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ServiceMaster values the contributions our employees make to the company's overall success and we reward hard work with a broad range of valuable benefits designed to meet the needs of our diverse population.
The ServiceMaster benefits program includes:
In addition to medical and prescription drug coverage, you also have access to the following benefits:
For a complete summary of ServiceMaster's health benefits, visit servbenefits.com.
ServiceMaster also invests in your future by offering:
Because we value you as an individual and know that you have a life outside of work, ServiceMaster also provides:
ServiceMaster is committed to identifying, developing and retaining the best talent to ensure success with our customers. Corporate employment opportunities include roles in Information Technology, Marketing, Human Resources, Finance, Supply Management, Communications, and Legal.
ServiceMaster offers a broad range of competitive benefits and access to a variety of training and development programs.
We want you to be successful and achieve your personal best. At ServiceMaster, that means providing you with opportunities to work on exciting projects and assignments that will help you to develop into a leader.
Staten McKenny
FP&A Manager
A sales career with ServiceMaster is grounded in service and solutions. As a Sales Professional with one of our industry-leading brands, you will partner with home & business owners to ensure customer satisfaction and peace of mind. If you have a passion for sales backed by solid service, then you'll want to discover more about our exciting sales opportunities!
Have a passion for Business-to-Business Sales? Learn more about our different sales opportunities within the commercial sector.
Jason Gardner
Branch Sales Manager
Discover how your service career can start and stretch within one of ServiceMaster's industry-leading brands. From our 6,000+ Service Professional & Technicians to the more than 13,000 in our Contractor network, we have the privilege of servicing more than 75,000 homes and business every single day.
Interested in what a day in the life of a Terminix Service Technician is like? Learn more about the training opportunities, income and growth potential available to our trusted service employees.
Brenda Bell
Residential Technician
We are committed to developing the next generation of leaders. Our programs allow new career professionals the opportunity to grow their career while strengthening essential leadership skills.
Click here to read the Intern Blog and learn about the ServiceMaster Intern Experience!
The ServiceMaster leadership development programs are uniquely designed to make you a part of our talent pipeline. Rotational programs are available in Field Management, Finance, HR, Information Technology, Marketing, & Sales. Learn More.
The Summer internship program is a 10 week paid program designed to provide you with real-world experience and prepare you for an exciting role in a corporate environment. Learn More.
Chris Wilhelm
American Home Shield LDP
We aim to provide exceptional service to more than 75,000 homes and businesses every day. No one knows more about service than our veterans.
We strive to help vets continue their development as leaders. Our Veterans Employee Resource Group sponsors a variety of events and projects that benefit the company, the community and our nation's veterans. The ERG builds esprit de corps, promotes leadership and provides support for both vets and active duty military. Join our squad today!
Erica Carpenter
IT Analyst


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Follow RFF News on your cell phone. Text follow rff to 40404 you will receive txt messages with RFF News
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Thanks for part 3, Tusha.How many minutes is each episode?
Thanks Tusha!! Can explain to me what is Kibbutz member?? I do like the ladies cheer and march!! So cute..
part5 now up!http://www.youtube.com/watch?v=JGal9w8EQMMplease comment and send to your TAR loving friends.
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Left-handed relief specialist Will Ohman, who has made a career with his fastball and slider, is throwing a changeup that he and pitching coach Don Cooper are excited about.
A changeup gives Ohman a pitch to get right-handed hitters out with, which could extend his outings from one or two hitters to a full inning or more.
Another Cooper fix?


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Kelly Shinn
Mesa, AZ
Nursing Student at the University of Hawaii
CBS Bio
Personal Claim to Fame: Successfully completing my first two years of pre-med/nursing classes at the University of Hawaii. On a smaller scale, I also look at winning homecoming queen as one of my greatest accomplishments.
Inspiration in Life: My dad. He has a beautiful heart and is the hardest worker I know.
Hobbies: Surfing, wake boarding, go-kart racing.
Pet Peeves: Dirty fingernails.
3 Words to Describe You: Vivacious, confident, outspoken.
SURVIVOR Contestant You Are Most Like: Elizabeth Hasselbeck because she played with smarts and integrity.
Reason for being on SURVIVOR: It is the opportunity of a lifetime. People dream to do things as great as this.
Why you think you will be the sole SURVIVOR: I know how to play the "social popularity"game.


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Cat Esophageal Cancer
Veterinarian Reviewed on April 2, 2014 by Dr. Janice Huntingford
Cat Esophageal Cancer
The esophagus is the transportation tube that carries food from the mouth to the stomach of your pet. Cancer is very rare in this part of a cat' body. Cat Cancer is much more likely to appear in other areas of the digestive tract than in the esophagus. Neoplasia is a very aggressive type of cancer and spreads quickly to other areas of the body. Symptoms can appear quite suddenly and immediate attention is necessary.
The most common types of esophageal cancer are fibrosarcoma, sarcoma and Cat Squamous Cell Carcinoma. Often the symptoms to not occur until there is some type of blockage or involvement of other organs.
Signs and Symptoms
Symptoms are very variable from cat to cat. Generally there will be difficulty swallowing, nausea and Cat Vomiting and Cat Lethargy. Malnutrition becomes a real threat due to the cat's inability to swallow and/or keep food down. Due to the Cat Loss of Appetite there may also be significant Cat Loss of Weight as well. Pneumonia is also a possibility. Due to the cat's inability to swallow properly, they have the potential to regurgitate food and have the potential to inhale.
It is also possible to get pneumonia after a needle biopsy is done.
Diagnosis is done by the veterinarian after an accurate medical history is obtained. This is followed by a physical examination. If the vet feels the need, a needle aspiration may be performed. And open biopsy may also be necessary to gain access to the other organs in the chest.
Normally a veterinarian will prescribe radiographs. They would generally reveal the presence of gas in the esophageal cavity that is produced by the mass. The mass will be further examined with a contrast x-ray. This will give the vet a better picture of the tumor. A biopsy that shows some tissue death may also be performed.
The nature of this horrific condition makes conventional therapeutic options almost impossible. There have been chest surgeries performed but without success. It is possible to remove tumors that are located at the opening of the esophagus that leads to the stomach.
Attempts can be made to replace the portions of the esophagus that have been removed with sections of the small bowel or the colon. Their success is also limited.
Short term relief is practically all that can be expected. This can be accomplished by a gastrostomy. This is a permanent opening into the stomach through which food is inserted. This will help maintain the desired nutritional levels of the cat.
The prognosis for esophageal cancer is not good. If the lesions are found to be non-malignant, the potential for removal is greater. Due to the extremely high rate of metastasis with esophageal cancer, the success rate of surgical procedures is negligible.
Most important points to consider are observing your cat for unusual eating habits. Be aware of an increase in vomiting or lack of appetite. The weight loss associated with this lack of appetite will cause this to happen quickly. Take your cat to the vet at the first consistent sign of any abnormality.
Sign up for our newsletter and receive more articles and the latest pet health updates and special offers.
Our Expert
Janice Huntingford, DVM, has been in veterinary practice for over 30 years and has founded two veterinary clinics since receiving her Doctor of Veterinary Medicine at the Ontario Veterinary College, University of Guelph. She has studied extensively in both conventional and holistic modalities. Ask Dr. Jan


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By Gregory Karp of Spending Smart
Like in Lake Wobegon, the fictional place where all the children are above average, most people think they're above-average drivers.
Of course, everybody cannot be. But today you can prove whether you are and save money in the process.
Those who are truly safe drivers — and especially those who drive very few miles — might consider new voluntary auto insurance programs that give discounts based on electronic monitoring of driving habits.
Devices attached to your vehicle can measure how many miles you drive, when you drive, how fast you go and how hard you accelerate, brake and corner. They are called " telematic" devices, and the programs are generically termed "usage-based" or "pay-as-you-drive" insurance.
The idea is that cautious drivers who travel fewer miles should pay lower insurance premiums because they're less likely to be in an auto accident.
However, the big downside is relinquishing privacy — allowing your insurance company to compile all that information about your driving habits.
Should you ask your auto insurance agent about installing a telematic device to get discounted premiums? Here are questions and answers to help you decide.
What is it? Typically, the insurer will mail you a small telematic device, which you install by plugging it into your car's on-board diagnostic port (the OBD-II port), which in most cars is under the dashboard, near the steering column. Devices are generally compatible with vehicles built in the mid-1990s and later.
People might think using a telematic device is difficult, but the one from Progressive, for example, fits in the palm of your hand and is easily installed, said Richard Hutchinson, usage-based insurance business leader at Progressive. "It's easier than people think it is," he said. "It's a chance to make insurance more personal."
Devices and programs differ, but a typical telematic automatically transmits your driving data wirelessly, via wireless phone networks, to your insurer. Some insurers allow customers to view their own data on a website.
Driving data is added to the formula an insurer uses to calculate your insurance premium, along with traditional measures, such as age, gender, vehicle type and where you live.
Programs go by different names. Progressive has Snapshot, State Farm has Drive Safe & Save with In-Drive and Allstate has Drive Wise, for example.
State Farm's program, available in 14 states and not yet aggressively marketed, can be used through General Motors' OnStar and Ford's Sync information services. Both record only mileage and not driving habits. Or you could join the insurer's own Drive Safe & Save with In-Drive program for about $5 to $15 per month, which requires a separate telematic device that not only provides services — such as roadside assistance and one-touch emergency response — but can also measure such driving habits as speed, acceleration, braking and cornering.
What are the advantages? A discount on your auto insurance premium.
It makes sense that if your actual driving habits are lower risk, you should pay less — otherwise you're essentially subsidizing high-risk drivers.
Of course, most people think they are low risk. A poll by Progressive, which has the most mature telematics program in the U.S. and is available in 42 states, showed 84 percent of drivers define their driving habits as "cautious" or "defensive."
How big is the discount? Progressive says 70 percent of more than 1 million drivers who signed up for its Snapshot program end up paying less for their insurance, saving about $150 per year. "It's been amazingly popular," Hutchinson said. "We're seeing a quarter or more of people signing up for it."
The largest U.S. auto insurer, State Farm, claims usage-based discounts of up to 50 percent off your auto insurance. However, a more typical discount is 10 percent, State Farm spokesman Dick Luedke said.
Allstate's Drive Wise, only available in seven states so far, claims customers could reap discounts of "up to 30 percent." Customers get 10 percent off their first policy period just for signing up.
The good news is that if the telematic device determines you're a lousy driver, your rates probably won't go up. Information is generally used only to lower rates through discounts.
A side benefit: If the device helps you drive slower and eliminate rapid acceleration and braking, you'll also save money by improving your gas mileage and spending less at the pump.
What are the disadvantages? Privacy; the Big Brother nature of the devices can be disconcerting.
"The first thing you want to look at is precisely what information the telematic device is capturing about the driver," said Paul Stephens, director of policy and advocacy at the Privacy Rights Clearinghouse. "The worst-case scenario is GPS (Global Positioning System capability) for location tracking."
That's a misconception consumers have about telematics — that they're being tracked geographically, Progressive's Hutchinson said. "That's the biggest sensitivity people have with telematics," he said. "We purposely didn't add GPS so we don't track that."
State Farm, however, is an example of an insurer that can retrieve location information because its safe-driving program is part of a larger information service, similar to OnStar, that uses GPS. A spokesman said geographical data is not monitored and is not used in calculating safe-driving discounts.
GPS isn't the only concern, however.
"If you go beyond just aggregate mileage, which perhaps is not very troubling, these devices are not only recording your driving behavior but also your social behavior," Stephens said. For example, an insurer could notice you use the car at 11 p.m. and again when bars close. It might hint that you regularly go out drinking at night, he said. "Do you really want your insurance company to know what you're doing with your life?"
Several insurers cite driving after 11 p.m. or midnight as a risky behavior that can affect safe-driving discounts.
Another issue is that collected data potentially becomes available for court proceedings. Stephens said it's easy to imagine a scenario in which driving data is sought in a divorce case, especially if one wants evidence that the other is cheating.
"But the real thing we're concerned with as privacy advocates is the slippery slope," Stephens said. "As we see with using the Internet and using a cellphone, companies are constantly incorporating new mechanisms to do additional data collections that are far more invasive than initially contemplated by the technology."
And no matter how safe a driver you are, miles matter. For example, Allstate's Drive Wise discount will not apply if you drive more than 18,000 miles per year, according to the company. Driving fewer than 12,000 miles can lead to the largest savings.
"Everybody has their own threshold for what is right for them in terms of sacrificing their privacy versus saving money," Stephens said. "If you're the sort of individual who doesn't care at all about that sort of thing, sure, go ahead and get the discount. On the other hand, if you're someone who places value on keeping the things you do in your life private, you might want to give a second thought to selling your data to an insurance company for a discount."
Twitter @spendingsmart
Copyright © 2012, Chicago Tribune
Re-Posted by Vincent Rush, VP of Business Development for Lynx Telematics
Lynx Telematics is the Developer of the LynxSafe Teen Driving Monitor and Anti-Texting Solution for parental peace of mind.
For more information about Lynx Telematics, contact Vincent Rush directly at (513) 965-6318 or by email at firstname.lastname@example.com


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Washington's Constitution to Tour US Libraries
WASHINGTON (AP) - George Washington's personal copy of the Constitution is going on tour to visit presidential libraries across the country.
The National Archives and Washington's Mount Vernon estate announced the first president's bound copy of the "Acts of Congress" will visit 13 presidential libraries. The 106-page book includes Washington's handwritten notes penciled in the margins.
The book includes the Constitution, Bill of Rights and other legislation passed in the first session of Congress. It's emblazoned with Washington's bookplate.
The tour began Friday at the Ronald Reagan Presidential Library in Simi Valley, Calif. It will continue on to the presidential libraries of Richard Nixon, Gerald Ford, Dwight Eisenhower and others. The tour concludes in September with a display at the Harry S. Truman Presidential Library in Missouri.


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Sean McAdam, Herald:
"It's likely the team will reveal a new 'alternate uniform,' to either replace or supplement the red tops the team often wears for Sunday home games. There's no word yet on what the new logo will look like, or whether it will replace the existing one, which dates back decades."And we have no idea if the changes will be similar to the ones I posted about back on November 12. (However, we can be fairly certain the caps will not be changed back to the 1931 home model pictured here.)


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Sadly, most of my friends who do currently have infants are not of any particular nerdly persuasion, and I do not yet have children. Clearly, the only solution is to badger my gamer friends into having babies.
The same seller also has a superhero set, although those shamelessly mix DC and Marvel logos together. Surely six months is old enough to know why Batman and Captain America don't mix?
I think I like Baby Donkey Kong even better than Baby Commander Shepard, and that's seriously saying something.


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Nicolas Maduro, formerly the late Hugo Chavez's vice president, was sworn in as Venezuelan president Friday evening, over the political opposition's protest that the move was unconstitutional.
Maduro was sworn in just hours after he had emotionally eulogized Chavez at a fiery, foot-stomping state funeral on Friday that at times smacked of a political rally as presidents, princes and left-wing glitterati looked on.
For full world news coverage, visit NBCNews.com.
U.S. & World
Chavez was lauded by his hand-picked successor and a succession of others as a modern-day reincarnation of Latin American liberator Simon Bolivar and a disciple of Cuba's Fidel Castro at the military academy where the funeral was held.
"Here we are, Comandante, your men, on their feet," Maduro shouted, government officials rising behind him. "All your men and women ... loyal until beyond death."
"Chavez lives!" he declared. "Mission accomplished!"
But all was not peace and harmony in a country deeply divided by Chavez's 14 years in power. The opposition coalition announced it would boycott Maduro's swearing-in later Friday, calling it unconstitutional. The dispute foreshadows a bitter presidential campaign to come, with elections mandated within 30 days of Chavez's death.
Opposition leader Henrique Capriles, who received 45 percent of the vote in the October election in which Chavez won his fourth term, accused Maduro of using Chavez's funeral to campaign for the presidency. In his Friday speech, he also said the opposition had asked to attend Chavez's funeral but was told "better that you don't come."
The opposition also rejected the original plan to hold the swearing-in at the military academy, complaining that the armed forces had already virtually endorsed Maduro as Chavez's rightful heir. The government announced at midday that the ceremony had been moved to the National Assembly building.
The country's Supreme Court ruled Friday that Maduro became acting president when Chavez died and could thus run in the election without having to step down. The constitution bars sitting vice presidents from running for the top job. Opposition leader Henrique Capriles, who is expected to challenge Maduro, called the decision a "fraud."
The funeral began with Venezuela's national youth orchestra singing the national anthem, led by famed conductor Gustavo Dudamel. A government-allied congressman later belted out cowboy songs from Chavez's native Barinas state.
The streets outside the military academy took on a carnival atmosphere, with military bands launching into marches and an expanse of supporters wearing the red of Chavez's socialist party. Street vendors sold paper replicas of the presidential sash, which many people in the line slipped over their shoulder.
Throngs watched the ceremony on huge monitors under the blazing sun, while a line to see Chavez's body stretched 1 ½ miles (2 kilometers) but was halted as the funeral got under way.
In the funeral hall, more than 30 political leaders including Cuba's Raul Castro, Spanish Crown Prince Felipe de Borbon, and Iran's Mahmoud Ahmadinejad stood at attention before Chavez's flag-draped coffin, which was closed for the ceremony.
Maduro said that no Venezuelan leader, even Bolivar, who died in exile, faced and overcame such treachery and opposition as Chavez, who succumbed to cancer on Tuesday, at the age of 58
"Here you are, unconquered, pure, transparent, unique, true and always alive," Maduro shouted as many in attendance cried. "Comandante, they couldn't defeat you and they will never, ever defeat us."
Despite the blustery language of his speech and the expulsion on Tuesday of two U.S. military attaches on suspicion of spying, Maduro made a point of welcoming the U.S. delegation led by Rep. Gregory Meeks, a New York Democrat, and former Rep. William Delahunt, a Democrat from Massachusetts. Chavez often railed against America even as he sold the country billions of dollars in oil each year.
State Department officials have voiced hope that Maduro will prove a more pragmatic leader than the often bombastic Chavez, assuming he wins a full term.
Television cameras captured Hollywood star Sean Penn in attendance at the funeral, while the Rev. Jesse Jackson preached rapprochement between his country and Venezuela.
"We pray to God today that you will heal the breach between the U.S. and Venezuela," Jackson said.
But U.S. enemies such as Castro and Ahmadinejad also won loud applause.
"It is a great pain for us because we have lost a friend," Ahmadinejad said upon his arrival at the airport the night before. "I feel like I have lost myself, but I am sure that he still lives. Chavez will never die. His spirit and soul live on in each of our hearts."
Maduro announced Thursday that the government would embalm Chavez's body and put it on permanent display, a decision that touched off strong passions on both sides.
Most of the normally traffic-choked streets of Caracas were empty, with schools and many businesses shuttered. The government also prohibited alcohol sales.
Venezuelans watched the funeral from cafes, with many saying they were flattered to be the subject of the world's attention.
"If my Comandante was such a divisive man who fought with everyone and with other countries, wouldn't he be alone (at his funeral)?" asked Argenis Urbina, a 51-year-old bookseller who was riveted to the coverage on TV.
Others said they were put off by what they saw as an excess of pomp, particularly the plan to put Chavez's body on display.
"He was a president, and I would say not a good one. Not a hero," said Gloria Ocampos, a retired office manager. "He should be buried, just like any other president. They are treating him like he was the father of the country ... It's crazy."
Some 300 people also watched the funeral on screens set up in the Simon Bolivar plaza in Chavez's plains hometown of Sabaneta, where people had laid out flowers, candles and photos of the late leader.
Chavez was particularly beloved by the poor, whose lot he championed. But critics say he left his successors a monumental task, with annual inflation of more than 20 percent and public debt that quadrupled to more than $100 billion. Crime is endemic and Chavez's chaotic management style has been blamed for a breakdown in infrastructure, particularly in the key oil industry.
The government gave national and international media no direct access to the funeral, a measure of the strict control with which Chavez and his followers have ruled the country for years. On Thursday, Foreign Minister Elias Jaua appealed to local media not to publish critical political analyses "which could be a provocation for a pained people."
Following the funeral, National Assembly Speaker Diosdado Cabello was to swear in Maduro as interim president, as Chavez desired, despite complaints by the opposition that Cabello is the rightful holder of that post under the constitution.
In announcing the opposition boycott, spokesman Angel Medina said that Maduro's ascension is "a violation of the constitutional order."
"Venezuelans should walk along the path of constitutionality," he said. "Today, more than ever we reject that they use the name of the president of the republic, who today is being buried, for political ends."


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Film listings are edited by Cheryl Eddy. Reviewers are Kimberly Chun, Dennis Harvey, Lynn Rapoport, Sam Stander, and Sara Maria Vizcarrondo. For rep house showtimes, see Rep Clock.
Breathe In In Drake Doremus's lyrical tale of a man in midlife crisis, Guy Pearce plays Keith Reynolds, a high school music teacher living in upstate New York with his wife, Megan (Amy Ryan), and teenage daughter, Lauren (Mackenzie David). Quietly harboring his discontent, Keith spends solitary moments wistfully sifting through glory-days photographs of his former band and memories of the undomesticated life he and Megan led two decades ago in New York City, which the two revisit in a low-toned call-and-response that doesn't need to erupt into a blistering argument to clarify their incompatible positions. The melancholy calm is disrupted by the arrival of a British exchange student named Sophie (Felicity Jones, who also starred in Doremus's 2011 film, Like Crazy). Evading a scene of loss and heartbreak at home, 18-year-old Sophie has come to spend a semester at Lauren's high school, a juxtaposition that presents us with two wildly distinct species of teenager. Lauren is a brittle, popular party girl whom we watch making poor choices with a predatory classmate; Sophie is a soulful, reserved young woman whose prodigious talent at the piano first jars Keith out of his malaise into an uncomfortable awareness. A scene before Sophie's arrival in which the family plays Jenga and Keith pulls out the wrong piece, toppling the tower, perhaps presses its ominous visual message too hard. Meanwhile, similarities to 2012's Nobody Walks underscore the argument that this subject matter is an old, tired tale. But for the most part, the intimacy that develops between Keith and Sophie is constructed with delicate restraint, and Doremus and writing partner Ben York Jones have crafted a textured portrait of a man trying to repossess the past. (1:37) Sundance Kabuki. (Rapoport)
Captain America: The Winter Soldier Marvel's most wholesome hero returns in this latest film in the Avengers series, and while it doesn't deviate from the expected formula (it's not a spoiler to say that yes, the world is saved yet again), it manages to incorporate a surprisingly timely plot about the dangers of government surveillance. Steve Rogers (Chris Evans), hunkiest 95-year-old ever, is still figuring out his place in the 21st century after his post-World War II deep freeze. Nick Fury (Samuel L. Jackson) has him running random rescue missions with the help of Black Widow (Scarlett Johansson), but SHIELD is working on a top-secret project that will allow it to predict crimes before they occur. It isn't long before Cap's distrust of the weapon — he may be old-fashioned, but he ain't stupid — uncovers a sinister plot led by a familiar enemy, with Steve's former BFF Bucky doing its bidding as the science-experiment-turned-assassin Winter Soldier (Sebastian Stan). Anthony Mackie, Robert Redford, and series regular Colbie Smulders are fine in supporting roles, and Johansson finally gets more to do than punch and pose, but the likable Evans ably carries the movie — he may not have the charisma of Robert Downey Jr., but he brings wit and depth to a role that would otherwise be defined mainly by biceps and CG-heavy fights. Oh, and you know the drill by now: superfans will want to stick around for two additional scenes tucked into the end credits. (2:16) (Eddy)
Frankie & Alice Halle Berry plays a go-go dancer with dissociative identity disorder. (1:42)
Goodbye World The end begins with a text — "Goodbye world," sent to every cell phone. Once the computer virus-spawned anarchy really gets rolling (internet and power outages, violence and chaos), a group with nerdy-tech past connections descends on the survivalist-chic homestead of responsible James (Adrian Grenier) and "zany" Lily (Kerry Bishé): uptight Becky (Caroline Dhavernas) and unhappy Nick (Ben McKenzie); Lev (Scott Mescudi, aka musician Kid Cudi), who may have accidentally unleashed the virus; Laura (Gaby Hoffman), haunted by a recent political scandal; and ex-con Benji (Marc Webber) with his nubile tagalong (Remy Nozik). Most of these folks — even the ones married to each other — are frenemies at best, and their relationships disintegrate as civilization crumbles from afar. Physical menace enters this Big Chill-off-the-grid reunion when surly National Guardsmen emerge from the woods, but the main dramas take place 'twixt the members of the angsty ensemble — all of whom are actually in desperate need of a fresh start. Among a cast composed mostly of TV veterans, Hoffman (last seen scene-stealing on Girls) is the standout performer, not to mention the MVP of this particular apocalypse. (1:41) Four Star. (Eddy)
Island of Lemurs: Madagascar Morgan Freeman narrates this 3D IMAX look at lemurs. (:39)
It Felt Like Love Set on the outer edges of Brooklyn and Queens, writer-director Eliza Hittman's debut feature tracks the summertime wanderings and missteps of 14-year-old Lila (Gina Piersanti), whose days mainly consist of trailing in the wake of her more sexually experienced and perpetually coupled-off best friend, Chiara (Giovanna Salimeni). The camera repeatedly finds Lila in voyeur mode, as Chiara and her boyfriend, Patrick (Jesse Cordasco), negotiate their physical relationship and redefine the limits of PDA, unfazed by Lila's silent, watchful presence. It's clear she wants some part of this, though her motivations are a murky compound of envy, loneliness, and longing for a sense of place among her peers. A brief encounter with an older boy, Sammy (Ronen Rubinstein), whom Chiara knows — more of a sighting, really — provides the tiniest of openings, and Lila forces her way through it with an awkward insistence that is uncomfortable and sometimes painful to witness. Lila lacks Chiara's fluid verbal and physical vernacular, and her attempts at mimicry in the cause of attracting Sammy's attention only underline how unready and out of her depth she is. As Lila pushes into his seedy, sleazy world — a typical night is spent getting wasted and watching porn with his friends — their encounters don't look like they feel like love, though Piersanti poignantly signals her character's physical desire in the face of Sammy's bemused ambivalence. Hittman unflinchingly leads her hapless protagonist through scenes that hover uneasily between dark comedy and menace without ever quite landing, and this uncertainty generates an emotional force that isn't dispelled by the drifting, episodic plot. (1:22) Roxie. (Rapoport)
Jinn Horror movie based on the mythical creature from Arabic folklore. (1:37)
The Missing Picture Rithy Panh's latest film about the homeland he fled as a teenager is atypically, directly autobiographical, and most unusually crafted. He re-creates his once comfortable Phnom Penh family's grim fate after Pol Pot and company seized control of Cambodia in 1975 — as all fell prey to the starvation, forced labor, and other privations suffered by perceived "enemies" of the new regime — not by any conventional means but via elaborate dioramas of handmade clay figures depicted in prison camp life (and death). There's also ample surviving propagandic footage of the Khmer Rouge trumpeting its "model society" that was in reality little more than an experiment in mass execution and torture. The result is a unique and powerful take on one of the 20th century's worst crimes against humanity. (1:36) Opera Plaza. (Harvey)
Nymphomaniac, Volume II The second half of Lars von Trier's anecdotal epic begins with Joe (Charlotte Gainsbourg) recalling the quasi-religious experience of her spontaneous first orgasm at age 12. Then she continues to tell bookish good Samaritan Seligman (Stellan Skarsgard) — who reveals he's an asexual 60-something virgin — the story of her sexually compulsive life to date. Despite finding domestic stability at last with Jerome (Shia LeBeouf), she proves to have no talent for motherhood, and hits a tormenting period of frigidity eventually relieved only by the brutal ministrations of sadist K (Jamie Bell, burying Billy Elliott for good). She finds a suitable professional outlet for her peculiarly antisocial personality, working as a sometimes ruthless debt collector under the tutelage of L (Willem Dafoe), and he in turn encourages her to develop her own protégé in the form of needy teenager P (Mia Goth). If Vol. I raised the question "Will all this have a point?," Vol. II provides the answer, and it's (as expected) "Not really." Still, there's no room for boredom in the filmmaker's most playfully arbitrary, entertaining, and least misanthropic (very relatively speaking) effort since his last four-hour-plus project 20 years ago, TV miniseries The Kingdom. Never mind that von Trier (in one of many moments when he uses Joe or Seligman as his mouthpiece) protests against the tyranny of political correctitude that renders a word like "Negro" unsayable — you're still free to feel offended when his camera spends more time ogling two African men's variably erect dicks in one brief scene that it does all the white actors' cocks combined. But then there's considerably more graphic content all around in this windup, which ends on a predictable note of cheap, melodramatic irony. But that's part of the charm of the whole enterprise: Reeling heedlessly from the pedantic to the shocking to the trivial, like a spoiled child it manages to be kinda cute even when it's deliberately pissing you off. (2:10) Embarcadero, Smith Rafael. (Harvey)
On My Way Not for nothing too does the title On My Way evoke Going Places (1974): director Emmanuelle Bercot is less interested in exploring Catherine Deneuve's at-times-chilled hauteur than roughing up, grounding, and blowing fresh country air through that still intimidatingly gorgeous image. Deneuve's Bettie lost her way long ago — the former beauty queen, who never rose beyond her Miss Brittany status, is in a state of stagnation, working at her seafood restaurant, having affairs with married men, living with her mother, and still sleeping in her girlhood room. One workday mid-lunch hour, she gets in her car and drives, ignoring all her ordinary responsibilities and disappearing down the wormhole of dive bars and back roads. She seems destined to drift until her enraged, equally lost daughter Muriel (Camille) calls in a favor: give her son Charly (Nemo Schiffman) a ride to his paternal grandfather's. It's chance to reconnect and correct course, even after Bettie's money is spent, her restaurant appears doomed, and the adorable, infuriating Charly acts out. The way is clear, however: what could have been a musty, predictable affair, in the style of so many boomer tales in the movie houses these days, is given a crucial infusion of humanity and life, as Bercot keeps an affectionate eye trained on the unglamorous everyday attractions of a French backwater and Deneuve works that ineffable charm that draws all eyes to her onscreen. Her Bettie may have kicked her cigarette habit long ago, but she's still smokin' — in every way. (1:53) Clay. (Chun)
The Raid 2 See "Brawl Opera." (2:19) Metreon, Sundance Kabuki, Shattuck.
Rob the Mob Based on a stranger-than-fiction actual case, this rambunctious crime comedy stars Michael Pitt and Nina Arianda as Tommy and Rosie, a coupla crazy kids in early 1990s Queens — crazy in love, both before and after their strung-out robbery antics win them both a stint in the pen. When Tommy gets out 18 months later, he finds Rosie has managed to stay clean, even getting a legit job as a debt collector for positive-thinking nut and regular employer of strays Dave (a delightful Griffin Dunne). She wants Tommy to do likewise, but the high visibility trial of mob kingpin John Gotti gives him an idea: With the mafia trying to keep an especially low profile at present, why not go around sticking up the neighborhood "social clubs" where wise guys hang out, laden with gold chains and greenbacks but (it's a rule) unarmed? Whatta they gonna do, call the police? This plan is so reckless it just might work, and indeed it does, for a while. But these endearingly stupid lovebirds can't be counted on to stay under the radar, magnetizing attention from the press (Ray Romano as a newspaper columnist), the FBI, and of course the "organization" — particularly one "family" led by Big Al (Andy Garcia). Written by Jonathan Fernandez, this first narrative feature from director Raymond DeFitta since his terrific 2009 sleeper hit City Island is less like that screwball fare and more like a scaled down, economically downscaled American Hustle (2013), another brashly comedic period piece inspired by tabloid-worthy fact. Inspiration doesn't fully hold up to the end, but the film has verve and style to spare, and the performances (also including notable turns from Cathy Moriarty, Frank Whaley, Burt Young, Michael Rispoli, Yul Vazquez and others) are sterling. (1:42) Embarcadero. (Harvey)
The Unknown Known After winning an Oscar for 2003's The Fog of War: Eleven Lessons from the Life of Robert S. McNamera, Errol Morris revisits the extended-interview documentary format with another Secretary of Defense, Donald Rumsfeld. The film delves into Rumsfeld's lengthy political career — from Congress to the Nixon, Ford, and George W. Bush administrations — drawing insights from the man himself and his extensive archive of memos ("there have to be millions") on Vietnam, 9/11, Osama bin Laden, the "chain of command," torture, the Iraq War, etc., as well as archival footage that suggests the glib Rumsfeld's preferred spin on certain events is not always factually accurate (see: Saddam Hussein and WMDs). Morris participates from behind the camera, lobbing questions that we can hear and therefore gauge Rumsfeld's immediate reaction to them. (The man is 100 percent unafraid of prolonging an awkward pause.) A gorgeous Danny Elfman score soothes some of the anger you'll feel digesting Rumsfeld's rhetoric, but you still may find yourself wanting to shriek at the screen. In other words, another Morris success. (1:42) Elmwood, Presidio. (Eddy)
Afternoon of a Faun: Tanaquil Le Clercq Writer-director Nancy Buirski's documentary follows the short, brilliant career of a young dancer named Tanaquil Le Clercq, who came up in the New York City ballet world of the 1940s and '50s. Le Clercq was discovered by George Balanchine, married him (as three other dancers had done before her), sparked a paradigm shift in the ballet world regarding what was considered the quintessential dancer's body, had numerous ballets set on her by Balanchine and Jerome Robbins, and then, at the peak of her career, at age 27, was stricken by polio and left paralyzed in both legs. The film takes its time moving toward this catastrophe, recounting Le Clercq's early adult life through interviews with her contemporaries and tracking her professional progress through gorgeous archival footage of her performances. Equally moving archival material are the letters from a longtime correspondence between Le Clercq and Robbins that documented two very different periods of her life: the first, when Robbins was choreographing ballets for her, including Afternoon of a Faun, and professing his love; the second, after her paralysis, when she wrote him a series of poignant communications describing her impressions of her illness and her new, circumscribed world. The film has some trouble holding on to its center — as in life, Balanchine proves a magnetic force, and Afternoon of a Faun feels inexorably drawn to his professional and personal details. We don't get enough of Le Clercq, which you could say is the tragedy of her story — nobody did. But the letters do provide a sense of someone resourceful and responsive to life's richness and joys, someone who would get past this crisis and find a way to reshape her life. (1:31) Opera Plaza. (Rapoport)
American Hustle David O. Russell's American Hustle is like a lot of things you've seen before — put in a blender, so the results are too smooth to feel blatantly derivative, though here and there you taste a little Boogie Nights (1997), Goodfellas (1990), or whatever. Loosely based on the Abscam FBI sting-scandal of the late 1970s and early '80s (an opening title snarks "Some of this actually happened"), Hustle is a screwball crime caper almost entirely populated by petty schemers with big ideas almost certain to blow up in their faces. It's love, or something, at first sight for Irving Rosenfeld (Christian Bale) and Sydney Prosser (Amy Adams), who meet at a Long Island party circa 1977 and instantly fall for each other — or rather for the idealized selves they've both strained to concoct. He's a none-too-classy but savvy operator who's built up a mini-empire of variably legal businesses; she's a nobody from nowhere who crawled upward and gave herself a bombshell makeover. The hiccup in this slightly tacky yet perfect match is Irving's neglected, crazy wife Rosalyn (Jennifer Lawrence), who's not about to let him go. She's their main problem until they meet Richie DiMaso (Bradley Cooper), an ambitious FBI agent who entraps the two while posing as a client. Their only way out of a long prison haul, he says, is to cooperate in an elaborate Atlantic City redevelopment scheme he's concocted to bring down a slew of Mafioso and presumably corrupt politicians, hustling a beloved Jersey mayor (Jeremy Renner) in the process. Russell's filmmaking is at a peak of populist confidence it would have been hard to imagine before 2010's The Fighter, and the casting here is perfect down to the smallest roles. But beyond all clever plotting, amusing period trappings, and general high energy, the film's ace is its four leads, who ingeniously juggle the caricatured surfaces and pathetic depths of self-identified "winners" primarily driven by profound insecurity. (2:17) Metreon. (Harvey)
Bad Words Settling a grudge score whose precise origin remains unclear until late in the game, world-class misanthrope Guy Trilby (Jason Bateman) is celebrating his 40th birthday by competing in a national spelling bee. Yes, spelling bees are generally for children, and so is this one. But Guy has found a legal loophole permitting his participation, and the general hate wending his way from contest staff (Allison Janney, Philip Baker Hall) — let alone the tiger-mom-and-dad parents ready to form a lynch mob — is just icing on the cake where he's concerned. What's more, as some sort of majorly underachieving near-genius, he's in fact well equipped to whup the bejesus out of overachieving eight-year-olds when it comes to saying the right letters out loud. The only people on his side, sorta, are the online journalist (Kathryn Hahn) reporting on his perverse quest, and the insidiously cute Indian American competitor (Rohan Chand) who wants to be besties, or perhaps just to psych him out. (Note: The tyke's admitted favorite word is "subjugate.") Written by Andrew Dodge, this comedy in the tradition (a little too obviously) of 2003's Bad Santa and such provides the always enjoyable Bateman with not only a tailor-made lead role, but a directorial debut as well. He does just fine by both. Yet as nicely crafted and frequently-pretty-funny Bad Words is, at core it's a rather petty movie — small, derivative, and cynically mean-spirited without the courage of genuine biliousness. It's at once not-half-bad, and not half as badass as it pretends to be. (1:29) Marina, 1000 Van Ness, SF Center, Sundance Kabuki. (Harvey)
Boys of Abu Ghraib First-time feature director-writer Luke Moran stars as Jack, an all-American lad who signs on for an Army stint in the wake of 9/11, and finds himself posted to the titular Iraqi prison turned U.S. military detainee camp 20 miles outside Baghdad. Despite the occasional bombing, however, life is mostly underutilized tedium for he and his fellow grunts. With nothing else to do, Jack volunteers for MP duty as a guard in the cell blocks — where his initial shock at the torture and abuse of prisoners is exacerbated by his friendship with the well educated, friendly, convincingly innocent captive Ghazi (Omid Abtahi). Shot at an abandoned New Mexico penitentiary, this drama is effective as far as it goes in exploring one fictive soldier's rocky road under the influence of stress, isolation, and boredom. But as it ultimately encompasses the real-life international Abu Ghraib scandal of 2004 — in which leaked photos revealed widespread humiliation and abuse of prisoners for no evident purpose save enlistees' loutish amusement — Boys falls well short in illuminating just how that kind of systemic breakdown can occur amongst seemingly normal, disciplined military personnel. Moran and company do raise the issue, but it turns out to be a weightier, more disturbing issue than this modestly ambitious feature is equipped to handle. (1:42) Metreon. (Harvey)
Cesar Chavez "You always have a choice," Cesar Chavez (Michael Peña) tells his bullied son when advising him to turn the other cheek. Likewise, actor-turned-director Diego Luna had a choice when it came to tackling his first English-language film; he could have selected a less complicated, sprawling story. So he gets props for that simple act — especially at a time when workers' rights and union power have been so dramatically eroded — and for his attempts to impact some complicated nuance to Chavez's fully evident heroism. Painting his moving pictures in dusty earth tones and burnt sunlight with the help of cinematographer Enrique Chediak, Luna vaults straight into Chavez's work with the grape pickers that would come to join the United Farm Workers — with just a brief voiceover about Chavez's roots as the native-born son of a farm owner turned worker, post-Depression. Uprooting wife Helen (America Ferrera) and his family and moving to Delano as a sign of activist commitment, Chavez is seemingly quickly drawn into the 1965 strike by the Mexican workers' sometime rivals: Filipino pickers (see the recent CAAMFest short documentary Delano Manongs for some of their side of the story). From there, the focus hones in on Chavez, speaking out against violence and "chicken shit macho ideals," hunger striking, and activating unions overseas, though Luna does give voice to cohorts like Dolores Huerta (Rosario Dawson), growers like Bogdanovitch (John Malkovich), and the many nameless strikers — some of whom lost their lives during the astonishingly lengthy, taxing five-year strike. Luna's win would be a blue-collar epic on par with 1979's Norma Rae, and on some levels, he succeeds; scanning the faces of the weathered, hopeful extras in crowd scenes, you can't help but feel the solidarity. The people have the power, as a poet once put it, and tellingly, his choice of Peña, stolidly opaque when charismatic warmth is called for, might be the key weakness here. One suspects the director or his frequent costar Gael García Bernal would make a more riveting Chavez. (1:38) Metreon. (Chun)
Divergent Based on the blockbuster dystopian-future YA novel by Veronica Roth (the first in a trilogy), Divergent is set in a future city-state version of Chicago in which society is divided into five character-based, color-coded factions: Erudite, Amity, Candor, Abnegation, and Dauntless. Like her peers, Beatrice Prior (Shailene Woodley), the film's Abnegation-born teenage heroine, must choose a permanent faction — with the help of a standardized aptitude test that forgoes penciling in bubbles in favor of virtual reality psychic manipulation. When the test fails to triangulate her sole innate personality trait, she learns that she belongs to a secret, endangered sixth category: Divergent, an astonishing set of people who are not only capable of, say, acts of selflessness but can also produce intelligent thought, or manifest bravery in the face of danger. Forced to hide her aberrant nature in a society whose leaders (Kate Winslet) are prone to statements like "The future belongs to those who know where they belong," and seemingly bored among Abnegation's hive of gray cardigan-wearing worker bees, Beatrice chooses Dauntless, a dashing gang of black-clad, alterna-rock music video extras who jump on and off moving trains and live in a warehouse-chic compound whose dining hall recalls the patio at Zeitgeist. Fittingly, a surly, tattooed young man named Four (Theo James) leads Beatrice, now Tris, and her fellow initiates through a harsh proving regimen that, if they fail, will cast them into an impoverished underclass. Director Neil Burger (2006's The Illusionist, 2011's Limitless) and the behemoth marketing force behind Divergent are clearly hoping to stir up the kind of madness stoked by the Twilight and Hunger Games series, but while there are bones a-plenty to pick with those franchises, Divergent may have them beat for pure daffiness of premise and diameter of plot holes — and that's after screenwriters Evan Daugherty and Vanessa Taylor's major suturing of the source material's lacunae. The daffiness doesn't translate into imaginative world-building, and while a couple of scenes convey the visceral thrills of life in Dauntless, the tension between Tris and Four is awkwardly ratcheted up, and the film's shift into a mode of crisis is equally jolting without generating much heat. (2:20) Balboa, Metreon, 1000 Van Ness, Sundance Kabuki. (Rapoport)
Ernest & Celestine Belgian animators Vincent Patar and Stéphane Aubier are best known for the stop-motion shorts series (and priceless 2009 subsequent feature) A Town Called Panic, an anarchic, absurdist, and hilarious creation suitable for all ages. Their latest (co-directed with Benjamin Renner) is … not like that at all. Instead, it's a sweet, generally guileless children's cartoon that takes its gentle, watercolor-type visual style from late writer-illustrator Gabrielle Vincent's same-named books. Celestine (voiced by Pauline Brunner) is an orphaned girl mouse that befriends gruff bear Ernest (the excellent Lambert Wilson), though their improbable kinship invites social disapproval and scrapes with the law. There are some clever satirical touches, but mostly this is a softhearted charmer that will primarily appeal to younger kids. Adults will find it pleasant enough — but don't expect any Panic-style craziness. (1:20) Embarcadero. (Harvey)
Frozen (1:48) Metreon.
The Grand Budapest Hotel Is this the first Wes Anderson movie to feature a shootout? It's definitely the first Anderson flick to include a severed head. That's not to say The Grand Budapest Hotel, "inspired by" the works of Austrian novelist Stefan Zweig, represents too much of a shift for the director — his intricate approach to art direction is still very much in place, as are the deadpan line deliveries and a cast stuffed with Anderson regulars. But there's a slightly more serious vibe here, a welcome change from 2012's tooth-achingly twee Moonrise Kingdom. Thank Ralph Fiennes' performance as liberally perfumed concierge extraordinaire M. Gustave, which mixes a shot of melancholy into the whimsy, and newcomer Tony Revolori as Zero, his loyal lobby boy, who provides gravitas despite only being a teenager. (Being played by F. Murray Abraham as an older adult probably helps in that department.) Hotel's early 20th century Europe setting proves an ideal canvas for Anderson's love of detail — the titular creation rivals Stanley Kubrick's rendering of the Overlook Hotel — and his supporting cast, as always, looks to be enjoying the hell out of being a part of Anderson's universe, with Willem Dafoe, Jeff Goldblum, and Adrien Brody having particularly oversized fun. Is this the best Wes Anderson movie since 2001's The Royal Tenenbaums? Yes. (1:40) 1000 Van Ness, SF Center, Sundance Kabuki, Vogue. (Eddy)
Gravity "Life in space is impossible," begins Gravity, the latest from Alfonso Cuarón (2006's Children of Men). Egghead Dr. Ryan Stone (Sandra Bullock) is well aware of her precarious situation after a mangled satellite slams into her ship, then proceeds to demolition-derby everything (including the International Space Station) in its path. It's not long before she's utterly, terrifyingly alone, and forced to unearth near-superhuman reserves of physical and mental strength to survive. Bullock's performance would be enough to recommend Gravity, but there's more to praise, like the film's tense pacing, spare-yet-layered script (Cuarón co-wrote with his son, Jonás), and spectacular 3D photography — not to mention George Clooney's warm supporting turn as a career astronaut who loves country music almost as much as he loves telling stories about his misadventures. (1:31) Metreon. (Eddy)
The Great Beauty The latest from Paolo Sorrentino (2008's Il Divo) arrives as a high-profile contender for the Best Foreign Language Film Oscar, already annointed a masterpiece in some quarters, and duly announcing itself as such in nearly every grandiose, aesthetically engorged moment. Yes, it seems to say, you are in the presence of this auteur's masterpiece. But it's somebody else's, too. The problem isn't just that Fellini got there first, but that there's room for doubt whether Sorrentino's homage actually builds on or simply imitates its model. La Dolce Vita (1960) and 8 1/2 (1963) are themselves swaying, jerry-built monuments, exhileratingly messy and debatably profound. But nothing quite like them had been seen before, and they did define a time of cultural upheaval — when traditional ways of life were being plowed under by a loud, moneyed, heedless modernity that for a while chose Rome as its global capital. Sorrentino announces his intention to out-Fellini Fellini in an opening sequence so strenuously flamboyant it's like a never-ending pirouette performed by a prima dancer with a hernia. There's statuary, a women's choral ensemble, an on-screen audience applauding the director's baffled muse Toni Servillo, standing in for Marcello Mastroianni — all this and more in manic tracking shots and frantic intercutting, as if sheer speed alone could supply contemporary relevancy. Eventually The Great Beauty calms down a bit, but still its reason for being remains vague behind the heavy curtain of "style." (2:22) Opera Plaza. (Harvey)
Jodorowsky's Dune A Chilean émigré to Paris, Alejandro Jodorowsky had avant-garde interests that led him from theater and comic book art to film, making his feature debut with 1968's Fando y Lis. Undaunted by its poor reception, he created El Topo (1970), a blood-soaked mix of spaghetti western, mysticism, and Buñuellian parabolic grotesquerie that became the very first "midnight movie." After that success, he was given nearly a million dollars to "do what he wanted" with 1973's similarly out-there The Holy Mountain, which became a big hit in Europe. French producer Michel Seydoux asked Jodorowsky what he'd like to do next. Dune, he said. In many ways it seemed a perfect match of director and material. Yet Dune would be an enormous undertaking in terms of scale, expense, and technical challenges. What moneymen in their right mind would entrust this flamboyant genius/nut job with it? They wouldn't, as it turned out. So doc Jodorowsky's Dune is the story of "the greatest film never made," one that's brain-exploding enough in description alone. But there's more than description to go on here, since in 1975 the director and his collaborators created a beautifully detailed volume of storyboards and other preproduction minutiae they hoped would lure Hollywood studios aboard this space phantasmagoria. From this goldmine of material, as well as input from the surviving participants, Pavich is able to reconstruct not just the film's making and unmaking, but to an extent the film itself — there are animated storyboard sequences here that offer just a partial yet still breathtaking glimpse of what might have been. (1:30) Embarcadero. (Harvey)
The Lego Movie (1:41) Metroen, 1000 Van Ness.
The Lunchbox Ila (Nimrat Kaur) is a self-possessed housewife and a great cook, whose husband confuses her for another piece of furniture. She tries to arouse his affections with elaborate lunches she makes and sends through the city's lunchbox delivery service. Like marriage in India, lunchbox delivery has a failure rate of zero, which is what makes aberrations seem like magical occurrences. So when widow Saajan (Irrfan Khan) receives her adoring food, he humbly receives the magical lunches like a revival of the senses. Once Ila realizes her lunchbox is feeding the wrong man she writes a note and Saajan replies — tersely, like a man who hasn't held a conversation in a decade — and the impossible circumstances lend their exchanges a romance that challenges her emotional fidelity and his retreat from society. She confides her husband is cheating. He confides his sympathy for men of lower castes. It's a May/December affair if it's an affair at all — but the chemistry we expect the actors to have in the same room is what fuels our urge to see it; that's a rare and haunting dynamic. Newcomer Kaur is perfect as Ila, a beauty unmarked by her rigorous distaff; her soft features and exhausted expression lend a richness to the troubles she can't share with her similarly stoic mother (Lillete Dubey). Everyone is sacrificing something and poverty seeps into every crack, every life, without exception — their inner lives are their richness. (1:44) Embarcadero. (Vizcarrondo)
Mistaken for Strangers Tom Berninger, brother to the National vocalist Matt Berninger, is the maker of this doc — ostensibly about the band but a really about brotherly love, competition, and creation. It spins off a somewhat genius conceit of brother vs. brother, since the combo is composed of two sets of siblings: twins Aaron and Bryce Dessner on guitars and Scott and Bryan Devendorf on bass and drums respectively. The obvious question — what of singer Matt and his missing broheim? Turns out little bro Tom is one of those rock fans — of metal and not, it seems, the National — more interested in living the life and drinking the brewskis than making the music. So when Matt reaches out to Tom, adrift in their hometown of Cincinnati, to work as a roadie for the outfit, it's a handout, sure, but also a way for the two to spend time together and bond. A not-quite-realized moviemaker who's tried to make his own Z-budget scary flicks but never seems to finish much, Tom decides to document, and in the process gently poke fun at, the band (aka his authority-figures-slash-employers), which turns out to be much more interesting than gathering their deli platters and Toblerone. The National's aesthetic isn't quite his cup of tea: they prefer to wrap themselves in slinky black suits like Nick Cave's pickup band, and the soft-spoken Matt tends to perpetually stroll about with a glass of white wine or bubbly in hand when he isn't bursting into fourth-wall-busting high jinks on stage. Proud of his sib yet also intimidated by the National's fame and not a little envious of the photo shoots, the Obama meetings, and the like, Tom is all about having fun. But it's not a case of us vs. them, Tom vs. Matt, he discovers; it's a matter of connecting with family and oneself. In a Michael Moore-ian sense, the sweet-tempered Mistaken for Strangers is as much, if not more so, about the filmmaker and the journey to make the movie than the supposed subject. (1:15) Roxie. (Chun)
Mr. Peabody and Sherman Mr. P. (voiced by Ty Burrell) is a Nobel Prize-winning genius dog, Sherman (Max Charles) his adopted human son. When the latter attends his first day of school, his extremely precocious knowledge of history attracts jealous interest from bratty classmate Penny (Ariel Winter), with the eventual result that all three end up being transported in Peabody's WABAC time machine to various fabled moments — involving Marie Antoinette, King Tut, the Trojan Horse, etc. — where Penny invariably gets them in deep trouble. Rob Minkoff's first all-animation feature since The Lion King 20 years ago is spun off from the same-named segments in Jay Ward's TV Rocky and Bullwinkle Show some decades earlier. It's a very busy (sometimes to the brink of clutter), often witty, imaginatively constructed, visually impressive, and for the most part highly enjoyable comic adventure. The only minuses are some perfunctory "It's about family"-type sentimentality — and scenarist Craig Wright's determination to draw from history the "lesson" that nearly all women are pains in the ass who create problems they must then be rescued from. (1:30) 1000 Van Ness. (Harvey)
Muppets Most Wanted Building on the success of The Muppets, Jim Henson's beloved creations return to capitalize on their revitalized (and Disney-owned) fame. This follow-up from Muppets director James Tobin — technically, it's the seventh sequel to the original 1979 Muppet Movie, as Dr. Bunsen Honeydew points out in one of the film's many meta moments — improves upon the 2011 film, which had its charms but suffered by concentrating too much on the Jason Segal-Amy Adams romance, not to mention annoying new kid Walter. Here, human co-stars Ricky Gervais, Tina Fey, and others (there are more cameos than you can count) are relegated to supporting roles, with the central conflict revolving around the Muppets' inability to notice that Constantine, "the world's most dangerous frog," has infiltrated their group, sending Kermit to Siberian prison in his place. Constantine and his accomplice (Gervais, whose character's last name is "Badguy") use the Muppets' world tour as a front for their jewel-heist operation; meanwhile, his infatuated warden (Fey) forces Kermit to direct the annual gulag musical. Not helping matters are a bumbling Interpol agent (Ty Burrell) and his CIA counterpart (Sam the American Eagle, natch). Really, all that's needed is a simple plot, catchy songs, and plenty of room to let the Muppets do their thing — Miss Piggy and Animal are particularly enjoyable here; Walter's still around, but he's way more tolerable now that he's gotten past his "man or muppet" angst — and the film delivers. All the knowing winks to the grown-up fans in the audience are just an appreciated bonus. (1:46) Balboa, 1000 Van Ness, SF Center. (Eddy)
Need for Speed Speed kills, in quite a different way than it might in Breaking Bad, in Aaron Paul's big-screen Need for Speed. "Big" nonetheless signals "B" here, in this stunt-filled challenge to the Fast and the Furious franchise, though there's no shame in that — the drive-in is paved with standouts and stinkers alike. Tobey (Paul) is an ace driver who's in danger of losing his auto shop, also the hangout for his pals (Scott Mescudi, Rami Malek, Ramon Rodriguez) and young sidekick Pete (Harrison Gilbertson), when archrival Dino (Dominic Cooper) arrives with a historic Mustang in need of restoration. Tragedy strikes, and Tobey must hook up with that fateful auto once more to win a mysterious winner-takes-all race, staged by eccentric, rich racing-fiend Monarch (Michael Keaton). Along for the ride are the (big) eyes and ears for the Mustang's new owner — gearhead Julia (Imogen Poots). All beside the point, since the racing stunts, including a showy helicopter canyon save, are the real stars of Speed, while the touchstone for stuntman-turned-director Scott Waugh — considering the car and the final SF and Northern California race settings — is, of course, Bullitt (1968), which is given an overt nod in the opening drive-in scene. The overall larky effect, however, tends toward Smokey and the Bandit (1977), especially with Keaton's camp efforts at Wolfman Jack verbiage-slanging roaring in the background. And despite the efforts of the multicultural gallery of wisecracking side guys, this script-challenged popcorn-er tends to blur what little chemistry these characters have with each other, skip the residual car culture insights of the more specific, more urban Fast series, and leave character development, in particular Tobey's, in the dust in its haste to get from point A to B. (2:10) Metreon, 1000 Van Ness. (Chun)
Noah Darren Aronofsky's Biblical epic begins with a brief recap of prior Genesis events — creation is detailed a bit more in clever fashion later on — leading up to mankind's messing up such that God wants to wipe the slate clean and start over. That means getting Noah (Russell Crowe), wife Naameh (Jennifer Connelly), and their three sons and one adopted daughter (Emma Watson) to build an ark that can save them and two of every animal species from the imminent slate-wiping Great Flood. (The rest of humanity, having sinned too much, can just feed the fishes.) They get some help from fallen angels turned into Ray Harryhausen-type giant rock creatures voiced by Nick Nolte and others. There's an admirable brute force and some startling imagery to this uneven, somber, Iceland-shot tale "inspired" by the Good Book (which, needless to say, has endured more than its share of revisions over the centuries). Purists may quibble over some choices, including the device of turning minor Biblical figure Tubal-Cain (Ray Winstone) into a royal-stowaway villain, and political conservatives have already squawked a bit over Aronofsky's not-so-subtle message of eco-consciousness, with Noah being bade to "replenish the Earth" that man has hitherto rendered barren. But for the most part this is a respectable, forceful interpretation that should stir useful discussion amongst believers and non believers alike. Its biggest problem is that after the impressively harrowing flood itself, we're trapped on the ark dealing with the lesser crises of a pregnancy, a discontented middle son (Logan Lerman), and that stowaway's plotting — ponderous intrigues that might have been leavened if the director had allowed us to hang out with the animals a little, rather than sedating the whole menagerie for the entire voyage. (2:07) 1000 Van Ness, SF Center, Shattuck, Sundance Kabuki. (Harvey)
Non-Stop You don't want to get between Liam Neeson and his human shield duties. The Taken franchise has restyled the once-gentle acting giant into the type of weather-beaten, all-business action hero that Harrison Ford once had a lock on. Throw in a bit of the flying-while-addled antihero high jinks last seen in Flight (2012) and that pressured, packed-sardine anxiety that we all suffer during long-distance air travel, and we have a somewhat ludicrous but nonetheless entertaining hybrid that may have you believing that those salty snacks and the seat-kicking kids are the least of your troubles. Neeson's Bill Marks signals the level of his freestyle alcoholism by giving his booze a stir with a toothbrush shortly before putting on his big-boy air marshal pants and boarding his fateful flight. Marks is soon contacted by a psycho who promises, via text, to kill one person at a time on the flight unless $150 million is deposited into a bank account that — surprise — is under the bad-good air marshal's name. The twists and turns — and questions of who to trust, whether it's Marks' vaguely likeable seatmate (Julianne Moore) or his business class flight attendant (Michelle Dockery) — keep the audience on edge and busily guessing, though director Jaume Collet-Serra doesn't quite dispel all the questions that arise as the diabolical scheme plays out and ultimately taxes believability. The fun is all in the getting there, even if the denouement on the tarmac deflates. (1:50) Metreon, 1000 Van Ness. (Chun)
Nymphomaniac: Volume I Found battered and unconscious in a back alley, Joe (Charlotte Gainsbourg) is taken in by good Samaritan Seligman (Stellan Skarsgaard), to whom she explains "It's all my fault — I'm just a bad human being." But he doesn't believe there are such things. She seeks to enlighten him by narrating the story of her life so far, from carnally curious childhood to sexually voracious adulthood. Stacy Martin plays her younger self through a guided tour of excesses variously involving Christian Slater and Connie Nielsen as her parents; a buncha guys fucked on a train, on a teenage dare; Uma Thurman as one histrionically scorned woman; and Shai LaBeouf as a first love who's a cipher either because he's written that way, or because this particular actor can't make sense out of him. For all its intended provocation, including some graphic but unsurprisingly (coming from this director) unerotic XXX action, von Trier's latest is actually less offensive than much of his prior output: He's regained his sense of humor here, and annoying as its "Look at me, I'm an unpredictable artist" crap can be (notably all the stuff about fly-fishing, cake forks, numerology, etc. that seems randomly drawn from some Great Big Book of Useless Trivia), the film's episodic progress is divertingly colorful enough. But is Joe going to turn out to be more than a two-dimensional authorial device from a director who's never exactly sussed women (or liked people in general)? Will Nymphomaniac arrive at some pointed whole greater than the sum of its naughty bits? The answer to both is probably "Nah." But we won't know for sure until the two-hour second half arrives (April 4) of a movie that, in fairness, was never really intended to be split up like this. (1:50) Embarcadero, Smith Rafael. (Harvey)
Particle Fever "We are hearing nature talk to us," a physicist remarks in awe near the end of Particle Fever, Mark Levinson's intriguing doc about the 2012 discovery of the Higgs boson particle. Earlier, another scientist says, "I've never heard of a moment like this in [science] history, where an entire field is hinging on a single event." The event, of course, is the launch of the Large Hardon Collider, the enormous machine that enabled the discovery. Though some interest in physics is probably necessary to enjoy Particle Fever, extensive knowledge of quarks and such is not, since the film uses elegant animation to refresh the basics for anyone whose eyes glazed over during high-school science. But though he offers plenty of context, Levinson wisely focuses his film on a handful of genial eggheads who are involved in the project, either hands-on at the European Organization for Nuclear Research (CERN), or watching from afar as the mighty LHC comes to life. Their excitement brings a welcome warmth to the proceedings — and their "fever" becomes contagious. (1:39) Opera Plaza. (Eddy)
RoboCop Truly, there was no need to remake 1987's RoboCop, Paul Verhoeven's smart, biting sci-fi classic that deploys heaps of stealth satire beneath its ultraviolent imagery. But the inevitable do-over is here, and while it doesn't improve on what came before, it's not a total lost cause, either. Thank Brazilian filmmaker José Padilha, whose thrilling Elite Squad films touch on similar themes of corruption (within police, political, and media realms), and some inspired casting, including Samuel L. Jackson as the uber-conservative host of a futuristic talk show. Though the suit that restores life to fallen Detroit cop Alex Murphy is, naturally, a CG wonder, the guy inside the armor — played by The Killing's Joel Kinnaman — is less dynamic. In fact, none of the characters, even those portrayed by actors far more lively than Kinnaman (Michael Keaton, Gary Oldman, Jackie Earle Haley), are developed beyond the bare minimum required to serve RoboCop's plot, a mixed-message glob of dirty cops, money-grubbing corporations, the military-industrial complex, and a few too many "Is he a man…or a machine?" moments. But in its favor: Though it's PG-13 (boo), it's also shot in 2D (yay). (1:50) Metreon. (Eddy)
Sabotage Puzzle over the bad Photoshop job on the Sabotage poster. The hard-to-make-out Arnold Schwarzenegger in the foreground could be just about any weathered, sinewy body — telling, in gory action effort that wears its grit like a big black sleeve tattoo on its bicep and reads like an attempt at governator reinvention. Yet this blood-drenched twister, front-loaded with acting talent and directed by David Ayer (2012's End of Watch), can't quite make up its mind where it stands. Is it a truth-to-life cop drama about a particularly thuggy DEA team, an old-fashioned murder mystery-meets-heist-exercise, or just another crowd-pleasing Pumping Arnie flick? Schwarzenegger is Breacher, the leader of a team of undercover DEA agents who like to caper on the far reaches of bad lieutenant behavior: wild-eyed coke snorting (a scene-chomping Mireille Enos); sorry facial hair (Sam Worthington, as out of his element as the bead at the end of his goatee); unfortunate cornrows (Joe Manganiello); trash-talking (Josh Holloway); and acting like a suspiciously colorless man of color (Terrence Howard). We know these are bad apples from the start — the question is just how bad they are. Also, how fast can the vanilla homicide cops (Olivia Williams, Harold Perrineau) lock them down, as team members are handily, eh, dismembered and begin to turn on each other and Schwarzenegger gets in at least one semi-zinger concerning an opponent with 48 percent body fat? Still, the sutured-on archetypal-Arnie climax comes as a bit of a shock in its broad-stroke comic-book violence, as the superstar pulls rank, sabotages any residual pretense to realism, and dons a cowboy hat to tell his legions of shooting victims, "I'm different!" Get to the choppers, indeed. (1:49) Metreon, 1000 Van Ness. (Chun)
300: Rise of An Empire We pick up the 300 franchise right where director Zack Snyder left off in 2006, with this prequel-sequel, which spins off an as-yet-unreleased Frank Miller graphic novel. In the hands of director Noam Murro, with Snyder still in the house as writer, 300: Rise of an Empire contorts itself, flipping back and forth in time, in an attempt to explain the making of Persian evil prince stereotype Xerxes (Rodrigo Santoro) —all purring androgyny, fashionable piercings, and Iran-baiting, Bush-era malevolence — before following through on avenging 300's romantically outnumbered, chesty Spartans. As told by the angry, mourning Spartan Queen Gorgo (Lena Headey of Game of Thrones), the whole mess apparently began during the Battle of Marathon, when Athenian General Themistokles (Sullivan Stapleton) killed Xerxes's royal father with a well-aimed miracle arrow. That act ushers in Xerxes's transformation into a "God King" bent on vengeance, aided and encouraged by his equally vengeful, elegantly mega-goth naval commander Artemisia (Eva Green), a Greek-hating Greek who likes to up the perversity quotient by making out with decapitated heads. In case you didn't get it: know that vengeance is a prime mover for almost all the parties (except perhaps high-minded hottie Themistokles). Very loosely tethered to history and supplied with plenty of shirtless Greeks, taut thighs, wildly splintering ships, and even proto-suicide bombers, Rise skews toward a more naturalistic, less digitally waxy look than 300, as dust motes and fire sparks perpetually telegraph depth of field, shrieking, "See your 3D dollars hard at work!" Also working hard and making all that wrath look diabolically effortless is Green, who as the pitch-black counterpart to Gorga, turns out to be the real hero of the franchise, saving it from being yet another by-the-book sword-and-sandal war-game exercise populated by wholesome-looking, buff, blond jock-soldiers. Green's feline line readings and languid camp attitude have a way of cutting through the sausage fest of the Greek pec-ing order, even during the Battle of, seriously, Salamis. (1:43) Metreon, 1000 Van Ness. (Chun)
Veronica Mars Since the cult fave TV show Veronica Mars went off the air in 2007, fans of the series, about a smart, cynical teenager who solves mysteries and battles her high school's 1 percenters — a sort of adolescent noir minus the ex nihilo patois of Rian Johnson's 2005 Brick — have had their hopes raised and dashed several times regarding the possibility of a big-screen coda. While that sort of scenario usually involves a few of the five stages of grief, this one has a twist happy ending: a full-length film, directed by show creator Rob Thomas and cowritten by Thomas and show producer-writer Diane Ruggiero (with a budget aided by a crowdfunding campaign), that doesn't suck. It's been a decade since graduation, and Veronica Mars (Kristen Bell) has put a continent between herself and her creepy, class war–torn hometown of Neptune, Calif. — leaving behind her P.I. vocation and a track record of exposing lies, corruption, and the dark side of the human soul in favor of a Columbia law degree and a career of covering up same. But when Logan Echolls (Jason Dohring), her brooding, troubled ex, gets charged with the murder of his pop star girlfriend and asks Veronica for help, she can't resist the pull of what she admits is a pathological impulse. Plus, it's her 10-year reunion. And indeed, pretty much anyone who had a character arc during the show's three seasons makes an appearance — plus (naturally) James Franco, Dax Shepard (Bell's husband), and (oddly) Ira Glass. It could have been a cameo fusillade, but the writing here is as smart, tight, funny, and involving as it was on the TV series, and Thomas and Ruggiero for the most part manage to thread everyone in, taking pressure off a murder mystery that falls a little flat, updating the story to reflect current states of web surveillance and pop cultural mayhem, and keeping the focus on the joy of seeing Veronica back where she belongs. (1:43) Metreon. (Rapoport)
Le Week-End Director Roger Michell and writer Hanif Kureishi first collaborated two decades ago on The Buddha of Suburbia, when the latter was still in the business of being Britain's brashest multiculti hipster voice. But in the last 10 years they've made a habit of slowing down to sketching portraits of older lives — and providing great roles for the nation's bottomless well of remarkable veteran actors. Here Lindsay Duncan and Jim Broadbent play a pair of English academics trying to re-create their long-ago honeymoon's magic on an anniversary weekend in Paris. They love each other, but their relationship is thorny and complicated in ways that time has done nothing to smooth over. This beautifully observed duet goes way beyond the usual adorable-old-coot terrain of such stories on screen; it has charm and humor, but these are unpredictable, fully rounded characters, not comforting caricatures. Briefly turning this into a seriocomedy three-way is Most Valuable Berserker Jeff Goldblum as an old friend encountered by chance. It's not his story, but damned if he doesn't just about steal the movie anyway. (1:33) Embarcadero, Sundance Kabuki. (Harvey)
The Wind Rises Hayao Miyazaki announced that Oscar nominee The Wind Rises would be his final film before retiring — though he later amended that declaration, as he's fond of doing, so who knows. At any rate, it'd be a shame if this was the Japanese animation master's final film before retirement; not only does it lack the whimsy of his signature efforts (2001's Spirited Away, 1997's Princess Mononoke), it's been overshadowed by controversy — not entirely surprising, since it's about the life of Jiro Horikoshi, who designed war planes (built by slave labor) in World War II-era Japan. Surprisingly, a pacifist message is established early on; as a young boy, his mother tells him, "Fighting is never justified," and in a dream, Italian engineer Giovanni Caproni assures him "Airplanes are not tools for war." But that statement doesn't last long; Caproni visits Jiro in his dreams as his career takes him from Japan to Germany, where he warns the owlish young designer that "aircraft are destined to become tools for slaughter and destruction." You don't say. A melodramatic romantic subplot injects itself into all the plane-talk on occasion, but — despite all that political hullabaloo — The Wind Rises is more tedious than anything else. (2:06) Sundance Kabuki. (Eddy) *


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O.novo from Villeroy & Boch offers the full spectrum of modern bathroom design. The diverse range covers everything from washbasins through to shower trays and toilets. The various products can be mutually combined to perfectly match your style. The washbasins impress with their clean design and diverse installation options.
Floor-standing toilets present an economical alternative especially for renovations and old buildings. In old buildings in particular, the outlet often leads into the floor, making it harder to mount a wall-mounted toilet. Villeroy & Boch offers floor-standing toilets as washout and washdown pans, with and without a cistern as well as in a wide selection of designs - from compact toilets to extra large.
With washdown pans, excretions fall directly into the water and are enclosed by the liquid. There is usually no need for follow-up cleaning. Washdown toilets thus offer an elegant and hygienic solution with minimal odour formation. This flush version is available for wall-mounted and floor-standing models.
CeramicPlus - the anti-dirt surface for sanitary ceramics - simplifies bathroom cleaning. This innovative process causes water to immediately form droplets on contact, which then merge into beads and simply drain away, carrying dirt and limescale particles with them.
AntiBac is an innovative hygiene solution for bathrooms, which considerably reduces the risk of transferring bacteria. The glaze from Villeroy & Boch contains silver ions and has been proven to reduce the growth of bacteria on ceramic surfaces and toilet seats by more than 99.9%. This saves you time, effort and money in bathroom cleaning and gives you hygienic cleanliness in an instant.
Sanitary ceramic is the perfect material for washbasins, toilets and bidets. Sanitary ceramics from Villeroy & Boch are fired at 1200 °C and meet the highest requirements for durability and hygiene. Additional glazes such as CeramicPlus and AntiBac simplify bathroom cleaning with antibacterial protection and dirt-repellent surfaces. Sanitary ceramic is resistant to knocks and impacts.
The Villeroy & Boch ViProtect sound insulation system dampens the sound in the bathroom for you and for other people in the home. ViProtect is proven to reduce sound transfer between the toilet and the wall and is compatible with all standard toilet attachments and drain sets from Villeroy & Boch.
|355 mm
|455 mm
|18,5 kg
|Product designation
|Washdown toilet
Sanitary ceramics. suitable for use with pressure valve. EN 997. Please order toilet seat separately, Please order cistern separately.
|Sanitary ceramics


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1-Used Rosback Perforator. Model: 220. S/N 2207660.
Skidding and Load out charges: There will be loading and skidding charges added to your purchase at market rates for your convenience.
Location: Gardena, CA 90248.
1-Used Rosback Perforator. Model: 220. S/N 2207660.
Skidding and Load out charges: There will be loading and skidding charges added to your purchase at market rates for your convenience.
Location: Gardena, CA 90248.
We are making things easier for you, auction specific shipping information coming soon. For now, please visit the Important Information / Terms & Conditions tab [next tab to the right] for auction specific removal dates, preferred vendors and more.
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1. Only Checks, Wire Transfers or Cashiers Checks payable to Chris Hillseth Enterprises will be accepted for payment. No equipment will be removed from the sale site until payment is received by Chris Hillseth Enterprises. NO EXCEPTIONS!
2. While descriptions are believed to be correct, the sellers agent or the owners make no warranties or guarantees expressed or implied, as to the genuineness, authenticity of, or defect in any lot and will not be held responsible for advertising discrepancies or inaccuracies. Everything sold AS IS and WHERE IS except as expressly made in writing. No warranties are made as to the merchantability of any items or their fitness for any purpose.
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4. It is the buyers' responsibility to secure all safety equipment to meet all applicable government safety standards in using or removing items purchased.
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10. No item can, on any account, be removed before buyer receives payment in full. Removal shall be at the expense, risk and liability of the purchaser. Auctioneers shall not be responsible for items not removed within the time allowed. If equipment is not removed within specified removal time, purchaser shall be liable for any moving and storage costs incurred and, if not so removed, the items shall be deemed abandoned.
11. If any shortage exists on estimated counts, an adjustment will be made if claims are made at time of removal. No adjustment will be allowed after items are removed from the premises.
12. If any dispute arises between two or more bidders, the sellers' agent may or may not put the lot up again at once, and resell.
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