm theaters in Santa Cruz. â&#x20AC;&#x153;The Oaks has been closed about seven years, and it needed a little renovation,â&#x20AC;? Cohen explains. â&#x20AC;&#x153;We think itâ&#x20AC;&#x2122;s up to par to a ďŹ rst-run theater. The only thing thatâ&#x20AC;&#x2122;s discount about it is the price to get in. A family of four goes to a ďŹ rst-run theater: tickets are $10.75, times that by four, and then add up concessions: itâ&#x20AC;&#x2122;s like $60â&#x20AC;&#x201C;$70 bucks for one night out. If you come to the BlueLight Cinemas, youâ&#x20AC;&#x2122;ll actually have some money for food thatâ&#x20AC;&#x2122;s as good as any other places, nachos, popcorn, Icees, and so forth.â&#x20AC;?

To get the word out, the BlueLight Cinemas 5 is trying promotions and social networking. One gambit is a 10amâ&#x20AC;&#x201C;noon â&#x20AC;&#x153;Noon Yearâ&#x20AC;&#x2122;s Eveâ&#x20AC;? screening of Cloudy With a Chance of Meatballs for families with very young children, complete with afternoon new year celebration for those wonâ&#x20AC;&#x2122;t be staying up late enough to say good riddance to a bad decade. Later in the evening is a separate program, a 9pm New Yearâ&#x20AC;&#x2122;s Eve toast with sparkling cider to celebrate the Times Square ringing-in. Cohen notes that the Internet is essential to getting the word out about the BlueLight. â&#x20AC;&#x153;Weâ&#x20AC;&#x2122;ll be checking Twitter and Facebook every day. Iâ&#x20AC;&#x2122;ll shoot out a specialâ&#x20AC;&#x201D;say, on Twitter the code word is â&#x20AC;&#x2DC;ice cream,â&#x20AC;&#x2122; and if you say it, you get two-for-one ice cream.â&#x20AC;? The BlueLightâ&#x20AC;&#x2122;s management hope that if this venue works out theyâ&#x20AC;&#x2122;ll be expanding it to other Bay Area locations. It would be welcome; thereâ&#x20AC;&#x2122;s nothing worse that sitting and doing mental mathematics during the slow part of the show, trying to add up how much the whole thing cost.

Richard von Busack

MOBILE USERS: For IMAX Showtimes - Text IMAX With Your ZIPCODE To 43KIX (43549)!

BLUELIGHT CINEMAS 5 CUPERTINO OAKS, 21275 Stevens Creek Blvd., Cupertino. Call 408.255.2552, go to bluelightcinemas.com for schedules or Twitter.com/BlueLightCinema.

[58]

DECEMBER 16-22, 2009 M E T R O S I L I C O N VA L L E Y

METROGUIDE

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M E T R O S I L I C O N VA L L E Y DECEMBER 16-22, 2009 MUSIC

[59]

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They gave Green Day their first opening slot, but tasteless jokes and a screw-you attitude sank San Jose’s Preachers That Lie. The exact same things brought them back.

By Steve Palopoli

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OTHING haunts a broken-up rock band quite like the question of what could have been, as Dean Carrico discovered in 2005. Co-founder and drummer in the iconic San Jose ’80s punk band Preachers That Lie, he had just played a hugely successful reunion gig before moving to Hawaii, where he found himself sentenced to six months in Punk Rock Hell, also known as Hot Topic. His blue hair got him the job, but he didn’t realize he’d be spending every day staring at posters of his friends who hit it big.

“There’s nothing more depressing than looking up at the wall and realizing you know six of those people personally, and you’ve shared the stage with 10 of those bands,” says Carrico.

A staple of Berkeley’s Gilman in the late ’80s and early ’90s, PTL gave Green Day their first gig, opening up for them. They played with Bille Joe and company more than a dozen times after that, although eventually it was PTL opening up for Green Day. PTL was on the Can of Pork compilation from Lookout Records with Lagwagon and the Mr. T Experience, making their song “Whiners” from that album the

only one that crowds would know all the words to when they toured outside of the Bay Area. They played with Bad Religion, NOFX and other punk bands that would go on to superstardom.

“I look back at some other bands that made it and I think what would have happened if we’d kept it together,” agrees lead singer Rich Foster, who continues playing locally in the band Flames. He acquired the nickname “Stinky” —allegedly because he always smelled like cigarettes—for “The Stinky Show,” the popular punk program that ran on KSCU from 1993 to 1999.

PTL played their last show in 1995, after a nine-year run, before imploding while on tour in Colorado, when bassist Brian Snapp literally walked away from the band, ditching them at a hotel. Now they’re getting together for another reunion show, at the VooDoo Lounge on Wednesday, Dec. 23, and prepping a best-of disc that may finally get the band its due. (Foster and Snapp are still not on speaking terms, so Dover from Whiskey Sunday will be filling in on bass, as he did at the reunion shows in 2000 and 2005).

So there’s the question of what

could have been, but on the other hand, maybe PTL didn’t do so badly for a punk band that started when 15-year-old Foster and Carrico met at the dollar theater (famous for its Rocky Horror screenings) that used to be in Oakridge Mall. Mixing the circular drone of the Germs with the heavy guitar of the Black Flag and the acid wit of the Dead Kennedys, PTL went from singing jokey, Dead Milkmen–type songs about girls and sex to anti-conformity social anthems and attacks on conservative types and Christianity.

“We always liked testing the audience’s limits,” says Foster.

Ultimately, their vicious humor cost them with the Gilman crowd, and crippled their chances of breakout success. Amazingly, it wasn’t their song “If You Don’t Want Me to Fuck Your Mother, Keep Her Off the Street” or even the Gilman-baiting “I’m Not From Berkeley,” which became a favorite there even though it called them close-minded whiners in a “punk rock Disneyland” and asserted that “riot grrrls are lame.”

“I think Berkeley people just liked it because it said ‘Berkeley’,” says Foster.

Nope, it was finally a song about big breasts that got PTL blacklisted, despite the fact that the girls they

were singing about helped write the song. “By ’92 or ’93, Gilman thought we weren’t PC enough,” says Foster.

While South Bay audiences seemed to love the band’s die-hard irreverence, “we brought our attitude up to Berkeley, and Berkeley wasn’t having any of it,” says Carrico. “People could not take a joke.”

Still, he wouldn’t change the band’s attitude for anything, even if it means he has to do another stint in Hot Topic. “The best bands in the world are the ones that can make you laugh or think,” he says. “If you can do both, nothing can stop you.”

His current bartending gig in Honolulu landed PTL an upcoming gig, after he offhandedly laid out the bizarre history of the band for a guy who turned out to be booking the Misfits.

“It’s the best time in your life, so you never stop talking about it,” says Carrico. “We do these shows, then we go back to being our drab and boring selves.”

PREACHERS THAT LIE performs Wednesday, Dec. 23, at 8pm with fellow reunited bands the Curbs, Ill Blooded and Hairy Italians at VooDoo Lounge, 4 S. Second St., San Jose.

Tickets are $5. (408. 286.8636)

[60]

DECEMBER 16-22, 2009 M E T R O S I L I C O N VA L L E Y

M E T R O S I L I C O N VA L L E Y DECEMBER 16-22, 2009 GALLERY

gallery

photos.metroactive.com

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[61]

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[62] MUSIC

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M E T R O S I L I C O N VA L L E Y

One Man Armed Only With A Mic and Guitar!

KRIS KRISTOFFERSON

WEDNESDAY JANUARY 13 HERITAGE THEATRE

1 WEST CAMPBELL AVENUE CAMPBELL, CA 7:00PM DOORS 路 ALL AGES TICKETS AT HERITAGE THEATRE BOX OFFICE ONLINE AT WWW.CI.CAMPBELL.CA.US/ HERITAGETHEATRE CHARGE BY PHONE 408-866-2700 JOIN THE SQUARE PEG CONCERTS STREET TEAM 路 EMAIL DAN@SQUAREPEGCONCERTS.COM

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DECEMBER 16-22, 2009

[63]

[64] MUSIC

DECEMBER 16-22, 2009 M E T R O S I L I C O N VA L L E Y

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AGAINST ME! performs Sunday at 7:30pm at WORKS/San JosĂŠ, 451 S. First St., San Jose. Tickets for the all-ages show are $12/$10 with the donation of a can of food.

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[65]

[66] MUSIC

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DECEMBER 16-22, 2009 M E T R O S I L I C O N VA L L E Y

Some of the Best Albums of the year!

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Bn Wdn[g^ZcY d[ h^m bdci]h gZkZVaZY i]Vi ]ZÉh cZkZg WZZc [V^i][ja id VcndcZ! cdi ZkZc ]^h l^[Z d[ &% nZVgh! l]db ]Z X]ZViZY dc XdchiVcian WZXVjhZ ]Z bVgg^ZY idd ndjc\ VcY bVYZ ]^bhZa[ hiVn [dg i]Z `^Yh# DcXZ ]Z Y^kdgXZY! VWdji V nZVg V\d! ]Z YZX^YZY cZkZg id a^Z dg X]ZVi V\V^c# =Z hV^Y ]Z lVcih V [jijgZ l^i] bZ! lVcih id WZ ]dcZhi VWdji ZkZgni]^c\! VcY ^[ i]ZgZÉh Vcni]^c\ > lVci id `cdl! > h]djaY _jhi Vh`# > WZa^ZkZ ^c adk^c\ hdbZdcZ jcXdcY^i^dcVaan VcY l^i]dji _jY\bZci! VcY > ]VkZ V adi d[ gZheZXi [dg ]^b [dg iZaa^c\ bZ i]Z igji]# >Éb _jhi cdi hjgZ ^[ i]Z X]VcXZ ^h ldgi] iV`^c\/ l]Zi]Zg ]ZÉY WZ jc[V^i][ja VcY WgZV` bn ]ZVgi ^cid V i]djhVcY e^ZXZh# ÅAdk^c\ 8Vji^djhan In a new relationship, any guy can put his best foot forward, but maybe it takes a guy who really loves you to put his worst foot forward: warning you that you could be waiting for the other shoe to drop—off the side of some other girl’s bed.

Of course, he could also be warning you so that if he does cheat, well, you were warned. Commendable as it is that he’s resolved never to lie or cheat again, he’s been divorced a year and seeing you for half that time. That’s a seriously short stretch of never—especially for a guy who’s never been faithful to anyone (presumably, even running around on some pigtailed 14-year-old with the junior high school hussy). And while he talks a remorseful game, he still explains his marital infidelity with the howler “I did it for the children.”

Paternal sacrifice is admirable, but more so when working three jobs to keep a roof over the kiddies’ heads is what a father’s been doing—and not a string of bar floozies.

While many are quick to blame their cheating on a bum relationship, there seems to be a cheater personality. As I wrote in my column “Charlotte’s (Tangled) Web,” researchers Todd Shackelford and David Buss found three personality traits common to people prone to getting some on the side. There’s narcissism— being self-absorbed, self-important, lacking in empathy and predisposed to exploiting others. The other two are low

conscientiousness and high “psychoticism,” clinical terms for a personality marked by impulsivity, unreliability, and an inability to delay gratification. So . . . any of this seem familiar?

Clearly, the last thing you should be engaging in is “unconditional love.”

Sounds beautiful, but that’s love minus discernment, which isn’t love at all, but projectile sentimentality. Seeing whether he’s turned over a new leaf takes ongoing discernment—even beyond the two-year point. On average, that’s how long the happiness high people get from marrying seems to last, according to social psychologist Sonja Lyubomirsky. For you two, the hot new thing phase might end sooner or later, but this at least gives you some sort of marker to go by. You know, seasons change, leaves fall . . . panties drop?

It’s a good thing and a bad thing, having your relationship front-loaded with news of his zipper management issues. For dayto-day peace of mind, you want “I wonder if he’ll ever cheat” to maybe be a footnote on page 33 of your relationship story, not in bold type at the top of page one. On a positive note, you should be less likely to let monogamy slip into monotony. And, while most couples take for granted that both partners will be on their faithful best behavior, having this out in the open might help him focus on what really matters to him, and how he’ll deal, should temptation slide its hotel room key down the bar.

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a guy who doesn’t end things ugly. (Or, maybe you have a peanut allergy.) These women probably feel they can count on you to mess around without messing things up with the man in their life. If you don’t want late-night therapy calls, get caller ID. Beyond that, what’s the downside? Sure, home invasions are alarming, but maybe complain when the perp’s shoving a gun in your face, not pushedup, half-naked cleavage.

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DECEMBER 16-22, 2009

ADVICE GODDESS

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PLACING AN AD 73 74 74 75

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Engineers at Milpitas, CA Linear Technology Corporation has the following job openings: Sr Applications Engineer (job#685): design & develop switching mode power regulator topologies in both isolated Jobs & non-isolated circuits; Design Engineer (job#369): design Technology power management integrated Electronic Data Systems, LLC circuits using Linear’s propri(EDS, HP Enterprise Services), etary Bipolar & CMOS techis accepting resumes for nologies. Res to *Technology Consultant* in hr@linear.com Mountain View, CA (Ref. # EDS- Refer to specific job# when MOUSPA1). Work under gener- applying. al supervision, follow defined procedures & build solutions Engineering/Sales to assure security, availability Director & integrity of info. Develop wanted by Sales & Export of web applications, networks & servers. Perform storage man- metal products & electronics agement & firewall & SW secu- components co. in San Jose, rity & threat analysis. Requires CA. Must have MA in Engg. Req min 5 yrs exp. Analyze next Bachelor’s or foreign degree generation demand, manage equivalent in Electrical Engg, Comp Sci, Engineering, Maths, factory operations, & oversee Physics, Comp Engg, or related & implmt new applic & dsgn + 2 yrs exp in job offered, or as innovations, etc. Superior bilingual abilities in Japanese & IT infrastructure specialist, integration engineer, SW engi- English reqd. Send resume to neer, SW/consultant, network Hitachi Metals America, Ltd., 2107 N. First St., Ste. 500, administrator, or related. For every yr missing towards a 4 yr San Jose, CA 95131 Bachelor’s degree, employer will accept 1 yr of related work Engineer exp. HTML; Internet Information Spirent Communications, Inc. has the following position Services; Active Directory; Domain Name Services; Dynamic open in Sunnyvale, CA: - Software Engineer (SWE-CA) Host Configuration Protocol; administer, config, test & VERITAS High Availability deploy Siebel CRM apps.

Cluster; and SQL. Please mail - Network Systems Engineer resumes with reference # to: (NSE-CA) - support performance Ref. #EDSMOUSPA1, test & anlyze solns w/focus on Kaustubh Kambli, Technical L2 switching, L3 routing & Delivery Team Manager; broadband access technologies; 275 Second Avenue, Some positions may req travel.

Waltham, MA 02451.

Educ and exp reqs may depend No phone calls please. Must on position level/type. Submit be legally authorized to work resume to in the U.S. without sponsorSpirent Communications Inc., ship. EOE. 1325 Borregas Ave., Sunnyvale CA 94089 Sr. Project Mgr Manage all phases of construc- or fax (408) 752-7186, Attn: HR/ job code. tion projects. Resume to: Must ref job code in order to HR Only, Cambridge CM, Inc., be considered.

345 S. California Ave, Palo Alto, CA 94306.

g Employment

Sr. Accountant Lautze & Lautze CPAs & Financial Advisors in San Francisco, CA. Jobsite: San Jose, CA. Prepare a full spectrum of corporate, flow through and individual tax returns. Bachelor & CPA required. Mail resume to Director, 303 Second St., Ste. 950, San Francisco, CA 94107 or email jlee-strain@lautze.com

Hair Studio Station For Rent Studio Glam in San Jose has 2 stations for rent, please call 408-260-5001 for more details, and ask for Liz

g Employers

g Jobs

Education Santa Clara County Office of Education has openings in San Jose, CA: - Occupational Therapist (OTCA) Provide occupational therapy services to special needs students enrolled in the educational programs; - Special Education Teacher (SET-CA) and Teacher, Several Disabilities (TSD-CA Plan & coordinate wrk of aids & other paraprofessionals on daily basis. Dvlp & write realistic individualized educational programs according to each student s needs.

Some positions may req travel.

Educ & exp reqs may vary depending on position level/type. Submit resume to Santa Clara County Office of Education 1290 Ridder Park Dr. San Jose, CA 95131.

Attn: Mark Miller/job code.

Must refer job code in order to be considered.

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Call the Classified Department at 408.298.8000 Monday through Friday, 8.30am to 5.30pm.

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Fax your ad to the Classified Department at 408.271.3520.

@

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DEADLINES: For copy, payment, space reservation or cancellation: Display ads: Thursday 3pm Line ads: Friday 3pm

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Attention Readers Some ads in this section may require an initial investment or fee. Metro Newspapers encourages you to thoroughly investigate any advertiser’s claims before sending payment.

gggg General Notices

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Legal g Legal Notices

Legal & Public Notices

FICTITIOUS BUSINESS NAME STATEMENT #531933 The following person(s) is (are) doing business as: Kidport, 19121 Portos Drive, Saratoga, CA, 95070, Bryan Knysh.

This business is conducted by a individual.

Registrant began transacting business under the fictitious business name or names listed herein on 12/09/98.

Refile of previous file #436615 with changes. /s/Bryan Knysh This statement was filed with the County Clerk of Santa Clara County on 12/11/2009. (pub Metro 12/16, 12/23, 12/30, 1/06/2010)

FICTITIOUS BUSINESS NAME STATEMENT #531344 The following person(s) is (are) doing business as: AMD General Construction, 3409 Cedardale Dr., San Jose, CA, 95148, Johnathan T. Truong.

The following person(s) is (are) doing business as: Union Local 13, 4200 Dove Rd., San Jose, CA, 95111, Kevin DeLang.

This business is conducted by a individual.

Registrant has not yet begun transacting business under the fictitious business name or names listed herein on. /s/Kevin DeLang This statement was filed with the County Clerk of Santa Clara County on 11/05/2009. (pub Metro 11/11, 11/18, 11/25/, 12/02/2009)

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why the astronomers responsible for naming newfound objects are so devoid of flair. Here’s a prime example: They found a blazar, or blazing quasistellar object, in a faraway galaxy. It’s powered by a supermassive black hole that’s 10 billion times larger than our sun. Why did they give this fantastic oddity the crushingly boring name “Q0906+6930”?

Couldn’t they have called it something like “Queen Anastasia” or “Blessed Quasimodo” or “Gastromopolopolis”? I trust you won’t be as lazy in your approach to all the exotic discoveries you’re going to be making in 2010, Aries. Start getting your imagination in top shape. Make sure it’s primed and ready for your upcoming walkabout to the far reaches of reality.

FICTITIOUS BUSINESS NAME STATEMENT #530799

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6g^Zh (March 21–April 19): I don’t understand This business is conducted by a individual.

Registrant began transacting business under the fictitious business name or names listed herein on 1/29/2004.

Refile of previous file #439312 after 40 days of expiration date /s/Johnathan Troung This statement was filed with the County Clerk of Santa Clara County on 11/23/2009. (pub Metro 12/09, 12/16, 12/23, 12/30/20009)

DECEMBER 16-22, 2009

IVjgjh (April 20–May 20): Scientists say that pretty much everywhere you go on this planet, you are always within three feet of a spider. That will be an especially useful and colorful truth for you to keep in mind during 2010. Hopefully it’ll inspire you to take maximum advantage of your own spider-like potentials. It’s going to be web-spinning time, Taurus: an excellent phase in your long-term life cycle to weave an extended network—with you at the hub—that will help you catch an abundance of the resources you need. <Zb^c^ (May 21–June 20): I don’t normally recommend that you worry too much about what others think of you. In 2010, however, you could benefit from thinking about that subject more than usual. Judging from the astrological omens, I suspect that you’ll be able to correct misunderstandings that have negatively affected your reputation. You might even have the power to shift people’s images of you so that they’re in relatively close alignment with the truth about who you actually are. Here’s the best news: You may be more popular than you’ve ever been.

8VcXZg ( June 21–July 22): I’m hoping that you will get out more in 2010. And I mean way out.

Far out. Not just out to the unexplored hot spots on the other side of town (although that would be good), but also out to marvelous sanctuaries on the other side of paradise. Not just out to the parts of the human zoo where you feel right at home, but also out to places in the urban wilderness where you’ll encounter human types previously unknown to you. In conclusion, traveler, let me ask you this: What was the most kaleidoscopic trip you’ve ever taken? Consider the possibility of surpassing it in the next 12 months.

AZd ( July 23–Aug. 22): One of the 20th century’s

greatest scientific minds was Nobel Prize–winning physicist Max Planck. He knew that in his field, like most others, ingenious innovation doesn’t automatically rise to the top. The advancement of good new ideas is hampered by the conservatism and careerism of scientists. “A new scientific truth does not triumph by convincing its opponents and making them see the light,” he wrote, “but rather because its opponents eventually die, and a new generation grows up that is familiar with it.” In 2010, Leo, there’ll be a similar principle at work in your sphere. Influences that have been impeding the emergence of excellence will burn out, dissipate, or lose their mojo. As a result, you’ll be able to express and take advantage of innovations that have previously been quashed.

K^g\d (Aug. 23–Sept. 22): Twenty-two percent of American right-wing fundamentalists believe that Barack Obama is the Anti-Christ. On the other hand, 73 percent of the people who read my horoscopes think that if there were such a thing as an Anti-Christ, he would be an American rightwing fundamentalist. But I’d like to discourage speculations like that among the Virgo tribe in 2010. According to my reading of the omens, you should take at least a year off from getting worked up about your version of the devil. Whoever you demonize, just let them alone for a while. Whatever you tend to fault as the cause of the world’s problems, give your blame mechanism a rest.

As much as possible, create for yourself an EnemyFree Zone.

A^WgV (Sept. 23–Oct. 22): I’m hoping that 2010 will be the year you do whatever it takes to fall more deeply in love with the work you do. I’d like to see you reshape the job you have so that it better suits your soul’s imperatives. If that’s not possible, consider looking for or even creating a new job. The

cosmos will be conspiring to help you accomplish this. Both hidden and not-so-hidden helpers will be nudging you to earn your livelihood in ways that serve your highest ideals and make you feel at peace with your destiny.

HXdge^d (Oct. 23–Nov. 21): “It Don’t Mean

a Thing (If It Ain’t Got That Swing)” is a jazz tune composed in 1931 by Duke Ellington and Irving Mills. In accordance with your long-term astrological omens, I propose that we make that song title your motto in 2010—the standard you’ll keep referring to as you evaluate which experiences you want to pursue and which you don’t. Please proceed on the assumption that you should share your life energy primarily with people and situations that make your soul sing and tingle and swing.

HV\^iiVg^jh (Nov. 22–Dec. 21): I hope you will

get more sleep in 2010. And eat better food, too.

And embark on some regimen like meditation that will reduce your stress levels. In general, Sagittarius, I hope you will learn a lot more about what makes your body function at optimum levels, and I hope you will diligently apply what you learn. That doesn’t mean I think you should be an obsequiously well-behaved pillar of the community.

On the contrary, what I’m envisioning is that by taking better care of yourself you will make yourself strong enough to run wilder and freer.

8Veg^Xdgc (Dec. 22–Jan. 19): Even if you don’t

plan to go to school in 2010, I suggest you make plans to further your education. Your current levels of knowledge and skill may be quite impressive, but they simply won’t be enough to keep you growing and adapting forever. Eventually, you’re going to need to learn more. And the coming months will be a perfect time, from an astrological perspective, to get that process underway. Here are a few questions to jumpstart your meditations: What ignorance do you find yourself having to increasingly hide? What subjects captivate your imagination and tantalize your future self ? What skills and know-how do your competitors have that you don’t?

6fjVg^jh ( Jan. 20–Feb. 18): Imagine that money

is not just the literal cash and checks you give and receive, but that it is also an invisible force of nature like gravity or electromagnetism. Then imagine that it’s possible for this primal energy to be favorably disposed toward you—that on some occasions its rhythms may be more closely aligned with your personal needs. Can you picture that, Aquarius? I hope so, because there is a sense in which this seeming fantasy will be an actuality for you during much of 2010. How well you’re able to capitalize will depend in part on how high you keep your integrity levels. Are you prepared to be more impeccably ethical, fair and honest than you’ve ever been?

E^hXZh (Feb. 19–March 20): Have you been toiling

away earnestly at the exhausting homework that life has dumped on you this past year? Have you kept the faith even when you’ve been fooled and confused? Have you applied yourself with a pure heart to the maddening details and puzzling riddles you’ve been asked to master? If you’ve been less than conscientious at doing these tasks, the next two months will bring you a series of tricky final exams. But if you have been doing your due diligence, then you’re on the brink of graduating from boring old problems that you have been studying and studying and studying for a long time.

Do we dare hope that you will soon be free of a history that has repeated itself ad nauseam? Yes, I think we do dare.

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No, it’s not advisable. It’s idiotic. We need to get clear on that at the start. I say this because your idea is plausible enough to become the next colonic irrigation, and one wants to nip these things in the bud.

Bloodletting has a long and sorry history.

The Egyptians, Romans, and medieval and Renaissance Europeans used it to treat all manner of ailments based on crackpot theories about imbalances in the bodily humors. Doctors undoubtedly killed more people via bloodletting than they cured. One possible victim was George Washington, who died after physicians treating him for a respiratory infection drained five to seven pints. Sometimes bloodletting worked, sort of. It was used to treat dropsy, an old name for fluid retention or edema, one of the central elements in congestive heart failure. Among other things, edema can make it difficult to breathe, and until the introduction of diuretics and vasodilators, bloodletting was one of the few ways to deal with it—the practice didn’t die out until the 20th century.

Now to your question. You reduce tire pressure by letting out air, so why wouldn’t the same idea work for blood? It’s not that easy. The causes of hypertension, which affects one American in four, are poorly understood.

Two significant factors are blood volume and narrowing of the blood vessels, but the relationship isn’t simple. One study found patients with borderline hypertension had higher central blood volume than normal, but that just means more of their blood was concentrated in their body core—total blood volume was about the same. The amount of blood in any case isn’t the real problem. A more basic concern is salt. The more you’ve got floating around, the more fluid needed in your blood to keep the salt level stable and thus the higher your blood pressure. That’s why hypertensives are put on low-salt diets.

If you donate blood, will your blood pressure drop? Temporarily, yes. One study found rapidly draining 15 percent of blood volume could lead to an equally steep decline in blood pressure.

The pressure soon begins rising again as the blood vessels constrict, but after 90 minutes you could still be as much as 11 percent down. Long term, though, shedding blood won’t make much difference. A comparison of 655 blood donors

with 3,200 nondonors showed average blood pressure between the two groups was almost the same. Still, bloodletting has its uses. I’ve seen a report of a surgeon who temporarily drew down a patient’s blood to reduce bleeding while removing a vascular brain tumor. Phlebotomy, a classier-sounding term than bloodletting, can be used to treat chronic mountain sickness, caused by excessive hemoglobin buildup at high altitudes. As I’ve mentioned before, polycythemia, a disease where your body produces too many red blood cells, is often treated by removing blood, as are the enzyme disorder porphyria and hemochromatosis, a hereditary disease where your body absorbs too much iron. But for most people the surest benefit is still the warm fuzzy feeling you get after donating a pint at the blood bank, along with the free cookies and juice.

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Improvement g Contractors

g Home Services

Miscellaneous

Print And Online A Powerful Combination for one great price. Run your advertisement in Metro Silicon Valley, the South Bay's largest weekly newspaper, and your ad will also appear online! To advertise call 408/200-1300 or visit metroactive.com

g Carpet/Floor

Notice To Readers California law requires that contractors taking jobs that total $500 or more (labor or materials) be licensed by the Contractors State License Board. State law also requires that contractors include their license number on all advertising.

You can check the status of your licensed contractor at www.cslb.ca.gov or 1-800321-CSLB (2752). Unlicensed contractors taking jobs that total less than $500 must state in their advertisements that they are not licensed by the Contractors State License Board.

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real estate g Real Estate Rentals

g Homes

Notice All real estate advertised in Metro Newspapers is subject to the State and Federal Fair Housing Act, which makes it illegal to advertise any preference, limitation, or discrimination based on race, color, religion, sex, handicap, family status, or national origin, or the intention to make any such preference, limitation, or discrimination. State and locate laws forbid discrimination in the sale, rental, or advertising of real estate. We will not knowingly accept any advertising for real estate which is in violation of the law.

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