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Show i 1 Page B4 Thursday, January 6, 1983 Park City News COALE DALE SALE SALE-----'-'-'-"'" If fine clothing ON SALE NOW i January savings are nothing to sneeze at ... 30 oon men's and women's pants, handknit sweaters, skirts, raw silk shirts, and casual winter wear. Itfl mae you feel warm all over. Located in the Park City Village. Open daily 10 a.m. - 6 p.m. 649-EASY by Ilick BroagEi ' ACUssic Recommended Good double . feature material Time-killer FormasochisU only Forty-Eight Forty-Eight Hours Here's a high-powered vehicle that gets its drive from two tough oddball performances. per-formances. The heroes are as compatible com-patible as dog and cat, but ; they both have a good reason to stop a pair of killers on the loose in San Francisco. The cop (Nick Nolte) watched helplessly while two of his colleagues were shot down by the thugs. The con (Eddie Murphy), released from prison to help Nolte, is an estranged member of their gang. He's out to save (a) his skin and (b) his hidden cache of money. Nolte gives a surprising, colorful performance. He looks like a big bear with tousled fur, and talks with a grumpy, Edgar Buchanan accent (especially when he's trying to be the tough cop.) Even so, Eddie Murphy will draw more interest, in his film debut, as an unflap-able, unflap-able, dandyish con who sports a $500 suit, and constantly con-stantly tries to finagle some female companionship under un-der the cop's nose. (Well, he's been three years in prison!) Murphy relies on part of his "Saturday Night Live" personality, but he looks like another SNL alumni who is destined for movie success. (The scene where he takes command of a whole barfull of rednecks is one of those displays that suggests future stardom. ) Following the script, these two reach eventually reach a liberal chumminess, with a heavy dose of slapstick along the way. They find mutual respect after a fight where neither man can punch the other down. (Just before the scene fades out, Nolte can't resist taking one more clip at Murphy's jaw.) Director and co-script writer Walter Hill raises prickles on the scalp with his chases and shoot-outs. His story has fairy-tale gruesomeness, and the two killers are played like scorpions scor-pions by James Remar and Sonny Landham. Airplane II: Hie Sequel Writer-director Ken Finkleman has repeated practically every gag from "Airplane I." So why is the movie still a hoot? Maybe it's the altitude this time, we're on the first passenger space shuttle, screwed up by an unctuous computer (cousin to Kubrick's HAL), that steers it straight for the sun. Our only salvation is Captain Ted Striker-an interpid pilot, but a guy whose boring, neurotic soliloquies drive people into comas andor suicide. (To board the shuttle, he has escaped from the Ronald Reagan . Home for the Mentally 111. ) Finkleman has faithfully copied "Airplane's" trademarks like the use of dramatic stars to spoof their own specialties. (In some MPrt. lilro William Shatner and Chuck Connors go further, chewing their dialogue like hardtack.) x Gags are wallpapered into the background of the plot, whether it be a sanitarium nurse who checks a patient's throat with a dipstick, or an elevator that blasts out deafening Muzak. And the script has more in jokes and punny bits than you can whip a propellor at. (A stewardess asks for "a little breather" and finds midget actor Herve Villechaize at .her shoulder.) The movie would look like a Xerox-copy sequel if Finkelman didn't remember the key to success here is speed. He keeps the gags moving so fast you don't care how derivative they are. The passenger list also includes in-cludes the innocent, but sexually conscientious Elaine Dickenson (Julie Hagerty); the mustachioed villain (Chad Everett) who built the plane with substandard substan-dard material; the amiably perverted Captain Oveur (Peter Graves); and a droppy, mad bomber (Sonny Bono) who is able to routinely buy his explosives at the airport candy stand. Meanwhile, on the ground, Escape vacation inflation at J Club Vacation inflation ... it's that dollar-swallowing dollar-swallowing epidemic that changed your last vacation plan from seven days to three. It's the reason you took the car instead of a plane. At the Circle J. Club at Jeremy Ranch, we have a plan to help you escape vacation inflation. infla-tion. It's called interval ownership. Interval ownership is an opportunity for you to own the use of one of our vacation condominiums con-dominiums at The Jeremy Ranch, for one week each year, starting at $2,700 per week. You'll also have the option to trade that week of ownership for a week's vacation in one of over 500 resort areas around the world. Interval ownership at the Circle J. Club at Jeremy Ranch includes: An indooroutdoor swimming pool Horseback riding Fishing and hunting Golf on the Jeremy Ranch course designed by Arnold Palmer Outdoor tennis and a membership at the Canyon Racquet Club in Salt Lake City So come on up to hear more about how to escape vacation inflation. We '11 even give you $10.00 TOWARD GAS Our office is open seven days a week from 10 a.m. to 7 p.m. Or give us a call at (801) 649-1777. 649-1777. To get to the Circle J Club at Jeremy Ranch from Park City, take Highway 248 to 1-80, exit 1-80 at the Ranch exit. Turn right to service road then left on the service road to the Jeremy Ranch entrance. Follow the signs from there. Interval ownership at its finest. Our offer is valid at JEREMY RANCH when you join an informal, no obligation tour of our recreation facilities fa-cilities at the resort. If married, both husband and wife must be present for the tour. Not valid unless 21 years of age or older, and employed. dregged-out Lloyd Bridges tries to guide the shuttle to safety and calms a mob of anxiously-milling relatives by pouring boiling oil out the windows! The Toy Jackie Gleason plays the millionaire who hires Richard Rich-ard Pryor as a playmate for his pampered son, but it's actually Gleason who's used here as a elitzy marquee name. The potential of teaming two great comics is frittered away, as The Great One becomes a dimly-felt presence amid Pryor's antics. an-tics. The movie only features one sample of top-dog-vs.-low-dog humor between the two men. Gleason, sitting down at a long, sumptuous banquet table with his executives, execu-tives, greedily pulls the table up to his belly. Pryor, serving at the other end, pulls it back, initiating a brief but hilarious tug-of-war. The movie trails off from there into a series of gags about Pryor catering to Gleason's kid: enduring his pranks, coping with his warehouse of toys (like a boxing machine that hits Pryor in the worst possible spot) and dressing up in Spiderman pajamas at bedtime. bed-time. Then the story turns sentimental, as Pryor teaches the kid about acting like a human being. They even become social crusaders, cru-saders, starting an amateur newspaper that exposes Gleason's unscrupulous business busi-ness practices. "The Toy" jumbles ideas and moods. Mostly, it wastes Gleason, and takes Pryor through the same heart-tugger heart-tugger material that he covered last year in "Busting "Bust-ing Loose." The Dark Crystal. Every clown aspires to be Shakespeare or maybe at least J.R.R.Tolkien. Muppet master Jim Henson has created an enchanting world made, yes, out of whole-cloth whole-cloth that makes a wondrous won-drous addition to the fantasy genre. In Henson's screenplay, screen-play, the Dark Crystal is an all-powerful obelisk controlled con-trolled by ten, vulturish creatures palled the Skeksis. . However, their opponents,'" the Mystics ten gentle, gnomish creatures with salamander sal-amander tails hold the secret of The Shard, a single missing piece of the Crystal. Henson's far-away, long-ago long-ago world has been split (as you'd guess from the parallel groups). To cure it, two lone survivors of the humanoid Gelfling tribe, Jen and Kira, must replace the shard in the crystal before the ominous conjunction of three suns. Old associations might linger with the viewer as the movie opens (the crones look like Muppets on Social Security; Se-curity; some voices you'll recognize as straightmen for Kermit the Frog), but the movie soon sweeps you along, with Henson and co-director co-director Frank Oz bringing the best of their freewheeling free-wheeling Muppet styles to the story. In this fantasy setting, they can run riot, as never before, with the opportunity op-portunity to create creatures that are slimy, bouncy, hulking, hulk-ing, stringy, or gangling. (Kira, the heroine's dog, looks like a fur ball that got stuck in a light socket.) Amid Erian Froud's excellent excel-lent designs, the film's fast pace whirls from the joyous to the grisly (for instance, dying Skeksis that collapse in a putrescent heap of bone and ashes.) The film has pallid stretches. stretch-es. The Gelflings look like heifers. And in long shots, their fluid movements suggest sug-gest they're being played by human actors. A grouchy old witch named Alghra (voice by Billie Whitelaw) is written writ-ten too much like Yoda's long-lost sister. And it's often difficult in the script to tell individual characters apart (only one Skeksi stands out, because he uses a persistent whine.) They are minor complaints, com-plaints, however. The Muppets Mup-pets have always combined the goofy with the magical, but now they've shown they can emphasize the second half of the formula. Now showing At the Holiday Village Cinemas: Vt Best Friends The Dark Crystal Honky Tonk . Man '. - The Toy You're invited to a film feast with Louis Malle Is it possible to make an absorbing two-hour film about two men sitting at a dinner table, discussing life experiences? Director Louis Malle did it in his recent film, "My Dinner with Andre." Malle is also the man who brought Brooke Shields to public notice as the child hooker of "Pretty Baby." The Salt Lake Library is sponsoring a series of Malle Films from Jan. 13 through March 3. All films will be shown on Thursdays, at 7 p.m. (except for "Andre"). They will be in French, with English subtitles. The festival starts with "Elevator to the Gallows" (Jan. 13), an early New Wave film starring Jeanne Moreau about a perfect crime that goes stupendously stupendous-ly wrong. Moreau also stars in "The Lovers" (Jan. 20), about a provincial wife whose life is changed by a night of romance. "Zazie" (the film for Jan. 27), is a grab-bag of sight gags, in-jokes, and shifting tones. The following film, "The Fire Within," (feb. 3) is a strong change in mood, as it follows the last 48 hours of a suicidal man. "Viva Maria" (Feb. 10), is a dazzling two-woman show. Jeanne Moreau and Brigitte Bardot play two traveling entertainers in Central America Am-erica during the early 1900s. They fall in love with a revolutionary leader and take over the revolt when he's killed. Malle's latest films dealt with adolescents. The 1972 film "Murmur of the Heart" (Feb. 17) looked at a young man's rite of passage and his relationship with his mother. "Lacombe, Lucien" (Feb 24) concerns a young French boy during World War II who turns informer for the Gestapo Ges-tapo to win acceptance. "My Dinner With Andre" perhaps Malle's most famous fam-ous work, will be shown March 3. The film stays almost all the time at one location, a restaurant table where restless intellectual Andre Gregory bubbles over about his world travels and experiences with religious cults and consciousness groups. His stay-at-home buddy, Wallace Shawn, argues ar-gues for the simple comforts of kitchen appliances and electric blankets. Admission is $2 per film, or $15 for the entire series. Advance tickets are available avail-able at the circulation desk of the library, at 209 East 500 South. Chamber music series continues On Thursday evening, Jan. 27, the sounds of the Salt Lake Chamber Ensemble will fill the intimate space at the Egyptian Theatre. Beginning at 7:30 p.m., this four-man group will feature baroque music at its finest. This is the second performance in the continuing chamber music series presented by the Egyptian Theatre in cooperation with the Park City Library and KPCW. Tickets for the Ensemble are $7 general ad-' mission or $5.50 for members of the supporting groups. For show reservations call 649-9371. |