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Show Page B2 Thursday, October 14. 1982 The Newspaper (JtonnasMes by Rick Brough Now Open Thursday thru Sunday PARK CITY A Classic Recommended Good double-feature double-feature material Time-killer For masochists L only ,. ' m HI BYNAMES Rhythm and Blues Tonight thru Saturday 9:00 p.m. $4 cover Thursday $5 cover Friday and Saturday : - : 3 ? MARTIN AND THORPE Acoustic Duo Next Thursday only Don't miss ROOMFUL OF BLUES Big Band Boogie Woogie Next Fri. & Sat., Oct. 22nd and 23rd Coming in October SADDLE TRAMP October 28 -30 Halloween Costume Party Oct. 30th Happy Hour 5:00 to 7:00, Dancing begins at 9:00 Join us for dinner featuring BBQ ribs, steaks and a great evening's entertainment For dinner reservations and We specialize in banquets & parties. information please call 649-4146 Book your Christmas parties now f I """ 'twiiwwfi m 1 9 " Tt 1 M i P.BW"!J...aiJt H..BPIIL"..I IB 19 Q Eim the smallest ads are read. Diva Director Jean-Jacques Beineix has created this year's dazzler. It's a film dedicated in style and story, to searching out all the flavors in life. The two central characters are a Parisian messenger boy (Fredric Andrei) and his idol (Wilhelmenia Wiggins-Fernandez), Wiggins-Fernandez), an opera singer who refuses to record her voice. He surreptitiously tapes one of her performancesfor per-formancesfor his own enjoyment, en-joyment, mind but as his older friend points out, "There are no innocent pleasures." Two sinister Taiwanese pursue him for the tape. He is also hunted by local thugs, after accidentally obtaining a cassette which has vital evidence on an international crime ring that services the not-so-innocent pleasures of prostitution and drugs. You can tell the bad guys here because their capacity for bliss is perverted or dead. The worst of them a guy resembling Truman Capote's punky son dislikes practically everything. The heroes, on the other hand, are loyal to their whims, impulses, self-indulgences. self-indulgences. The boy's older friend, for instance, is into jigsaw puzzles, avant-garde music, lava-light aquariums, and Zen baking. Beineix covers it all with gorgeous photography and camera work that is sweeping sweep-ing or hyperkinetic. He mixes the spontaneity of a Truffaut with the restless creative range of Orson Welles. However, he also gives you the uneasy feeling that he's having more fun than you are. The movie is supposed to be a revel, but sometimes it looks like the work of a big show-off. To prove that he can do it all, Beineix throws T in a gratuitous, razzle-dazzle Sb1 ft ir IS. m f The Quiet WorkLpf "ft efllll vyU I J? Where the Little Things Are the Big Things ... Little things like - Bubbling Streams Wooded Lots Breathtaking Views Clean Air Architectural Control Underground Utilities 20 Minutes from Salt Lake 10 Minutes from Park City Estate lots Vz acre plus, good financing available. Prices start at $28,000. Look for the signs and log sales office Open from 10 a.m. to 7 p.m. A -s. EE ICS IRTHLIN 649-7930 521-5386 (Left to right). At a Las Vegas casino, Burt Young, Jon Voight and Bert Remsen gamble for the highest stakes in a no-limit blackjack session in Lorimar's "Lookin' to Get Out." subway chase, or a gentle boulevard love scene. Still, an artist resides under the scatter-gun style. And he is abundantly on display here. V2 Lookin' to Get Out There are few things harder to sit through than a dull picture that thinks it's jazzy. Jon Voight plays a New York gambler who runs up a large debt to two hoods and flees to Las Vegas, hoping to raise the money on the tables. He finagles his way into a suite at the MGM-Grande Hotel by persuading per-suading the management his slow-witted buddy (Burt Young) is a close friend of the owner. But how does Voight pull this scam off, when he's barely familiar with the owner's name? Why is the hotel staff so gullible? And why are they so slow to react, when the New York hoods show up, and turn the hotel into a battleground? (Nobody blinks as they chase Voight around the casino and even jab an icepick through his hand!) Logic isn't the only thing that craps out in the picture. Voight is the sharpie supposedly sup-posedly chastened by meeting meet-ing his Vegas ex-lover (Ann Margret) and the daughter he never knew about. To play this familiar character, he uses a lot of Method-acting baggage gum snapping, chattiness, nervous laughter, and vapid eyeball-ing. eyeball-ing. He's so irritating, you can't blame the hoods for wanting to kill him. He and Young drag out their scenes together with pointless comradely com-radely snickering. Young tends to go to the other extreme a kind of blank-faced mumbling. He's amusing at times when he's dumbly amazed that his buddy's hare-brained scheme is actually working. Mostly he's boring or, thanks to the script, moronically impulsive. (Why does he suddenly turn feisty in one scene?) The picture has direction by Hal Ashby that often looks a bit improvisatory, and odd details in the script (Voight drives an English auto, with steering wheel on the left). Maybe the off-beat elements were supposed to spark each other. Instead they're like gears that don't fit, and "Lookin' to Get Out" grinds to a halt. An Officer and a Gentleman The actors lend freshness and credibility to the familiar fami-liar story which shows the military as a crucible that allows an individual to confront himself. Zack Mayo (Richard Gere) is a misfit who hopes to con his way through Air Force Officers' Training School. Anybody who's been watching Army movies for the last 40 years will know that the "loner" eventually learns he's part of a unit. (Mayo's platoon is even integrated like those World War II movie outfits.) But Lou Gossett, as the fearsome Sgt. Foley, gives the picture integrity and a spine. At its best, the picture explores the contradictions behind the complacent phrase "officer and a gentleman," gentle-man," as Gere becomes romantically involved with one of the local "Puget Sound debs." The soldiers fear becoming lured into a marriage. The debs fear they'll be used and left pregnant. Amid this confusion confu-sion and mistrust, Gere and his leading lady that excellent excel-lent 80s actress, Debra Winger evoke a painful, heated affair. Even when the capable script peters off into predictable climaxes, like a Rockeyesque romantic clinch, the acting is memorable mem-orable enough to survive the compromises. Tempest Paul Mazursky's Shakespeare-derived comedy juxtaposes jux-taposes the values of city life and wilderness. And while he churns out a lot of deft comic observations, his comic vision vi-sion isn't acute enough to maintain itself for two-and-a-half hours. The misanthropic Pros-pero Pros-pero character here is Phillip Phil-lip Demetrios (John Cassavetes), Cas-savetes), a middle-aged architect who sickens from the vacuity of Manhattan life and his servitude to a crass, Mafio-rooted contractor, Alonzo, (Vittorio Gassman) who has also, incidentally, appropriated Phillip's wife. Phillip seeks Paradise, and thinks he's found it when he escapes to an uncharted Greek isle, but he doesn't notice that the companions around him daughter Miranda (Molly Ringwald), his lover (Susan Sarandon), and the earthy sheepherder Kalibanos (Raul Julia) all yearn for the decadent pleasures of civilization. After about 45 minutes, you get the point that any locale has its joys and frustrations, vitality and ennui, nurtured from the mixed-up humans who flock there. After that, there's not much to sup on in this movie. Cassavetes acts much the same throughout like a man pacing along the edge of a crack-up. You can't see how island living helps him or recharges his batteries. Julia's randy goat-herd is enjoyable and is the center of the movie's best jokes. (He secretes a Sony Trinitron TV in his cave. And his idea of a serenade to his goats is "New York, New York"). The movie is Like Woody Allen's "Midsummer Night's Sex Comedy" in that it uses a pseudo-Shakespearean miracle mir-acle to resolve the conflicts, con-flicts, when a storm dumps Alonzo and his entourage on the island. It's a fitting climax for a picture speckled with off-beat lyricism Sarandon bursting into Fifties Fif-ties rock n' roll, or a swimming Miranda bumping bump-ing into Alonzo's son Freddie amid miles of ocean. Ma-zursky Ma-zursky is a labored artist, however. His scenes often go on too long after they've established their mood or wry comic point. "Tempest" becomes more arduous than wild. Warlords of the Twenty-first Century "Warlords" was probably conceived as an imitation of "Road Warrior," but is good enough to be a fraternal twin. The plot, again, is set in a post-nuclear gas-war age when a strange loner helps the homesteaders defeat a horde of bandits. While "Road Warrior" was shot in Australia, this was made in New Zealand. The action is propelled in the same way. But "Warlords" (a lousy title!) leaves some interesting interest-ing character tracks. The villain (James Wainwright) is a stolid Patton-like apostle for barbarism, roaming the country in a tank-truck that's like Kong. The petri fied victims feel it coming in their bones long before they see it. The heroine is no wilting flower, but just vulnerable enough to give a sting to the violence around her. And the farmers have a direct homespun appeal their theme is a Moogy refrain from Copland's "Appalachian "Ap-palachian Spring." They're tattered Americana in the nuclear rubble. The producing studio is Roger Corman's New World Pictures, which puts a zippy, low-budget humor in its best work. (Get a load of the gas bandit who dips his finger in a stolen batch, sucks it like a moonshiner, and yelps, "Hey, boss, we got diesel!" Director Harley Cokliss has a weakness for sweeping helicopter shots that linger way too long, but otherwise he has created an enjoyable Grade-B adventure. Forced Vengeance . It's the plot that's forced, but Chuck Norris leaps and kicks his way through it like a familiar dance number. As usual, he's out for revenge his fatherly employer em-ployer (David Opatoshu) is a Hong Kong casino owner wiped out by the gambling syndicate he fights off a small platoon of foes every ten minutes; and has a final prolonged battle with the biggest villain. (How does he manage to outfight these guys who look like Frigidairesonlegs?) There's enough action to satisfy Norris junkies, but the other viewers will find themselves nodding through the bland story directed by James Fargo. The only two novelties; Norris is constantly constant-ly conspicuous in his Stetson (which the villains usually trample on to start a brawl) and the "brainy" heavy is revealed as a half-senile old Chinese hypnotized by Flint-stone Flint-stone cartoons on TV ! Now showing: At the Holiday Village Cinemas Endangered Species ' Forced Vengeance Tempest Zapped ssmity s&nsito S6WVB yoM better .... we must tneet ($g$gitiiite. Please help us to help you. Absolutely no advertising or editorial material will be accepted after noon Tuesday if We appreciate and encourage your contributions of news tips, story ideas, calendar events and all information and material that will tndy make this a community newspaper. But, please, it must be on time! 649-9014 |