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Show Page C6 Thursday, February 24, 1983 Park City News Brough ip New Linda Roberts release, 'Snow Shadows' i 7fo selection of Linda Roberts works now 1 j include 21 prints & 8 art posters. i jB Located at Park City Ski Area 649-8102 B 141 Crescent Ridge e ( Anaminebuy.in Crescent Ridge. This ski to and from condo unit has 2 bedrooms, 3 baths, and is situated among the aspens in Park City's best location. At $175,000 it is $35,000 less than all the comparable sized units at Crescent Ridge. Originally priced at $220,000. Call now for an appointment. Dick Lueck, Eagar & Co., 649-4660 or 649-6082. 649-4660, E 104 Park Meadow Plaza Restaurant Blime Slib & Steaks, EFlesfi Seafood Slightly Oystel 35a Jlotv appealing HPetl. tliiuSun. Jlie -Watjic of Jlenn SBislwp 7:pp lo io:oo p. irj- Open fol lunch daily 1 1 :$o to 2:30. Dinnei ftom 5 p-m. 3iini bottle and select wines available. CUndeigtound paiking at the Q?ak City SiesoXt Slaza 649-7778 r . ... .1 A Classic , ; it' Recommended Good double's double-'s feature , i material . Timekiller For masochists $ only he Boogens You gqtta love a horror movie that allows its monster mon-ster to kill off an obnoxiously cute poodle. (The mutt in question, before his demise, is also treated with jovial distaste by the human cast.) Who knows? Maybe producer Chuck Sellier, (the producer,,.,,.,.,, "Grizzly Adams") has now redeemed himself for all those sugary animal stories. "The Boogens" is a likable monster movie in the Fifties mold. The slithery creatures of the title are . awakened when an old Colorado mine is blasted open. They proceed to chow down on the human cast, especially four youngsters (Rebecca Balding, Fred McCarren, Anne-Marie Martin, Jeff Harlan) who have unluckily rented a house over Boogens tunnel. Like the old drive-in movies, "Boogens" teases you with mere glimpses of the monster a tentacle whips out and drags someone screaming into the basement. Usually there would be lots of puerile small-talk between attacks, but the script by Tom Chapman Chap-man and David O'Malley is (for Grade-B level) lively and funny. (They're a little self-consciously zesty about breaking away from the namby-pamby Taft mold. The script is larded with It-rated It-rated talk and a few nudie jokes.) The four stars (plus John Crawford and Med Flory as two seasoned miners) seem to be having fun in the early scenes, and later, play their goose-bumps with satisfying conviction. (The rule goes: even if the horror if hokey, the actors shouldn't give the joke away.) As for the Boogen what can we say, except it looks close, ujJeajy$pDaic , goldfish? ; 'i.,-u-.v; ; The picture was filmed two years ago in Park City and the surrounding area (including interiors filmed only a few doors away from City Hall). Locals will have fun spotting the locations. V2 The Lords of Discipline With one hand, "Lords" salutes military idealism. With the other, it jabs away at lock-step hypocrisy and brutality. But the movie never explores its paradox very well, even with good acting ac-ting and a fast-moving story. David Keith (the tragic buddy from "Officer and A Gentleman"), plays a cadet at a southern military school who discovers a sinister secret behind the traditional hazing of new cadets. An undercover un-dercover society of cadets called The Ten uses violence and torture to weed out the undesirables, like the school's first black cadet (Mark Breland). To fight The Ten, Keith endangers his relationship with his bud dies, the school's stern superintendent (G.D. Spradling), and even the colonel (Robert Prosky) who is his lpved and respected 'mentor .' The acting is fine (among . the cast, let's not forget Rick Rossovick, John Lavichielli and Mitchell Lichtenstein as the hero's roommates). And director Franc Roddam frames his action with military precision. The only one-dimensional character is the sadistic chairman of The Ten, played by Michael Biehn. But are the other characters pom-plex, pom-plex, or just contrary? (Prosky's sympatheic colonel,1 "The Bear, V -is a puzzle a racist, sure;but he's also protective fc ; his . cadets, no matter what their race is. Beyond that, he's a stereotype, with a;ficigar forever stuck in his mouth. "Lords" tries to play to both sides the flag-wavers and the cynics without much feeling for either side. And so it never sheds any insight in-sight on the military mind and its tension between stern honor and bigotry. Lovesick First of all, writer-director Marshall Brickman's premise about a psychiatrist falling for his patient isn't convincing. You don't believe that doctor Dudley Moore could lose his professional head for Elizabeth McGovern. She's sweet, intelligent and convincingly con-vincingly vulnerable,, but certainly not devastating. Second, he can't carry the idea very far. So we' get sub-' sub-' plots: McGovern dajlies with ' her arrogant actor boyfriend (Ron Silver), whose talent doesn't match his temper; Moore lands in hot water with the old turtles on his psychiatric reView board ( including John Huston, Alan King); he even throws in a scene with that reliable laugh-getter, the snooty welfare-office bureaucrat. Brickman's ' picture is made up of pieces-many of them excellent but they don't add up to a whole story. His funniest bit is a hand-me-down from his former tyritjng partner, Woody Allen. Dudley "Moore" is guided by the fantasy-ghost of Sigmund Freud (Alec Guinness) the same way Allen once relied on Bogart. Moore's performance is good. But lovesickness isn't the problem here. It's chop-piness. chop-piness. ".":. :; The Pirates of Penzance This joyous operetta tickles your fancy to the notes of Gilbert & Sullivan's cascading, rapid-fire songs. However, the, settings are excessively stagey. And you have to get acclimated to the frothy mood of the film. ( We know "Penzance' ' is a transplant operation from the theater to the screen, but they didn't have to be so obvious ob-vious about showing the stitches. stit-ches. A more valid approach would have been to surround the productionwith another kind of artificiality-that of the old Hollywood studio. ) Rex Smith plays the hero with lyrical, ludicrous sincerity. sin-cerity. He is trapped by his Welcomes At' .-.no ' . . ';. J' 1 r vn yv zo ivi m March 2. 19B3 Symphony flail 8 PM Tickets SB STO S 12 Cosmic Aeroplane 258 fast 100 South For Information all 355 1445 'A co-.n - cub Senior military institute cadet David Keith (left) is drawn into a special assignment to protect the academy's first black cadet, Mark Breland, against the evil prejudice of a sinister secret elite society at the school in "The Lords of Discipline." sense of honor between the law-abiding townsfolk and the pirates who have raised him since infancy. Linda Ronstadt's bell-like voice serves the G & S tunes as well as she would her Top 40 tunes. (The love songs are still heart-rendingly pretty, and not dated at all.) Kevin Kline's Pirate King is all energy, with occasional swashing that buckles at the knees. (When he fumbles, he glances about quickly to see if anyone's noticed.) George Rose not only zips through the lyrics of "Modern Major General" but gives a really "fruity" performance. At his most forceful, he sprays bystanders with inadvertent razzberries. Add to this a daffy nursemaid nurse-maid (Angela. Lansbury), , a " twittery- collection of maidens a bunch of cowar: dly English bobbies (looking like herky-jerky dolls with loose hinges) and the riotous atmosphere becomes irresistible. Director Wilford Leach uses some routine but effective tricks to give the stage setting a movie sensibility. sen-sibility. He closes in on the actors, shifts between points of action to punch up the humor, and occasionally uses an oddball trick. (One of Rex Smith's songs gets an Elvis-like studio echo.) "Penzance" is great fun, restrained only by its cardboard card-board stage sets. Vz Treasure of The Four Crowns If you've seen one spear flying at your head, you've seen them all. The Italian movie-makers who revived the 3-D craze with the Western "Comin' At Ya" also made this "Raiders of the Lost Ark" rip-off, about an acrobatic heist job aimed at stealing two magical crowns from a religious cult. (I know they talk about four crowns, but never mind.) There's also a mystical key which regularly throws "Exorcist"-style tantrums, with garbage either (a) being thrown at you, (b) falling on you, or (c) floating before your eyeballs in 3-D. Such novelties are exhausted after 15 minutes. Let's hope the 3-D movie is reaching the same stage. The Sting II The second "Sting" goes down as smooth as cotton candy. David S. Ward has written a clever, frivolous story that works best when you can just sit back and watch a good cast ham it up. The head conman is a middle-aged Gondorff (Jackie (Jac-kie Gleason) who hatches an elaborate scheme to defraud a mobster (Karl Maiden) with a few nonchalant non-chalant twitches of his pencil : mustache. Gleason hasn't been this much fun to watch since the first "Smokey and the Bandit." Teri Garr, as the female drifter, wouldn't fool anyone except the stupid villains in this picture. But like Gleason, she's fun to watch even when she's not doing much. After each victory, she seems to be purring to herself. Jake Hooker in this version ver-sion is a more guileless type, played by a countrified Mac Davis. Gondorff's scheme is a boxing scam, and Hooker, much to his dismay, is the guy who must step into the ring. (In one of the film's best scenes, the gang surreptitiously surrep-titiously empties a New York gym then fills it with its own people to stage a bout that makes Hooker look like the next Dempsey.) Karl Maiden's obnoxious mobster is a perfect target for all sorts of abuse (even losing his toupee at one point) and Oliver Reed is cooly menacing as Lonergan (the villain from Sting I) who plots to get his revenge by exposing Gondorff's scheme at a crucial moment. Screenwriter Ward wrote the first "Sting" and sometimes borrows from it limply. (There's a sub plotagainabout an angry crooked cop chasing Hooker.) But director Jeremy Paul Kagan moves the picture along, and the excellent production design gives a robust feel for New York and Coney Island in the early 1940s. ; Kiss Me Goodbye Robert Mulligan's movie could use a livelier ghost (if that makes sense to you). James Caan plays Jolly Villano, a Gene Kellyesque Broadway choreographer who comes back from the dead only days before his wife (Sally Field) is going to marry another man. Caan's tap-dancing spook is light on his feet, but not on the charm. Caan falls back on his insinuating mumble and tries to pass it off as charm. Field tries her best with this comically confused love triangle. Will she stick with fiance Rupert (Jeff Bridges) or leave him for a guy who is, after all-dead! "All right, that's one thing in Rupert's favor," she concedes. con-cedes. "He's alive." Actually, it's rather easy to choose a favorite in this contest. Caan is miscast and Jeff Bridges, one of our finest comic actors, gets all the good lines. ("Jolly?" he asks. "How could a man go around with a name like a breakfast cereal?") Sally Field, being the only person who can see or hear the ghost, makes the most of those familiar jokes (a la "Topper") where she's caught talking to empty air. She and Bridges give substance sub-stance to this ghostly comedy. Now showing At the Holiday Village Cinemas '2 Gandhi Kiss Me Goodbye The Sting II Tootsie (HMffi) I -tir ilH-yf fits j If .tk tsi--i iiiriiiriiii f wv |