The Daily Tar HeelFriday, August 23. 198538
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Back to the Future. It's hard to go
wrony with an interesting plot, good
direction and fine acting, and Back to
the Future didn't. Steven Spielberg did
his usual excellent work behind the
camera (even though he wasn't billed
as the film's director) in telling the story
of a boy (Michael J. Fox) who travels
back 20 years in a time machine. The
boy meets his parents as teenagers and
tries to get back to the present without
upsetting the natural course of their,
lives. There were plenty of laughs, many
of them cleverly derived from the wide
gap between the generations, and Fox
was winning and likable. So was the
film, which easily became the summer's
most beloved. (M.D.)
Cocoon. Is Ron Howard even cap
able of making a bad film? From
Nightshift to Splash to this new jewel,
Howard has proven himself a director
of comedies with subtle and delicate
touches of human drama. Cocoon was
his most dramatic film, and it was a
film for all ages, about all ages. A group
of old men stumble upon a swimming
pool that belongs to a band of friendly
aliens visiting Earth to retrieve their
hibernating friends. The pool is a
fountain of youth and the men find
themselves acting like college kids. The
film explored the fine lines between the
old and the young, life and death. The
story was well-conceived and the cast
in particular, Brian Dennehy as the
gentle leader of the aliens was superb.
(A.M.)
European Vacation. Some sequels
attempt to breathe new life into their
originals; others are content simply to
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Moore in 'A View to a Kill": Still fond
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Celebrate a Decade of Professional Theatre at UNC
(at only $5.00 a show!) .
PlayMakers 10 th
Anniversary Season
SHE STOOPS TO CONQUER s
A frolicking comedy by Oliver Goldsmith
Nov. 6-24 The Storm
A poignant story of love in a small Russian
village by Alexander Ostrovsky
Jan.
Three American plays in repertory
' featuring 2 Worl3 Premieres
Apr. 9-27 JHud Aba About Noting
William Shakespeare's delightful comedy
of the war between the sexes
recreate the past. European Vacation,
a continutation of the wacky wander
ings of Clark Griswald (Chevy Chase)
and his family, fell into the latter
category. The only difference between
it and Vacation was that this time
around, the hapless Griswalds bumbled
through Europe instead of the States.
Some of the gags were repetitive and
a few of the jokes preceded Milton
Berle, but there were also some inspired
scenes and several choice bits of satire '
reminiscent of director Amy Hecke
rling's superior work in Fast Times at
Ridgemont High. All said, the movie
was funny. If Chase and the gang
weren't original, at least they were
consistent. (M.D.)
Fright Night. A modern-day vampire
tale with an edge of self-parody, Fright
Night proved to be the summer's
giddiest delight. It was also one of the
sexiest, most stylish scare flicks in many
moons. A handsome bachelor with
suspicious nocturnal habits moves into
a small neighborhood, and the curiosity
of the boy next door plunges him
and his prudish girlfriend into
danger. As the suave, insouciant vam
pire, Chris Sarandon, an accomplished
actor whose screen appearances are all
too infrequent, turned in one of the
summer's most memorable performan
ces. Also noteworthy were Fright
Night's very special effects, which, like
the film, were alternately bloodcurdling
and laugh-provoking. (F.B.)
The Goonies. Another addition to the
growing list of Steven Spielberg
produced epics, Goonies also bore the
fingerprints of another filmmaker,
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of martinis and women, but unable to
THE
INCREDIBLE
STUDENT PASS
31 - Mar. 16
director Richard Lester. The duo's
teamwork kept the film moving at a
dizzying pace and their attempt to show
the world from the eyes of miifit
children made for a charming adven
ture. Viewers who were willing to
suspend disbelief and just sit back and
enjoy this cornucopia of pitfalls and
cliffhangers found The Goonies a fine
entertainment in the formidable Spiel
berg tradition. (A.M.)
Pale Rider. After spending much of
the past 10 years wearing a badge, Clint
Eastwood returned, at least for the
moment, to the Western a genre that
many feel suits him best. In Pale Rider,
an allegory set in the 19th century,
Eastwood played the Preacher, a figure
perhaps symbolic of God triumphing
over Evil as he helps a small gold
mining protect their land from a corrupt
marshal. The movie's special merit was
its ability to be both exciting and
meaningful, to pack a violent enough
punch to satisfy Eastwood fans while
also reaching out to a wider audience.
(M.D.)
Perfect. This film was such a con
. fusing mess it was hard to believe that
Rolling Stone magazine would lend its
name to it. John Travolta played a less-than-honorable
reporter who "uncov
ers" a posh southern California health
chib. His character lies and cheats his
way into interviews, and his editor,
played by Jann Wenner, Rolling Stone's
actual publisher, condones his actions.
The film didn't make much sense, and
it went in too many directions at once
without ever getting anywhere. The only
mildly interesting sequences were the
breathe new life into tired formula
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PLEASE NOTE
LAB FEES FOR DRAMA 15, 16 & 35 COVER
COST OF PASS FOR FALL SEMESTER
aerobic classes taught by Jamie Lee
Curtis, but even her perfect body
couldn't save this turkey of a movie.
(A.M.)
Prizzi's Honor. While even the best
of the summer releases were mere
confections, Prizzi's Honor was an
intelligent, artful film for all seasons.
Directed with considerable daring and
an unsettling black humor by veteran
John Huston, the film ricocheted
between parody and poignance in its
quirky examination of a Brooklyn
mafia family and its absurd code of
honor. As the lovers doomed by the
Prizzi family's "honor," Jack Nicholson
and Kathleen Turner were a mesmer
izing pair, but the real scene stealer was
Huston's daughter, Anjelica, whose
portrayal of the scheming Maerose is
sure to be remembered when Oscars are
handed out. (F.B.)
Rambo: First Blood Part II. Two
years after the infinitely superior First
Blood, Rambo sent Sylvester Stallone
back to Vietnam as a one-man fighting
machine that killed anyone and eve
ryone enroute to rescuing American
POWs still in captivity. Stallone
returned to the States unscathed, but
he left behind a host of casualties,
including the film's plausibility and any
sense of purpose. First Blood was an
effective movie that showed the clear
contrast between the code of living for
the vets in Saigon and the code of living
for them back in America. Rambo was
nothing but a bloody cartoon that
succeeded at the box office but failed
to do what it most wanted to: make
a statement on behalf of veterans.
(M.D)
St. Elmo's Fire. Featuring an ensem
ble of the most gifted young actors
currently working in movies, St.Elmo's
Fire was more a showcase for their
abilities than a good story. It was a film
worth seeing, however, for the sheer
talent of these performers, and the
energy they generated made up for the
lack of a coherent story. The film
focused on a group of friends coping
with the pressures of life after college
graduation, but the diverse storylines
that were supposed to come together
ended up going in different directions.
There were no slouches in the acting
department, though, and especially
commendable were the remarkable Ally
Sheedy and Demi Moore. (A.M.)
Silverado. There wasn't a frame of
this exhaustingly long, tediously
confrontation-packed Western that
seemed the least bit inspiredDirector
writer Lawrence Kasdan, whose pre
vious credits include Body Heat and
The Big Chill, doesn't so much make
movies as mimic them, and Silverado
was like a compendium of every
Western ever produced. As such,,, it
never succeeded in establishing believ-
able characters or an involving story of
its own. Kasdan seemed content to settle
for high production values and an
admittedly splendid cast, both of which
made the film's essential absence of
purpose all the more frustrating. (F.B.)
A View to a Kill. He was still the
same old James Bond, fond of martinis,
good food and beautiful women
although not necessarily in that order.
However, A "View to a Kill, the latest
6
OPPORTUNITIES IN MUSIC
AT UNC
INSTRUMENTAL ENSEMBLES
University Symphony Orchestra
David Serrins, Hill Hall, Rm 205, 966-1330
Wind Ensemble
lames Arrowood. Hill Hall, Rm. 204, 962-2276
Jazz BandCombo
lames Ketch, Hill Hall, km. 108, 9664637
New Music Ensemble
Donald Oehler, Hill Hall, Rm. A, 962-1042
Percussion Ensemble
Lynn Classock, Hill Hall, Rm. 110, 9664637
Brass Choir
Edward Bostley, Hill Hall, Rm. 216, 962-5695
Collegium Musicum
Ion Finson, Hill Annex, Rm. 4, 962-5015
MUSIC LESSONS
Lessons are available for credit in the following areas:
piano, organ, harpsichord
voice
violin, viola, cello, bass, early strings, guitar
flute, oboe, clarinet, saxophone, bassoon, percussion, horn,
trumpet, trombone, baritoneeuphonium, tuba
For more information contact Applied Music Office
10S-A Hill Hall
962-1039
Sarandon (right) in 'Fright Night': A
in the 007 chronology, was a rather
wearisome film that didn't make audien
ces marvel at the breathtaking chase
scenes as much as it made them wonder
how much longer the Bond series could
go on. The trick gadgets and well
choreographed action sequences were
here, but they seemed old-hat, and the
exhilaration of other Bond films was
gone. Also lifeless was Roger Moore,
lilt
Curtis and Travolta in 'Perfect':
PERFORMING ENSEMBLES
WHO: Any registered student
(Non-majors welcome)
WHERE: Auditions held during
registration week (contact
individual directors)
1 credit hour per semester available
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memorable performance
who seemed merely to be going through
the motions. If the Bond films are to
continue, their producers should re
examine the tired formula and find a
way to create the spark that this film
failed to ignite. (M.D.)
Staff writers Frank Bruni, Mark
Davis and Alan Mason contributed to
this article.
Great bodies but turkeys all the same
GENERAL INFORMATION:
Music Department Of i ice
Hill Hall
2-1039
VOCAL ENSEMBLES
Carolina Choir
University Chamber Singers
Men's Gee Club
Women's Clee Club
Larry Cook. Person Hall 10b.
Michael hmte-Horan. Hill Hall 22 .'-56
y i
CONCERT SERIES
Each semester the Department of Music offers to the University and
community a varied concert series. A printed schedule of concert
events is available in the music office of Hill Hall. The traditional
series on Tuesday at 800 and Sunday at 4:00 have been part of the
rich university environment for many years.
Call 962-1121 for more information
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