Tag Archives: Shattuck Cinemas Landmark
An Alameda County Superior Court judge on Wednesday denied numerous challenges to the Environmental Impact Report prepared for 2211 Harold Way, meaning that construction of an 18-story, 302-unit building with 10,000-square feet of retail space and new movie theaters in Berkeley’s downtown can proceed – unless the decision is appealed.
In a 16-page ruling, Judge Frank Roesch denied the 15 claims Berkeley residents Kelly Hammargren and James Hendry had filed in January to stop the project. The two had filed separate challenges which were combined. Roesch conducted a four-hour court hearing on the challenges on Aug. 26.
In December, the city council approved the complex, which will be the largest construction project built since Berkeley adopted the Downtown Area Plan in 2012. Under the plan, density downtown was increased and Berkeley sanctioned the construction of seven towers ranging from 120 to 180 feet high. In exchange, developers were required to provide extraordinary community benefits.
City officials ordered the developer of 2211 Harold Way, HSR Berkeley Investments, to make a $10.5 million payment into the Housing Trust Fund, with another $1 million going into an arts fund. Habitot Children’s Museum, which will be displaced because of the project, will receive $250,000 of that money. The developer has also agreed to use union labor and to rebuild the Shattuck Cinemas. Berkeley applied a $6 million credit for the labor agreement and a $5.5 million credit for the theater. The developer will also have to pay into a streets fund and a childcare fund.
The first $2 million of that payment will be made when HSR Berkeley Investments obtains its building permit. Half will go into the housing fund then, and the other half to the arts fund. The developer will have to pay $3.5 million – or post a bond or otherwise guarantee payment – when it gets its occupancy permit.
‘The project team is pleased with the decision as it reinforces our perspective that the lawsuits were specious to begin with,” said Mark Rhoades of Rhoades Planning Group, which assisted Penner in the entitlement process. “The decision also reinforces the voters’ desires for the Downtown Plan as it is reflected in this project after more than 35 public meetings. The project team is currently in discussion on the next steps but the strength of the decision likely means that the project will move forward even IF there is an appeal.” … Continue reading »
Two opponents of the 18-story apartment complex planned for 2211 Harold Way in downtown Berkeley made a case in court Friday that the approval of the 302-unit building should be revisited.
Kelly Hammargren and James Hendry appeared before Judge Frank Roesch in Alameda County Superior Court to argue that the environmental impact report for the building was so deeply flawed that the project should be stopped.
The packed hearing, which brought out many of the long-time opponents of the project, lasted four hours. Neither Hammargren nor Hendry had legal representation, and clearly struggled with how to frame their legal arguments. Hammargren, for example, asked to introduce a map delineating the area west of the project. She wanted to show how close Berkeley High School is to 2211 Harold Way as part of her argument that Berkeley and the developer should have considered the impact of diesel particulates from fuel exhaust on the high school.
The judge denied her motion because the map was not part of the administrative record, which includes 15,000 pages of documents from Berkeley’s consideration of the project, as well as notes, videos, and tape recordings from many of the 37 public hearings. The CEQA hearing could only focus on what was already part of the record, not other evidence, he said.
Hammargren, who has devoted more than two years of her life to stopping the project, often tried to persuade the judge using an argument she might have made in front of the Berkeley City Council. The judge repeatedly told her to stick to legal issues and not make political speeches. He also reprimanded audience members when they burst into applause after Hammargren made a point.
“This is a court of law,” said Judge Roesch. “We don’t applaud anyone. We don’t think that political speeches are very helpful in solving the puzzle.”
Three-quarters of the way into Captain Fantastic (opening at Landmark’s California Theater on Friday, July 22), I thought I might be watching one of 2016’s Best Picture Academy Award nominees. One implausible plot development later, I wasn’t so sure — but I am convinced that Viggo Mortensen is likely to receive Oscar recognition for his lead role in this frequently excellent (if periodically absurd) new feature.
Mortensen plays the film’s title character, an off-the-grid Noam Chomsky admirer known more prosaically as Ben. With wife Leslie (Trin Miller, seen only in flashback) Ben has raised his six children in the middle of a Pacific Northwest forest, training them in survivalist techniques and teaching them about great literature, political theory, and the Bill of Rights.
What he hasn’t taught them is how to live in the ‘real world’, a problem that quickly becomes apparent when the family leaves the wilderness for a funeral in suburban New Mexico. Conflicts rapidly arise between the insular Fantastics and their ‘normal’ relatives, including Leslie’s sister Harper (Kathryn Hale), brother-in-law Dave (Steve Zahn), and father Jack (Frank Langella).
Written and directed by Berkeley resident Matt Ross, Captain Fantastic is careful not to pass judgment on these competing visions of ‘the way things should be’. (Ross will be doing a Q&A in Berkeley this Friday, July 22, after the 7:05 p.m. screening of Captain Fantastic at the California Theatres at 2113 Kittredge St.) Ben is clearly a loving father, but he’s also a martinet whose parenting techniques sometimes border on child abuse; Jack has the best interests of his grandchildren at heart but is willing to use social status and wealth to make life for Ben thoroughly miserable. … Continue reading »
Generally, things are just a little bit off-kilter in the world of Michel Gondry. From Eternal Sunshine of the Spotless Mind to Be Kind Rewind (and with the notable exception of his 2012 feature, the comparatively neo-realistic The We and the I), the French filmmaker has displayed a penchant for telling stories with a slightly surreal bent.
Gondry’s latest feature brings us firmly back to his magical-realist comfort zone. Microbe and Gasoline (Microbe et Gasoil), a whimsical shaggy dog tale about two teenage outcasts and a remarkable road trip, opens at Landmark’s Shattuck Cinemas on Friday, July 15.
Daniel (Ange Dargent) is 14 years old but looks two or three years younger. Nicknamed Microbe by schoolyard bullies, the quiet, artistically talented youngster has a (presumably doomed) crush on classmate Laura (Diane Besnier).
Theo (Théophile Baquet) is new to Daniel’s school, and shows up for the first day of term riding a motorized scooter with a homemade sound system. Immediately dubbed Gasoline, Theo makes common cause with fellow nerd Daniel, and the new friends hatch a wild plan to travel across France during the summer months in a bespoke automobile. … Continue reading »
At the end of last year, I made a modest but achievable resolution: In 2016, I’d write about a few less documentaries (and a few more fictional features) than I’d written about in 2015. And so far, I think I’ve done pretty well: By my count, only four of the 33 films discussed this year in Big Screen Berkeley have been docs. Mission accomplished!
After zigging through the last six months, however, it’s now time to zag in the opposite direction. This weekend, two very different – but equally intriguing – documentaries open in the East Bay.
Zero Days (opening at Landmark’s Shattuck Cinemas on Friday, July 8) is the latest effort from Academy Award winner Alex Gibney (Taxi to the Dark Side). The film examines one facet of the West’s war against Iran’s nuclear program – a program that many Western governments insisted, despite repeated Iranian denials and evidence to the contrary, was a precursor to nuclear weapons. … Continue reading »
Since Nosferatu first chilled filmgoers in 1922 (sparking a lawsuit in the process), almost every conceivable variation of vampire has stalked victims across screens big and small. In addition to the traditional ‘cape and fangs’ bloodsucker, we’ve seen funny vampires, mod vampires, hopping vampires, African vampires, even X-rated vampires – but until now I don’t think there’s been a movie depiction of a vampire undergoing psychotherapy.
That particular cinematic gimmick is the selling point of Therapy for a Vampire (Der Vampir auf der Couch), a darkly comic German chiller opening at Landmark’s Shattuck Cinemas on Friday. Despite its title, however, the film is more than just a ninety minute My Dinner with Andre style confessional for hemovores.
Writer-director David Rühm immediately signals his intent: opening in a spooky graveyard, the film is a tribute to classic gothic cinema, right down to its mittel-european setting ‘somewhere near Vienna’ circa 1932. For admirers of classic Universal and Hammer horrors, this mise en scène is the big screen equivalent of comfort food. … Continue reading »
In case you missed it, here’s a link to a fascinating Guardian story about how perceptions of masculinity differ between American and British men. As a man (and I do use the term advisedly) who’s lived in both countries, I can attest that the story’s conclusion — that American men feel ‘completely masculine’ at a rate considerably higher than do their UK counterparts — is broadly accurate.
Of course, the story does make one wonder how men in other countries would rate themselves on the ‘0-6’ scale utilized by YouGov’s study – and, judging from the male characters in Chevalier (opening at Landmark’s Shattuck Cinemas on Friday, June 10), Greek men would likely rate themselves as even more testosterone-laden than their American co-genderists. Sorry, dudes.
Set aboard a yacht somewhere in the Aegean, Chevalier tells the story of six guys (presumably six quite well-off guys, as there’s no hint of Greece’s ongoing slow-motion financial crisis) enjoying an extended at-sea stag party. Their days are occupied with fishing, scuba diving and jet-skiing; their nights with gourmet meals and mind games. … Continue reading »
Well, I may as well go for the hat trick. Having written about both The Third Man (1949) and Our Man in Havana (1959) in the past year, I really should take advantage of an opportunity (or an excuse!) to review 1948’s The Fallen Idol, the first of writer Graham Greene and filmmaker Carol Reed’s three cinematic collaborations.
Despite its two Academy Award nominations (one for Greene’s screenplay, another for Reed’s direction), The Fallen Idol is arguably the least remembered of the trio — at least in the United States (it continues to enjoy a higher profile in the UK). A newly restored print screens at Landmark’s Shattuck Cinemas beginning Friday, June 3.
Set primarily in a late Georgian townhouse in deepest Belgravia (one of London’s most expensive neighborhoods and home to many of the capital’s foreign embassies), The Fallen Idol tells the story of an unusual relationship between the son of a diplomat and the loyal family retainer. French-born, English-raised 9 year-old Bobby Henrey plays the youngster Phillipe; Ralph Richardson, Baines the butler (whose first name remains, appropriately, unspoken). … Continue reading »
It’s not always easy to find interesting films to review or write about, but this week is different. Call it a picture show potpourri, or perhaps a cinematic smôrgasbôrd: this weekend, Berkeley filmgoers have plenty to choose from.
On the new release front, consider L’Attesa (The Wait), opening at Landmark’s Shattuck Cinemas on Friday, May 6). Directed by Piero Messina, the film is a lovely-to-look-at chamber piece about two women and the man who’s brought them together.
Jeanne, Giuseppe’s French girlfriend, has been invited by her beau to meet the family at their Sicilian villa. Arriving from the airport, however, she discovers her visit has come at a rather awkward time – coincident with the mourning period for Giuseppe’s recently deceased uncle, who (we presume) has died on extremely short notice.
Giuseppe’s mother Anna (Juliette Binoche) tries to be a gracious host under trying circumstances, and as the days pass the two women begin to develop an understanding, if not a close relationship. But as the wait continues – and as Giuseppe stubbornly refuses to make an appearance – Jeanne begins to wonder if there’s more to the story than she’s been told. … Continue reading »
Do the French have an obsession with talking cats? Back in 2011 I reviewed The Rabbi’s Cat, a charming animated feature about a feline taking lessons in Jewish mysticism. Now comes Avril et le monde truqué (April and the Extraordinary World – though the print I previewed substituted the word ‘twisted’ for ‘extraordinary’), in which a particularly erudite kitty plays a most prominent role.
Opening at Landmark’s Shattuck Cinemas on Friday, April 8, April and the Extraordinary World offers an alternate steampunk version of French history (with particular emphasis on the steam). Beginning in 1870, the film imagines that the Franco-Prussian War has been avoided thanks to the deft intervention of Emperor Napoleon IV, whose efforts on behalf of peace involve government control over all scientific research — and the arrest of uncooperative scientists such as Gustave Franklin (Jean Rochefort), who’s been developing something called the ‘ultimate serum.’ … Continue reading »
March seems an odd time to release a film set on Thanksgiving Day, but Krisha (opening at Landmark’s Shattuck Cinemas on Friday, March 25) is no routine holiday flick. It won’t play any better in the autumn than it will in the spring, and it’s less likely to put a damper on your next family reunion if you see it now – which you should.
Krisha (Krisha Fairchild) is an aging hippie whose bad luck and ill fortune is broadly suggested during the film’s opening scenes. Her flowing skirt caught in the door of a badly faded pick-up as she drives to Thanksgiving dinner, Krisha also suffers from a mysteriously abbreviated index finger clumsily wrapped in an ace bandage. Clearly, this is a woman with backstory.
It’s the first time our heroine has spent Turkey Day with her family in many years, and the reasons for her estrangement will be revealed over the course of Krisha’s brief but comfortable 81-minute running time. Writer-director Trey Edward Stults, however, is in no hurry to show his hand, and at first things seem guardedly friendly and only slightly tense. … Continue reading »
As stylistically different from last week’s feature as chalk is from cheese, La Calle de la Amargura (Bleak Street, opening at Landmark’s Shattuck Cinemas on Friday, March 11) shares one thing in common with The Incident – its Mexican origins. Coupled with the ongoing success of Alejandro González Iñárritu, it seems Mexican cinema is experiencing a minor renaissance of late – if not a new Golden Age – and there is more on the way.
Directed by another of Mexico’s leading contemporary filmmakers, Arturo Ripstein, the aptly titled Bleak Street takes place in a grim, post-industrial slum somewhere south of the Border. Its characters – midget wrestlers, prostitutes, and a plethora of other down and outers – live on the edges of society, stealing from one another in a fruitless effort to get ahead – or at least stay afloat. … Continue reading »
The very first GLAS Animation Festival opens this week in Berkeley. With screenings and related events happening at multiple sites, including Landmark’s Shattuck Cinemas, the David Brower Center, Berkeley Art Center and the Firehouse Art Collective, the inaugural festival runs March 3-6.
The festival is the brainchild of Global Animation Syndicate, a Los Angeles-based grant program launched in 2014 run by animators for animators dedicated to funding “gifted, innovative, and independent animators across the globe.”
Festival director and co-founder Jeanette Bonds, an animator herself and graduate of the prestigious CalArts animation program, said they were spurred to create the festival by the relative lack of support for non-commercial animation in the U.S.
“There is a strong infrastructure to support documentaries and live-action films here,” she said, but less so for animation. The festival is part of the organization’s mission to provide a stepping stone to commercial and critical success for early- to mid-career animators.
As to why Berkeley, Bonds is emphatic: of all the cities they considered for the festival, Berkeley was by far the most welcoming. … Continue reading »