Alamo Drafthouse is Open

On Thursday (December 17), the Alamo Drafthouse in San Francisco officially opened.  It is located at 2550 Mission Street (22nd Street) on the site of the former New Mission Theater.  I can't find the citation but I believe I read that the New Mission opened in 1916.  Vacant for several years, the site was most recently a furniture store.

It appears that only the main auditorium is open at this time.  They are screening Star Wars:  The Force Awakens in 2D and 3D.   All the screenings are sold out until December 24.  Their website indicates that The Big Short opens on December 23.  Joy, The Look of Silence and The World of Kanako (which I saw at the San Francisco International Film Festival and can recommend) open on Christmas Day while Star Wars is carried over for several weeks.  The Drafthouse will have five auditoriums - the main one on the ground floor and four smaller ones on the second floor in the converted balcony.

There is also a bar in the lobby called Bear vs. Bull.  That doesn't refer to the stock market but back to the days of Spanish California when there was a tradition of pitting bulls vs. bears in fights-to-the-death (the bear usually won if I remember correctly).  Apparently these fights took place in the Mission District of SF hence the name of the bar.

The Drafthouse had a soft opening starting on Saturday.  Admission was $5 and food & non-alcoholic beverages were 50% off.  I believe the regular evening ticket price will be $13.25.

I went on Sunday night to see Steve Jobs.  The bar was not open and large sections of main auditorium were empty even though all the seats were reserved on the Drafthouse website.  I should note that the Drafthouse is one of these theaters where you select your seats at the time of ticket purchase.  I assume they didn't want to pack the house for the soft opening because the primary purpose was to train the kitchen and wait staffs.

I ordered the Deviled Eggs and Chips & Queso.  They serve the food in metal reusable trays.  Chips & queso are not so popular here but it's a staple in Austin (the Drafthouse's hometown) where I visited many times in 1980s.  Not merely nachos with cheese whiz, the queso is melted cheese with diced tomatoes and roasted chile peppers.  Sometimes it gets more fancy but that's the holy trinity - cheese, tomatoes & chile.  The classic is Velveeta and canned Rotel tomatoes & chile.  The queso I had on Sunday was not as good as I recall but I am 30 years removed from the last time I had authentic queso.  At $10 (regular price), it's also a lot more expensive than I recall.

For those unfamiliar with the Drafthouse, they serve food & beverages (including alcohol) in the theater.  I liken it to the New Parkway in Oakland but more upscale.  The Drafthouse has a strict no cellphone policy as well.  I didn't see anyone being escorted from the theater for using their cell phone on Sunday but am looking forward to witnessing my first exfiltration.

The main auditorium can seat over 300.  The interior design is a little too wide for the screen.  If you are sitting on the edge, the angle is too wide for my taste.  There is ample legroom in the aisles as the servers need to pass by.  I was afraid that the servers moving about would be distracting but it wasn't although some of them got down on the floor and crawled to avoid blocking audience members views.  I found that a little too over-the-top but appreciate the sentiment.  My only complaint I was sitting in the back and could hear the servers talking about the orders.  However, if given a choice, I would sit closer to the screen than I typically would for an auditorium of that size.

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As anxious as I was to see the interior and as much as I appreciated the $5 admission (with an additional $1.25 convenience fee), I would not have gone unless the film was compelling.  I've been reading for months that Steve Jobs was the best film no one saw in 2015.

Steve Jobs starring Michael Fassbender, Kate Winslet, Seth Rogen & Jeff Daniels, directed by Danny Boyle, (2015) - Official Website

The film is divided into three acts.  The first act takes place in the Flint Center in Cupertino in 1984 on the day of the launch or unveiling of the Apple Macintosh.  The middle act is at the Davies Symphony Hall in San Francisco in 1988 for the launch of the NeXT computer.  The final act is at the San Francisco Opera House for the launch of iMac in 1998.

The scenes are hectic as the last minute preparations are being made before letting the press & public into the buildings.  As Jobs prepares for his presentations, he is interrupted by various individuals and technical glitches.  The constants are Kate Winslet as Joanna Hoffman, Job's loyal marketing VP who serves as his gatekeeper, chief of staff & conscience, Seth Rogen as Steve Wozniack, co-founder of Apple and yin to Job's yang, Jeff Daniels as John Sculley, Apple's CEO, Jobs mentor cum adversary and Katherine Waterston as Chrisann Brennan, Job's flighty ex-girlfriend and mother to his child (whose paternity Jobs publicly denies).  A trio of actresses play Lisa, Jobs' daughter whom he supports financially if not emotionally.

Based on Walter Isaacson's best selling biography and with dialog by Aaron Sorkin, Steve Jobs is a fascinating films.  Feeling a bit like The West Wing (I was a big fan), the film has Sorkin's trademark "walk and talk" dialog.  Fassbender (as Jobs) says (paraphrasing), "Before every product launch, everyone I know gets drunk and decides to tell me what they really think about me."

The scenes are contrived.  I suspect the events of several years are condensed into the 45 minute acts.  Sorkin almost pulls it off but at times I could tell he is taking Isaacson's narrative prose and forcing the characters to speak expository dialog.  Ultimately it doesn't matter because because Jobs (the man and character) are so fascinating.

The prototypical flawed hero, Jobs (as portrayed in the film) is remote except for the times he acts like a jerk.  Filled with self-confidence to the point of hubris, Jobs first two launches were business failures in the traditional sense.  However, both were necessary in creating the myth of Steve Jobs.  Tellingly, he wears suits and neckties (one is a bow tie) in the 1984 and 1988 scenes.  It's not until the final act that he dons his now famous black mock turtleneck and Levi's blue jeans.

The failure of the Macintosh exiled the prince from the kingdom of Apple and put him in conflict with his surrogate father figure (Sculley) and spiritual brother (Wozniak).  Accompanied by his loyal servant (Hoffman), Jobs wanders the wilderness before ultimately settling at NeXT.  Again, the NeXT computer is a failure but Jobs has learned some of the lessons of life.  The movie would have the audience believe that the NeXT computer was developed only for its operating system.  Jobs knew that Apple's OS was quickly becoming obsolete so he positioned NeXT as a takeover target to facilitate his return to Apple.  The iMac represents Jobs' first (but certainly not final) triumph.

Those old enough to remember may recall that Apple's most successful product for the first 20 years of its existence was the Apple II or one of its variations.  The film sets up a dynamic that the Apple II was Wozniack's achievement even though Jobs received the lion's share of the credit.  However, Jobs knew and resented Woz's role and wanted to create something successful without Woz.  This sets up the key dynamic of the film which is the Lennon-and-McCartneyesque quality of Jobs & Woz's relationship.  Despite a deep and enduring friendship, each resented the other's skills and successes.  If the film is accurate, Wozniack was obsessed for 14 years in getting Jobs to acknowledge the Apple II's engineering and design teams.  Much like Lennon & McCartney (Woz compares himself to Ringo in the film) in the 1960s, your preference of Jobs vs. Woz speaks volumes about your values and personality.

In each act, Jobs is confronted by Woz, Sculley, his daughter and Michael Stuhlbarg as Andy Hertzfeld (an original Macintosh engineer) while Hoffman serves as his confidante and majordomo.  Steve Jobs is a well written and nicely structured film which can easily be adapted to the live theater.  Uniformly strong performances by the cast only buoy the film.  Fassbender and Rogen really captured the mannerism of Jobs & Woz.  Fassbender's Jobs comes off as disagreeable which is consistent with what I have read but he could inspire strong loyalty.  The film makes one wonder why anyone would want to work with Jobs.  Jobs' brilliance and genius are on full display in the film but his charisma seems lacking.

Steve Jobs isn't a great film but it is tremendously enjoyable to watch.  It helps if you have some knowledge of Apple's early history.  The teaming of director Danny Boyle and screenwriter Aaron Sorkin is particularly intriguing.  I hope they collaborate on more films.

Alamo Drafthouse San Francisco Nears Completion

I have suspected that former Roxie programmer Mike Keegan was/is affiliated with the Alamo Drafthouse since last December when he introduced The Astrologer at Another Hole in the Head.  I cannot remember how I first became aware that The Astrologer is affiliated with Alamo.  The Astrologer was restored by American Film Genre Archive which is based in Austin (just like Alamo Drafthouse).  However, the film has screened at Alamo Drafthouse and if my memory is correct, Drafthouse Films (Alamo Drafthouse's film distribution subsidiary) was credited on The Astrologer.

Regardless of Alamo Drafthouse's affiliation with The Astrologer, Keegan recently announced that he is "the new Creative Manager of the Alamo Drafthouse at the New Mission.  [He will be] the one booking the movies, hosting screenings and generally chatting with you, both online and IRL."

Keegan promised that the programming at the San Francisco Alamo Drafthouse will include "Hollywood blockbusters, independent pictures, classics, not-so-classics, foreign films, insane rediscoveries, restorations, rarities, documentaries, cult stuff, music stuff, interactive parties, and lots more.  From family-friendly sing-a-longs to gigantic space operas to brain-damaged total trash, it’s all under one gigantic roof at the New Mission."

He then posted several photos of the restoration of the New Mission.  I don't know how recent the photos are but if they are recent, there is still a lot of work to do before the theater can open...which Keegan modestly proclaims will be "the most epic theater opening to ever hit the Bay Area."

As for the opening of the New Mission, Keegan only says that they will "open [their] doors in a couple of months."

I look forward to the grand opening.  It has been over three years since I first heard about the planned SF outpost of the Alamo Drafthouse.  If nothing else, I admire the perseverance required to bring this project to fruition.  I typically shun opening night crowds of any kind but I may just venture to the Mission on the night the Alamo Drafthouse opens.  Now if they would just announce the date, I could mark my calendar.  I guess they've learned that in San Francisco, you don't announce the opening date until you are 110% sure that you can get the work done and the permits issued by that date.

Alamo Drafthouse Inches Towards Reality

In last Saturday's SF Chronicle, I read that the Alamo Drafthouse's remodeling of the New Mission Theater was approved by the San Francisco City Planning Commission on January 9.  The $10 million project includes the theater remodel and a new 114 unit condo next door to the theater.

The final sentence of the Chronicle article states "Work on both developments could begin by summer."  In previous reports, Alamo Drafthouse CEO Tim League has stated the remodeling could be complete by the end of 2013.  It's unclear if they are still on schedule for a 2013 completion.  Also, completion of the remodeling is not the same as opening the theater for business.  In previous documents, theater renovations were estimated to take 10 to 12 months which would indicate a 2014 completion.

Regardless of the opening date, this news can only be considered progress towards the opening of the Alamo Drafthouse in SF.  The Planning Commission Draft Motion has some interesting artist renditions of what the property will look like as well as full design plans.  Interestingly the packet also includes letters from various organizations supporting the restoration and reopening of the New Mission Theater.  The Roxie supports the opening by stating "The Roxie Theater is in support of the restoration of The New Mission Theater.  The reopening of The New Mission Theater will allow San Francisco to experience more film gems that would not be seen without such venues."  I would think competition from Alamo Drafthouse would be detrimental to the Roxie but perhaps the programming will be different than what I was expecting.

In the Planning Commission motion, it states "The Project is located within .6 and 1.0 miles from other theaters, including the Roxie Theater at 3117 16th Street, Victoria Theater at 2961 16th Street, and the Castro Theater at 429 Castro Street. These three theaters are all independent theaters that do not directly compete with Alamo Drafthouse Cinemas, which typically shows first‐run, major motion pictures."

Comparing the designs for the New Mission vs. the New Parkway which has a similar food & beverage strategy, the Drafthouse design is terraced rows of seating with a long counter in front of each row for plates & glasses.  However, beer & wine service or the ability to eat food requiring a knife & fork during the film are not of foremost importance tor me.  Instead, the Drafthouse's policy of kicking people out of the theater for using their cell phones is something I truly relish.

Alamo Drafthouse New Mission Makes the Wall Street Journal

Earlier this year, I read about the Alamo Drafthouse taking over the New Mission Theater.  I hadn't heard much about the project and it had slipped my mind.  I was surprised to read about the project in the Wall Street Journal recently.

I noticed a few changes from a February report in Mission Local.  The size has been scaled down.  MissionLoc reported 5 screens that would "accommodate about 900 people."  The WSJ reports "The five-screen venue will have a total of 556 seats."  Approximately 300 or a third of the seats have been lost in the past 7 months.  I'm not sure if that represents lowered attendance estimates.

Also new is a target date.  The WSJ reports "Mr. League [founder and chief executive of Alamo Drafthouse Cinema] says he is targeting the end of 2013 for completion."  I'm not sure about that.  It is reported that the project is scheduled for a hearing at the Historic Preservation Commission on December 5, 2012.  If Alamo and Commission had everything lined up before the meeting, I could believe they would finish construction by the end of 2013.

However, Alamo has semi-partnered with Oyster Development Corp.  Oyster wants to develop a 114 unit condo next door to the New Mission.   According to the WSJ, "As part of its plans, Oyster would contribute $1 million toward the restoration of the New Mission theater, $750,000 in grants to 15 neighborhood community groups and give the city some land in the neighborhood for affordable housing."

In a place like the Mission District, in a city like San Francisco, I don't know if Oyster's involvement helps or hinders the Alamo project.  Oyster acquired the property in March 2011 and has not been able to develop it yet.  That's 18 months Oyster has sat on the property which may indicate Oyster has had trouble getting through the planning and permitting process.

San Francisco, Austin and Mostly Britain

Last month, I wrote that Gary Meyer "seemed re-energized and doesn't seem eager to step away" from the Balboa Theater. I was wrong. A few weeks ago, Meyer announced (via email) that he was stepping down from his position at the Balboa. He announced that Adam Bergeron and Jaimi Holke will take over operation of the Balboa as well as the Vogue. The two theaters will henceforth be operated jointly as Cinema SF. Long-time Balboa general manager Roger Paul will serve in that same capacity for both theaters. Meyer will serve as a programming consultant to Bergeron and Holker.

Regarding Bergeron and Holke, Meyer wrote "A few months ago I was approached by an enthusiastic San Francisco couple who loved the Balboa and wanted to know if I would be interested in selling or taking on a partner. After spending time with them it was clear that they had the passion required."

I wonder if Bergeron and Holke are one of the parties Meyer was referring to several months ago when he wrote in a weekly newsletter, "As I continue discussions with interested parties for taking over the Balboa I am heartened by the passion and loyalty many people have expressed for the theater. There are wonderful dreamers who think it would be fun but have no idea what is involved in running this kind of business. I love their enthusiasm but soon they become overwhelmed by all the aspects of staying afloat."

It seems that Meyer has engineered a split of the responsibility for the Balboa lease from the responsibility for the theater operations. Not only that but he found a new operator for the Vogue which I thought was doing relatively well. Both theaters have new websites - Balboa and Vogue.

I'm criticized for being pessimistic but I wish Mr. Bergeron & Ms. Holke the best of luck in their new venture. Their first announced change is that the Balboa now accepts credit cards. I have previously thank Gary Meyer for his work at the Balboa and do so again. One year, I have to go out to Telluride during Labor Day Weekend to see what his widely praised film festival is all about.

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The Vogue hosted the Mostly British Film Festival from February 2 to 9. The festival had four screenings at the Smith Rafael Film Center during that week also. Two rump sessions were held on February 18 and 25 at the Balboa to screen the remaining Up series installments (more on that below).

I saw 14 films at the Vogue and an additional 4 films at the Balboa.

Perfect Sense starring Ewan McGregor and Eva Green; (2010) - Official Site
Neds starring Connor McCarron; directed by Peter Mullan; (2010)
Gumshoe starring Albert Finney; directed by Stephen Frears; (1971)
Stormy Monday starring Melanie Griffith, Tommy Lee Jones, Sting & Sean Bean; directed by Mike Figgis; (1988)
Seven Up!; documentary; directed by Paul Almond; (1964)
7 Plus Seven; documentary; directed by Michael Apted; (1970)
21 Up; documentary; directed by Michael Apted; (1977)
33 Postcards starring Guy Pearce; (2011)
South Solitary starring Miranda Otto; directed by Shirley Barrett; (2010)
Performance starring James Fox & Mick Jagger; with Anita Pallenberg & Michele Breton; directed by Donald Cammell & Nicolas Roeg; (1970)
Chalet Girl starring Felicity Jones, Tamsin Egerton & Ed Westwick; with Bill Nighy & Brooke Shields; directed by Phil Traill; (2011) - Official Blog
Albatross starring Jessica Brown-Findlay; with Felicity Jones, Sebastian Koch & Julia Ormond; directed by Niall MacCormick; (2011)
Sensation starring Domhnall Gleeson & Luanne Gordon; directed by Tom Hall; (2010)
A Lonely Place to Die starring Melissa George; directed by Julian Gilbey; (2011)
London Boulevard starring Colin Farrell; with Keira Knightley, David Thewlis, Anna Friel & Ray Winstone; directed by William Monahan; (2010) - Official Website
28 Up; documentary; directed by Michael Apted; (1984)
35 Up; documentary; directed by Michael Apted; (1991)
42 Up; documentary; directed by Michael Apted; (1998)
49 Up; documentary; directed by Michael Apted; (2005)

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Last year, Mostly British coincided with the first week of the San Francisco Independent Film Festival (SF Indiefest) and I chose Mostly British. This year I wasn't faced with that choice. The 2012 Mostly British Film Festival largely avoided the Indiefest. The last night of the Mostly British was the Opening Night for Indiefest. I shunned both fests to see The Killing of a Chinese Bookie at the YBCA.

My favorite "film" was the Up series which isn't surprising since it is possibly the most celebrated documentary series ever created. Much imitated in different countries, Up follows the lives of 14 children who were 7 years old in 1964. Chosen to represent a cross section of socio-economic backgrounds in the UK, the 14 boys and girls have been interviewed every seven years. The genesis of the series is taken from a Jesuit school motto, "Give me a child until he is seven and I will give you the man." The filmmakers use much of the original footage to show how the subjects have changed and (more surprising to me) foreshadowed their own futures.

The Up series is greatly helped by the continuity provided by Award winning director Michael Apted. The director of films such as Coal Miner's Daughter, Gorillas in the Mist and the underrated Thunderheart, Apted returns septennially to the Up series. Initially a researcher who helped select the 14 children in 1964, Apted has directed each installment since 7 Plus Seven. For some reason, that installment was not called 14 Up.

A few of the participants dropped out of the series but 10 of the subjects have appeared in all seven installments through 49 Up. One subject appeared in 6 out of the 7 films while another appeared in 5. So 12 out of the 14 appeared in 49 Up. This allows for a fascinating comparison between these middle-aged people and not just their 7 year old selves but themselves at various seven year incremented stages of their lives. As I mentioned, the most amazing part is when the seem to prescience their own futures. Apted has been criticized for adding to this effect by skillful and selective editing but overall, it's impossible to change the past which is recorded on film for these people.

Each installment has an element of suspense. You wonder what has become of these people in the intervening seven years. You wonder if your predictions for their futures will be validated. I was surprised and saddened as often as not by the arcs of their lives. In short, there was great drama in the documentaries. Seeing the 7 installments in four weeks allowed me to recall the previous episodes which enhanced the viewing experience.

Apted is busy at work with 56 Up which is scheduled to be released this year. "Released" may not be the correct term since the Up installments are televised on the BBC and PBS. Actually, there was little gained by screening these films on the big screen. They were projected from a DVD that you could play at home. However, having never seen any of the installments in their entirety, I benefited from having the entire series available in such a compressed time period.

I find I frequently fast forward through portions of a DVD or easily become distracted. One benefit of film screenings is that I am forced to watch the film in one sitting. That can be a curse as well as a blessing, depending on the film. For the Up films, it was definitely the latter.

I highly recommend viewing the Up. The first two installments are shorter and weaker than the others but I think that's because the children were under (unseen) pressure from their parents to appear. By age 21, more of their personalities emerge. Apted skillfully shows that clues to their adult personalities were present at 7 and 14 but these first two films act more as background or source material for the future installments. Starting with 21 Up, the films are self-contained and full of drama.

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Screening the entire Up series is not very innovative but the rest of the festival was quite strong. I credit festival programmer Ruthe Stein for putting together a strong lineup which mixed some revival screenings with new films. Excluding the Up films, Stein screened five films from before 1988 out of the 27 unique feature programs.

Given my proclivities, it's not surprising I enjoyed these older films. Of the five films before 1988, I saw four. I missed The Great White Silence which was my favorite film at last year's San Francisco Silent Film Festival.

I was impressed with Gumshoe, a 1971 hybrid starring Albert Finney. Gumshoe was the directorial debut of Stephen Frears who would go on to make My Beautiful Laundrette, Dangerous Liaisons and High Fidelity.

Gumshoe starts off as a comedy as perennial loser Eddie Ginley lives a sort of pathetic fantasy life. A bingo caller cum stand up comic at night, Ginley aspires to be the titular, hard boiled detective by day. He goes so far as putting an ad in the newspaper (lifted straight from The Maltese Falcon) offering his detective services. Although set in a hardscrabble, Liverpool neighborhood of the 1970s, Ginley dresses and talks life a bad Humphrey Bogart imitation.

Unexpectedly, Ginley gets an inquiry regarding his ad. He meets with a suspicious character who gives him some money and a gun. That leads to a femme fatale, South African heroin smugglers and ultimately back to Ginley's brother and his wife (who was engaged to Ginley before marrying his brother). Frears subtly changes the tone of the film as it progresses. What start off as a comedy ends up in a very dark place with Ginley having transformed himself from hapless loser to a hardass, cynical survivor. The parallels to The Maltese Falcon are many. I was expecting something closer to Play It Again, Sam and instead a more serious film which pleasantly surprised me. A moderate fan of Finney's works, I was glad that he was at the top of his game for Gumshoe

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Another interesting revival was Performance which was Nicholas Roeg's directorial debut effort (Roeg co-directed with Donald Cammell). Although several audience members walked out of the screening, I found the film more than interesting enough to stay. Mod & surreal, Performance follows an London East End gangster (James Fox) who runs afoul of his superiors (who all appear to be gay). Fleeing for his life, Fox takes refuge in the rented basement flat of Turner (Mick Jagger). Turner, a recluse, is ensconced with two attractive women (Anita Pallenberg & Michele Breton) and an impressive amount of hallucinogenics. While hiding at the house of the flamboyant Turner, Chas (Fox) begins exhibit homosexual tendencies which explains a lot about his association with his mob bosses and their reaction to his departure. Towards the end of the film there is a great sex scene in which the gender of the four housemates blur together.

Performance also features what may be the first music video as Jagger sings "Memo from Turner" which kicks off the blurring of identity and sexuality for Chas.

I can't say Performance is a masterpiece but it is an interesting film and foreshadows Roeg's later The Man Who Fell to Earth with David Bowie. Roeg seems to have a knack of getting the best performance out of proto-androgynous British rock stars. Jagger appears to be playing himself and then he slicks back his hair and belts out "Memo from Turner" and you begin to wonder what Jagger is really like. Jagger more than holds his own in his scenes with James Fox who has a formidable screen presence.

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Albatross features a remarkable performance by Jessica Brown-Findlay (Downton Abbey) as a wild child who is a catalyst for change for a hapless family who own a B&B on the Isle of Man. As Emelia, Brown-Findlay is like a hurricane - her destructive, teenage energy is too much for the family to bear. Emelia quickly seduces the father (Sebastian Koch), a novelist forever trying to regain the glory of his first novel. Later Emelia becomes friends with the daughter (Felicity Jones) and the consternation of the mother (Juila Ormond), her wild ways rub off on the Oxford bound teenager. Nominally, a buddy film with Brown-Findlay and Jones as polar opposites, Albatross is Brown-Findlay's star making vehicle from the beginning. She exudes all the beauty and ugliness of youthful vigor. Brown-Findlay's is the main reason to see Albatross.

Similarly, South Solitary features an outstanding performance by Aussie actress Miranda Otto. Set on an isolated lighthouse island near Australia in the 1920s, Otto plays Meredith, the spinster daughter and assistant of the new lighthouse head keeper (played ably by Otto's father Barry Otto). An insecure woman, Meredith makes an unwise choice by taking up with the assistant lighthouse keeper (Rohan Nichol) whose bitchy wife (Essie Davis) and bratty kids live on the island. Before long, their affair is discovered and the family use it as blackmail to force a transfer to a better location.

Meredith's father unexpectedly dies but the island isolation and a storm keep her on the island with the only other inhabitant, Jack Fleet (Marton Csokas) the shell-shocked 2nd assistant lighthouse keeper. As they ride out the storm in the lighthouse, the taciturn Fleet and nervously garrulous Meredith have to endure each other's company in close quarters.

I thought South Solitary was a bittersweet romantic comedy buoyed by Miranda Otto's versatile performance.

Sensation starring Domhnall Gleeson (Brendan's son) was also worthwhile. A comedy about a young man who inherits a sheep ranch. Unwilling to continue the ranch after his father's death, Donal (Domhnall Gleeson) quickly sells the herd and sets about living the rest of his life...but not before losing his virginity via the services of a on-line "escort" (Luanne Gordon). Inexperienced with women and possessing a certain youthful earnestness, Donal quickly becomes enmeshed in the woman's problems. The solution to their problems is to open an escort agency with Donal using his inheritance as seed money for the operation.

Like Gumshoe, Sensation subtly evolves from a comedy to a fairly serious film as Donal learns some lessons about life and love courtesy of his prostitute/partner/girlfriend. Nice performances by Gleeson and Gordon.

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London Boulevard was stylish if not much else. Although set in present day, it had a retro-1960s, modern-noir feel (mostly as a result of a soundtrack featuring The Yardbirds). Colin Farrell acquits himself well enough as an excon hired to be bodyguard for a reclusive actress (Keira Knightley). David Thewlis as the pot smoking majordomo and Eddie Marsan as a crooked cop shine in smaller roles. London Boulevard is most notable for Ray Winstone's ferocious turn as the mob boss looking to recruit Farrell into his gang.

Neds about a Scottish juvenile delinquent was powerful. It could easily have been set in the Compton or East LA.

Stormy Monday was oddly disappointing. Although Tommy Lee Jones & Melanie Griffith received top billing, I was most impressed with Sting's performance as a tough blues club owner resisting the encroachment of a thuggish Yank businessman (Jones).

Chalet Girl was a lightweight comedy. Although Felicity Jones was the star, the beautiful Tamsin Egerton stole the show.

33 Postcards has received some critical praise but it didn't quite get it done for me. Guy Pearce gives a understated performance which is offset by Zhu Lin's frequently cloying performance. 33 Postcards is the story of an Australian prison inmate (Pearce) who financially supports a Chinese orphan girl (Lin). When the girl's choir is invited to perform in Australia, the girl grabs her opportunity to meet her benefactor...who has been lying about being a park ranger. A little too sentimental for my tastes, 33 Postcards had its moments.

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The San Francisco Chronicle reported that the New Mission Theater in the 2500 block of Mission Street in San Francisco is being renovated by the Alamo Drafthouse Cinemas of Austin fame. The Alamo Drafthouse and Mission Local Blogs gives more details. The current proposal is to subdivide the New Mission Theater (built in 1910) into five screens with a total capacity of 900.

I don't know what to write. I think an Alamo would be a welcome addition to the local cinema scene. I wonder if SF can handle an additional 900 seats of rep/art house screening venues. I suspect that a local rep house such as the Roxie or Castro would be hurt if a Drafthouse opens. I say if because San Francisco is notorious for putting up roadblocks for new projects. In this case, the New Mission Theater is a designated San Francisco Landmark (#245) which will slow the process down.

The Chronicle article summed it up in the last paragraph of it article. "The next step is to complete an environmental review that is expected to be made public in August or September... After that, the project still needs approval from the Planning Commission and other review committees. So far...there is no estimated cost for the entire project."