10 The Tar Heel Thursday, June 2, 1988
Cinxeinnia
No worries, mate, 'Crocodile' Dundee is back
That Australian "mate" charmed
moviegoers in 1986 and made $300
million in the process, so was there
any doubt that "Crocodile" Dundee
would make a return appearance?
On May 25, " 'Crocodile' Dundee
II" appeared on 2,500 screens across
America (a record number of screens
for an opening), along with a huge
publicity campaign to hype the
movie.
Was it worth the wait? And more
importantly, did it live up to the hype?
Well, it's simple fluff, but
44 'Crocodile' Dundee II" is engaging
and a lot of fun.
The movie could easily be called
" 'Crocodile' Dundee Meets Miami
James Mills
Cinema
Vice." There are slick cars, fancy
clothes, drug lords, lots of gun
shooting and plenty of stylish camera
shots, all similar to what you expect
to see on "Miami Vice." But instead
of having Crockett and Tubbs come
to the rescue, you have "Crocodile."
The movie opens with our title
character, Michael J. "Crocodile"
Dundee adapting to life in the strange
land of New York City. He still sleeps
on the floor and can't seem to figure
out the subway routes, but Croc is
in love, so he is willing to make the
adjustment for Sue, his girlfriend.
Through a twist of fate, Sue
receives a roll of film depicting
Columbian drug barons doing their
activities. The barons kidnap Sue in
exchange for the film, and it falls on
Mick Dundee to save the day and
rescue Sue. His Down Under
methods seem strange and peculiar
to the city slickers, but he does rescue
her.
Unfortunately, the drug lords are
still on the loose and they want to
get Croc and Sue back. To protect
themselves, the lovebirds fly off to
Australia, and are followed by the
crooks, intent on revenge.
In the desolate Australian Out
back, "Crocodile's" wit and ingenuity
prove to be more powerful than
machine guns and Jeeps. Despite
being outnumbered seven to two, our
hero manages to outdo the criminals.
The lovebirds are safe and happy once
again at least until " 'Crocodile'
Dundee HI" comes out.
Paul Hogan plays the Australian
hero with wit and that irresistable
Down Under accent. Viewers can't
help but like him, and they see
America through his eyes as never
before, just like in the first movie.
Linda Kozlowski returns as the
heroine Sue, the woman whose love
tamed the wild beast of "Crocodile"
Dundee. She plays her part with just
the right bit of naivete, yet is cour
ageous enough to make the role
believable.
Hogan and his son, Brett, wrote
this screenplay, while John Cornell
took the reins as director. They have
produced an entertaining film that
will surely be successful at the box
office.
" 'Crocodile' Dundee II" achieves
its purpose of entertaining the
audience very well. But that is about
all it achieves. Viewers who want a
movie with more substance should
look elsewhere.
Second in Simon trilogy evokes laughter, tears
Neil Simon is one of America's
most accomplished and successful
playwrights. He manages to combine
humor and drama skillfully while
creating likable characters for his
works, which is no easy feat. And
those who try to dispute Simon's
success need only see "Biloxi Blues"
to be proven wrong.
As Simon's latest in a series, "Biloxi
Blues" is the mostly autobiographical
story of his misadventures and
mishaps in an Army boot camp.
During the course of the movie,
Simon examines a young man's
sexual awakening, his first love and
James Mills
Cinema
the world's prejudices. Combining
both laughs and tears, Simon man
ages to make viewers feel for the
characters and examine their own
beliefs at the same time.
"Biloxi Blues" is the middle chapter
in a trilogy of Simon's autobiograph
ical plays. "Brighton Beach Memoirs"
is the opening play of the three, while
"Broadway Bound" is the final part.
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All three plays have had successful
runs on Broadway, so the movie
adaptations were inevitable.
The movie version of "Brighton
Beach Memoirs" opened Christmas
1986 to mixed reviews and a mediocre
box office. But "Biloxi Blues" has
opened to good reviews and an
excellent box office, both of which
are well-deserved.
Matthew Broderick, who has
charmed audiences in "War Games,"
"Project X" and "Ferris BueUer's Day
Off," returns to the role he first played
on Broadway. He plays the insightful
but naive Eugene Morris Jerome
(a.k.a. Neil Simon). Broderick brings
a charisma and ease to the role that
prevents the viewer from taking his
eyes off him. Broderick's appeal
makes both the role and the movie
work.
The movie follows Eugene to Army
boot camp in Biloxi, Miss., at the
close of World War II. Eugene finds
boot camp unlike anything he was
ever used to. The heat and humidity
of the deep South quickly wear him
down and he wishes to return to his
native Brooklyn.
Eugene and his fellow recruits
slowly adapt to the Army's 5 a.m.
hikes, calisthenics, latrine duty,
surprise inspections and inedible
food. The company members find a
common bond in their adjustment to
Army life and in their hatred of their
drill sergeant.
Christopher Walken, whose career
has recently turned to playing villains
instead of leading men, portrays the
rigid sergeant Merwin J. Toomey.
Walken is perfect in portraying the
crazed sergeant intent on making
fighting machines out of this new
batch of recruits.
The company is an interesting mix
of Jews, Irish, Polish, Italians and
white Anglo-Saxon Protestants, plus
a closet homosexual who is discov
ered before the movie's end. All
characters are believable, but not
necessarily likable. There is the
macho hothead Wikowski; the
brawn-with-no-brains Selridge; the
peaceful Carney; the quiet, strong
Hennessey; and the irritating Epstein,
company scapegoat. All parts are
portrayed well.
"Biloxi Blues" entertains while
making viewers think about stereo
types and prejudices. Such movies are
rare, but quite worthwhile.
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