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Show Ptge C4 Thursday, February 3, 1983 Park City News 1 &t. flluke Episcopal &lurri 525 Park Avenue Sunday Worship 9:00 a.m. Come and loin Us tjcpteri) of tle fflountainH Cutlran Clyurclj Sunday Worship 10:30 a.m. at St. Luke Episcopal Church, 525 Park Avenue Christian education program at the Community Church, Sunday morning 9:00 a.m. to 10:00 a.m. All are welcome. David Krueger, Pastor 649-2233 OtathoUc Cljurch. 121 Park Avenue Park City Mass 5:30 p.m. Saturday 9:00 a.m. Sunday Confession by appt. FATHER PAT CARLEY 649-9676 Park (Eittj (Eommamtg (Efaurcn, 402 Park Avenue Christian Education All Ages, 9:00 a .m. Sunday Services 10:15 a.m. Park City's Oldest Protestant Church, since 1881. Affiliated United Methodist Linda Barnes, Pastor 6494131 Skier's Special Breakfast $1.99 GUIDED X-C SKIING 30 minutM from Part City If you are looking for a SAFE, SIMPLE cross-country ski outing, call us. We feature long or short day tours with lunch or moonlite overnight outings with informal instruction. wmn i Hit. ROUTE 1-A.KAMAS, UTAH S4038 . PHONS Sapttat Sraort MniBtxitB Suite 2008 Mt. Air Mall Sunday worship 9:30 a.m. Minister Benny Clark Office 649-8084 Home 254-2885 CEIiriHtian Science Sunday Church and Sunday School 9:30 a.m. Wednesday Evening Services 7:30 -8:30 p.m. 833 Quaking Aspen Court Everyone warmly welcome 649-7812 649-3213 Crjurrti of Seams (dnnat of 2Iatter-$afj &ainta Snyderville Ward on Frontage Road Priesthood Meeting- 1:00 p.m. Sunday School - 2:00 p.m. Sacrament Service - 2:50 p.m. 649-8027 See you on Sunday THE MORMONS (Ebapel IFEilouiBrjip Sunday Worship - 9:30 a.m. Meeting at Prospector Square Convention Center Bible Studies and Prayer Meeting Weekly (through the bible tape lending library) Non-denominational, Christ Centered Church PASTOR LENNY PERATA 649-8301 AT SHADOW RIDGE f. We've changed our menu 649-3912o 649-3911 1-7834317 tfurdf BztuittB 2 eggs Bacon Hash Coffee J)ramBM A Classic Recommended . Good double-feature double-feature material Time-killer . For masochists . only 2 Andy Warhol's Frankenstein (In 3-D) Despite the title, the film was directed by Paul Morrissey who is not just bad, but intensely bad. Starting Star-ting with a lousy script, he has directed the actors to chew away voraciously at the dialogue, scenery, and anything else. Udo Kier plays Baron Frankenstein sounding like Bela Lugosi cast as one of the Katzenjammer Kids. His goal is to create a male monster mon-ster with a mighty libido, but instead of abducting the local stud (Joe D'Allesan-dro, D'Allesan-dro, a Balkan peasant with a Bronx accent) he mistakenly grabs D'Allesandro's languid buddy. Meanwhile, the Baron's sister, also his incestuous wife (Monique Van Vooren, giving a haughty cartoon portrayal) takes in Joe as a servantlover. In one scene, she vacuums his backside with wet, squishy kisses one of the few times that Morissey goes for a pointed laugh. More often, his idea of humor is to let the actors overact or underact badly, and relentlessly. The 3-D effects range from the usual bits (bats flying at the audience) to dangling intestines in-testines and an occasional handsomely baroque shot. The special glasses will cause eyestrain, but in Warhol's "Frankenstein," it's the shrill, gory tongue-in-cheek approach that is likely to give you major migraines. Ator Muscleman Miles O'Keeffe made his debut as John Derek's Tarzan, and one imagined he could not sink any further Hian that. Wrong! "Ator" is worse a stultifying "Conan" rip-off which challenges you to remain conscious through the hero's dull encounters with witches, Amazon warrios, walking dead, and browns by Rick even a giant papier-mache spider. (Even B-movie producers haven't had the gall to use that hokey monster mon-ster for the last 20 years ! ) Ator is a young warrior struggling to overthrow the empire of the evil Spider Priest and his laughable black knights. (Their fearsome fear-some war cries sound more like the yip-yips of a troupe of Italian acrobats.) To rescue his sweetheart from the priest, our hero teams up with a bold lady thief who has her eye on treasure. ("Altruism doesn't suit you any better than maternity," Ator sagely observes.) ob-serves.) Besides awful dialogue, add badly dubbed acting, wimpy battle scenes, and a "love theme" that sounds like it came from a Neil Simon comedy movie. Even for a "myth" movie, "Ator" defies belief. Blue Thunder Roy Scheider plays a Los Angeles chopper policeman who finds the Feds are plotting plot-ting to quell inner-city rumbles rum-bles with the latest fascist super-weapon. It's called Blue Thunder, an armor-plated armor-plated copter equipped with a machine gun and audiovisual audio-visual surveillance gadgets. Luckily, Scheider steals the machine, turning its technology against the bad guys. The movie, directed by John Badham, is a rotor-happy, rotor-happy, nifty adventure that doesn't require you to get too serious or paranoid about anything. Scheider is steely-nerved steely-nerved as usual, though his hero suffers from Vietnam flashbacks. The fine supporting support-ing cast includes Warren Oates as the crusty chief cop (his last film role)? Daniel Stern as the bumptious partner; part-ner; Candy Clark, with more to do than the usual ornamental or-namental heroine (she leads the cops on a frantic car chase); and Malcolm McDowell Mc-Dowell as the priggishly brutal villain, who is also a copter ace. Between the characters, there are little macho motifs that run through the picture. McDowell's chipper little farewell "Catch you later" is a taunt he throws at Scheider, his former subordinate in ,'Nam. You '. just fenow that before hero and villain finish their climactic dogfight, McDowell Mc-Dowell will have to eat those words. Incidentally, the last-reel battle seems to destroy about one-fourth of Los Angeles (though the innocent in-nocent bystanders emerge safely from the rubble.) "Blue Thunder" is an airy adventure that hardly ever draws blood. They Call Me Bruce On TV, Korean comic Johnny Yune throws out his punch lines in a low-key almost shy manner. So it's a disappointment to see him in this movie, which scrambles to get in every old comic bit the writers can think of, like a pushy jokester in Las Vegas. Yune plays a Chinese cook who accidentally gives his gangsters bosses the impression im-pression that he's a martial-arts martial-arts expert the second Bruce Lee. Accordingly, they send him to deliver several parcels of "white flour" across the country. On his trip, he's pursued by Balloon Bouquets Only $20 for bouquet of 15. Parties & special orders available. Phone 649-3295 8 am. 12 midnight Brough other mafiosos, a beautiful federal agent (Pam Huntington) Hun-tington) and a muscular gun moll (Margaux Hemingway) with dreams of taking over the organization. Did the script leave anything out? It has references referen-ces to movies and TV shows (including "Kung Fu," naturally) Western barroom bar-room brawls, car stunts, and chases; old gags (smashing the poker table in half when someone says "cut the cards;" Yune pausing for one-liners one-liners from his act; and bad puns with an Oriental twist ( "Do you like sushi like I like sushi?") Johnny Yune is appealing ap-pealing but the picture isn't. It steals jokes from Columns A through Z. Timerider: The Adventure of Lyle Swann While running a motocross race along the Baja, ace motorcyclist Lyle Swann gets lost and wanders into an old Western town where the antique inhabitants either start shooting at him, or wet their pants from fright. "Just let me ride my bike out of here," he pleads, "and you'll be history." He doesnt know how right he is. Swann has blundered into a desert test site and has been sent back in time to 1877. He soon makes an enemy of the local bandit chief, who is intrigued by Swann's high-powered mechanical horse. "If General Lee had had that, we'da won the war," he marvels. "Timerider" is a funny, intriguing adventure co-written co-written by director William Dear and ex-Monkee Michael Nesmith (who also provides a funky Western-rock Western-rock score). Despite a little woodenness, Fred Ward as Swann is a funny, believable biker type he looks like he belongs in a beer commercialwho commer-cialwho survives the various shoot-em-ups by relying on his wheels, not a gun. Belinda Bauer is a dreamy-tough as his 19th-century 19th-century love. But the three villains are almost worth the price of admission alone. Peter Coyote is a splendid black-clad, black-clad, gum-toothed leader both chilling and funny. (After seeing Swann start the cycle, he tries to'imitate him with a lot of jumping on the seat and random kicking.) Richard Masur is the lunkhead outlaw, mumbling mum-bling in his beard that the strange goings-on "ain't right." And Tracey Walter, as the runt, rides through half the picture with his nose shot off! Director Dear puts too much biker footage at the front of the movie, and some of the freaky plot strains credulity. But he makes the story well-paced and he's especially good at showing you how Swann looks to the frightened Westerners like a demonic rider with a big roar and bright headlights. The film is worth your time in a movie house. 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 Nolle, 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. 2 Trail of the Pink Panther Stitching together a movie from different sources is an old sleazy trick of low-budget movie-makers, but it's unusual un-usual to see a major director doing the same thing and releasing it as a major Christmas movie! Blake Edwards starts his story with the theft (yet again) of the famed Pink Panther jewel, and brings on the late Peter Sellers as Clouseau by using out-takes from the : other "Panther" movies. (Most notable here is a scene with Harvey Korman as the inspector's disguise-maker, Monsieur Balls.) To connect these scraps, other characters charac-ters appear in new scenes to explain that Clouseau is "investigating" the case. Finally, Clouseau disappears disap-pears on a plane flight, and a French TV reporter (Joanna Lumley) looks back on the Inspector's life by interviewing interview-ing the twitchy Chief Inspector Inspec-tor Dreyfuss (dependable Herbert Lorn), his manservant manser-vant Kato (Burt Kwouk) and the international jewel thief (a sadly-aged David Niven) who first outwitted Clouseau. These reminiscences pave the way for wholesale clips from the old movies, in "That's Entertainment" fashion. Finally, Clouseau's decrepit decre-pit father (Richard Mulligan in a creakily effective piece) looks back on the young Clouseau played by another an-other actor and dubbed by a night-club impersonation of Sellers' voice! This movie has one helluva time finding its center, as you might expect when the Country Gazette to headline show at Egyptian Theatre One of America's most versatile bluegrass bands, Country Gazette, will appear on the Egyptian stage on Thursday, Feb. 17 at 8 p.m. The Pee Wee Pickers from Ogden will be the warm-up act for the Gazette. Labels from "traditional" to "innovative" and "wholesome" have all been used to describe the Country Coun-try Gazette. They have entertained from the Palomino Club in Hollywood to the St. Louis Art Museum to New York University to the South Carolina State Bluegrass Festival and back again. The Gazette's most recent album was entitled "American and Clean." Bob Claypool of the Houston Post had this to say about the album: "There is no band in bluegrass quite like Country Gazette, no one with that combination of first rate musicianship and a wacky sense of humor." The Gazette remains one of the most entertaining acts in the field. They have chalked up another great album with 'American and Clean. It shows off the group's many talents and offers a very neat overall premise: with the exception of two traditional tunes, all of the songs were written by Texas and Oklahoma songwriters." Tickets are $8 general admission and $6 for members of the theatre. For reservations call 643-9371. star has been dead for two years. Entire scenes are stolen by minor characters, like a cynical cabdriver, or a house-dog trained to guide a blind old maid by tugging at her petticoats. At the end, we're shown that Clouseau is alive on a deserted island (with his back to the camera). But we know he can never turn around again. And Edwards looks cheap and exploitative trying to pretend otherwise. Tootsie Dustin Hoffman, who began as an awkward-looking awkward-looking male star 15 years ago, now becomes a rather striking leading lady in Sydney Syd-ney Pollack's comedy. Hoffman's Michael Dor-sey, Dor-sey, a chronically-unemployed chronically-unemployed actor who goes drag (as "Dorothy Michaels") and becomes a nationwide sensation as the female star of a hospital soap opera. This leaves him with only three problems. (1) He's falling in love with his co-star, played by Jessica Lange; (2) her father (Charles Durning) is falling for him; and (3) he doesn't want to spend the rest of his career in panty hose. Hoffman is a delight, dressed in a pert ensemble and speaking with a constipated con-stipated Southern-belle voice. He navigates through a plot that is rife with costume changes, tight clutches clut-ches from unwary men, and sexual misidentifications. The political message attached at-tached to all this (if there is any) is a bit confused. Dorothy Michaels becomes a heroine because she flattens the backstage male chauvinists, and on the set improvises tough feminist dialogue for her character, instead of spouting the platitudes written in the script. At the same time, he's a male and allowed to be tough because everyone thinks he's a woman! (As an abrasive male actor, Michael Dorsey has alienated every director in town.) The muddled ideology is forgiven by Pollack's excellent ex-cellent ensemble of actors, who emerge as farcical but not foolish. (Perhaps the only major exception is Dabney Coleman, as the piggy soap director.) Jessica Lange's dreamboat is warm and realistic. Teri Garr has maybe her best movie role as Hoffman's neurotic, forsaken for-saken girlfriend. And Charles Durning plays out a "crush" on Hoffman without looking stupid or grotesque. There's even a bonus here from two actors who aren't billed in the movie ads. Bill Murray is priceless as Hoffman's Hoff-man's droll roommate. ("Are you sure you're not doing this just to wear these little outfits?") And director Pollack, beside displaying good timing behind the camera, makes wonderful foil as Dorsey's befuddled agent. Now showing At the Holiday Village Cinemas: Forty-Eight Houn Tootsie Vt Trail of the Pink Panther .Ju.jiHL.ln.inntT iir"-''Jfh.rr nrTi n A AAA d A. A A A A. A h AAA A A. A i A A M - A - , |