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Show (DininIlines Park Cify News Thursday, March 10. 1983 Page B9 by Rick Brough .A Classic Recommended Good double feature material Time-killer Formasochists only Spring Fever Believe it or not, there's an idiot likeability in this picture pic-ture that almost saves it. Carling Basset plays the poor teenage tennis whiz from Las Vegas who junkets to a Florida tournament; Shawn Foltz plays the defending champ, an unhappy unhap-py child of rich parents. Together, they're rather appealing as long as they keep their mouths shut. Both actresses handle dialogue abysmally, and Basset in particular is given an annoying an-noying habit by the script. To show she's all heart on the tennis court, she gives out an anxious little grunt every single time she smacks the damn ball ! Amid the win-crazy atmosphere at-mosphere of the tournament, the movie throws in a few elements that could easily lead to food-fight comedy scenes of carousing kids, and a comically horny umpire. But the filmmakers pass up the temptation, and concentrate con-centrate on the parent-child conflicts. Basset's mother (Susan Anton), follows a lively romantic life. Her affair af-fair with a reporter (Frank Converse) rankles her daughter, and makes them both look bad with the prudish tournament bigwigs. big-wigs. Foltz's father (Stephen Young) is a frustrated tennis star, and uses his bum heart condition to pressure his daughter on, without realizing his callousness. The crises are dumb. (How many ordinary family problems start because Mom is a Vegas showgirl?) But the movie handles them with some intelligence. No one is an outright villain, and the problems aren't neatly resolved. The triumph here is that the two competitors became friends, instead of little monsters. We'd almost give "Spring Fever"" a" Grade-B recommend. recom-mend. But it's a little too slip-shod. We suspect it's mainly for you folks with a tolerance for "poor little rich girlpoor girl" stories. Cindy Hurt typifies the changing face of country music It used to be that hillbillies sang country music. These days, country singers have to do much more than just sing. It's the era of movie star country artists like Dolly Parton and Willie Nelson. Country artists are now expected to aim their material at a more wide-ranging audience than in the past. Big bucks are available for those country-oriented country-oriented acts who prove capable of "cross-over" success suc-cess into lucrative pop markets. To pull it off, country artists have to be multi-faceted performers. Country singers in the show biz-oriented '80s better be able to act, speak and have the posture of a model as well as be able to carry a tune. That is exactly why up-and-coming country stylist Cindy Hurt who's appearing appear-ing at the Cowboy Bar tonight and tomorrow has a good shot at becoming an established country star in the next few years. Hurt is entering the country coun-try music field with an impressive and appropriate array of experiences. According Ac-cording to a recent record company biography on the vocalist, (her previous experience ex-perience includes) "acting, dancing and singing all of which have prepared her to become the multi-faceted entertainer." She observes, "I really enjoy all facets of entertaining. entertain-ing. I don't want to get away from the camera part of it (in reference to her previous experience as a model) because I find it so interesting. interest-ing. And, I don't want to get away from dancing." As for her emergence in V2 Table for Five We may have 1983's answer an-swer for "Kramer vs. Kramer." "Table for Five" is an intelligent in-telligent weepie, with a masterful performance by Jon Voight, and a script that tugs at the heart, but doesn't strong arm logic. Voight plays irresponsible divorced father, J.P. Tun-nen, Tun-nen, who thinks he can turn over a new leaf by taking his three kids on a Mediterranean cruise. But old habits die hard; on ship, he leaves a vacant chair at their dining table to snag any passing beauty. And he's irritated to find that, instead of a "fun time," his kids present him with real challenges. His daughter (Roxana Zal) already possesses a practical-compassionate maturity that he's never had. His youngest son (Robbie (Rob-bie Kiger) is burdened with bad dreams and a learning disability. And his adopted Filipino teenager (Don Huang Boi) sullenly retreats into silence and his electronic elec-tronic games. The movie stoops to one contrivance. During the voyage, their mother (Millie Perkins) is killed stateside in an auto accident, setting up a custody conflict between bet-ween Voight and step-father Richard Crenna. But the story never becomes cliched, boring, or predictable. predic-table. Writer David Seltzer and director Robert lieber-man, lieber-man, aided by an excellent cast, have perfectly captured cap-tured the rhythms between Tannen and his kids a family unit that is familiar, but not intimate yet. The director uses his shipboard ship-board atmosphere to touch the right notes, whether light or somber. (He has less luck with the scenes in Rome or Athens. The actors sometimes look like they're walking through postcard shots.) The flaws matter little next to Jon Voight's performance. perfor-mance. Beneath his fatherly self assurance, the watery eyes darting around are scared to death, and eventually even-tually you realize why. Even when he's honest enough to ' se6 his failures, J.P. is fran-' fran-' tically unsure if he's got the ! strength to repair them. In the supporting cast, Crenna is intrusive but sympathetic, sym-pathetic, and Marie-Christine Marie-Christine Barault softly por the country field in recent months, the glamorous Hurt notes that she "really enjoyed en-joyed the people in the country music field they were open and friendly... I thought a city girl like me wouldn't be accepted. But the way country music has changed towards contemporary, contem-porary, I thought maybe there could be a place for me. I also learned to love country audiences they're loyal and devoted." It's easy to. see why country audiences are reacting react-ing that way to her. Besides being beautiful, she's already al-ready proven that she can sing. In the last few months, since she began her professional profes-sional career as a solo artist, she's had several hits on the country charts, including: "Headin' for a Heartache," My wmu 5:30 P.M. 1 Ever evening of the week we are offering, for $6.95, delicious meals such as Rlet Mignonettes, Sesame Chicken, veal Birds Yarrow, and Scallop Skillet. 1 iKJKsS Holiday inn, trays the shipboard date who ends up a staunch friend. Videodrome This is a muddled, gore-ridden gore-ridden failure. At most, you could say it's artistically disciplined enough to fit with the past themes of director David Cronenbergt namely, restlessly mystical mum bo jumbo, and an absorption ab-sorption with squishy, rampaging ram-paging bodily organs. Max Renn (James Woods) is the head of an independent TV station that programs porn and violence. In his search for new kicks, he steals signals from "Videodrome" evidently a grossly violent snuff network. net-work. But it's more than that. Videodrome induces a tumor in the brain of the viewer that causes hallucinations. Soon Max is imagining himself him-self in wild sexual situations. His head boils with TV visions of his masochistic girlfriend (Deborah Harry) who may or may not be a real snuff victim on Videodrome. He also meets the nasty (and versatile) businessman who makes Videodrome. "We produce inexpensive eyeglasses for the Third World, and missile-guidance systems for NATO," he brags. Is Max experiencing reality or hallucination? Is society ready for Videodrome? Who really cares? Cronenberg's world is so shadowy you don't give a damn about it. There is no evocative atmosphere or detail to settle in just a few dashed-off satiric conceits, like the rescue mission where bums get TV sets in every cubicle instead of soup. Cronenberg likes to say he is concerned with horrific sci-fi visions of the body turning tur-ning on itself. In most of his movies, they're queasy jokes. (In "Videodrome," the confused ideas are about man-machine as one, and they reach ludicrous proportions. propor-tions. A TV cassette turns into in-to a pulsating little creature, and it's punched into" a slot in James Woods' stomach!) Woods' kinky assertiveness is good, but it doesn't tell us much about his character, a The i director strikes you as a thoughtful guy who works his way through, sadly, to misguided trashy, effects. In "Videodrome" the emphasis is trashy. "Dreams Come in Handy," "Don't Come Knockin'," and "Talk to Me Loneliness." She's shown that she can hold her own on television as well. Her tube credits to date include appearances on "Pop Goes the Country," "Hee, Haw," "Nashville Alive," and "Wheeling Jamboree Jam-boree U.S.A." She's shown that she can command the respect and attention of audiences at major concerts. She's warmed up crowds for the likes of the Oak Ridge Boys, Marty Robbins, Don Williams, Will-iams, the Bellamy Brothers and Roy Orbison. She'll be opening for Jonathan Jona-than Edwards (of "Sunshine" "Sun-shine" fame) Thursday night at the Cowboy Bar. Cindy Hurt could be a face to watch in country music in the '80s. Bird spa! 7:00 P.M. Park City - 649-7000 ale The Year of Living Dangerously This is a gripping film that doesn't quite bring off its combination of national political unheaval and private passion. Mel Gibson plays Guy Hamilton, an eager Australian foreign correspondent in 1965 Indonesia. In-donesia. His news stories are lackluster until he's taken in hand by Billy Kwan, a mysterious, impassioned dwarf, who thinks he can turn Guy into a man of vision to reveal Billy's tortured homeland. Billy believes in doing what he can. His ideals take a surprisingly even keel amid his country's poverty, while right and left extremists ex-tremists buffet President Sukarno. He has one vice a benevolent manipulation. He helps to start an affair between bet-ween Guy and the woman Billy loves, British consulate officer Jill Bryant (Sigour-ney (Sigour-ney Weaver). IAE announces spring schedule On April 15 I.A.E. will present the first Park City performance of a play by Eugene O'Neill, Long Day's Journey into Night. It will be directed by Ron Burnett, and star Rai French, Madeline Smith, Richard Scott and Anthony Leger. This intense drama of the Tyrone family will play on the stage of the Prospector Square Theatre April 15, 16, 22, 23. Admission is $5 for adults, $4 for senior citizens and students, and $3.50 for children. Curtain time each evening is 7 : 30 p.m. BUSINESS CARDS BROCHURES FORMS FLYERS LETTERHEADS POSTERS ADVERTISING LABELS LOGOS MAILERS PMTS TYPESETTING DESIGN BROCn O I Kl T I M r rERS DESK r f LETTERHEADS BUSINESS CARDS ADVERTISING LABELS LOCOS FLYERS BROCHURE 6 4 9 MAILERS PMTS ADVERTISING The picture has two climaxes the 1965 coup against Sukarno, and the shattering of Billy's pragmatism, which leads him to a fatal political protest. Once he's gone, much of the picture's unique spirit dies too. (The character charac-ter is even more eerie when you learn it was played by American actress Linda Hunt!) The romance is anti-climactic anti-climactic it's well-acted, but against it, the country becomes just a setting, not the lingering presence it was. The script brings in a phony ambition vs. romance dilemma for Guy. (Will his scoops ignite violence that threatens Jill?) After the coup, the big questions is, will Guy make it to the airport to fly with Jill out of the country? After the personal and political complexities he's raised throughout "Year," director Peter Weir shouldn't have settled for the old romantic clinch. I I ' N J SING FLYERS BROCHURES FORMS POSTERS MAILERS PMTS TYPESETTING DESIGN - 9 0 7 4 ERHEADS POSTERS DESIGN LOCOS LABELS TYPESETTING Miff Siv!iBj 5 i 'MS' POMMEL HOLIDAY VILLAGE MALL, PARK CITY, tAicrt vI.UU THIIP.AM MPN ANn SENIORS DUSTXTJ 1 0 Academy Award Nominations PGi JESSICA LANGE TERI GARB 45p.r"llll,l"S lit 4 Tfc- ) I m i i: : EL f BSD WaiGCOIP Starts Friday Dally: 5: 1 5, 7: 1 5, 9: 1 5 Nothing Sat. & Sunj 1:15, 3:15, 5:15, 7:15, 9:15 no' Wekoeno .. . r 4 M- HI a i i i An i co AkincCMlODC IIOl'JtXIATJ Last Your big chance to go totally crazy! 1- WWWEU NOMINATED FOR 11 ACADEMY AWARDS NDHI lismu nailu- 7'3n SHOWING S- & Sun, at For eons thy traveled the galaxies. For centuries one was trapped in a Pharaoh's tomb. fflflDQ , ft 649-6541 Week To See Daily: UT Stop) 5:15,7:30,9:40 Sat. - Sun.: 1:00,3:05 5:15,7:30,9:404 ' f mm f. H SUSAN ANTON FRANK CONVERSE Now Showing Thur only: 5:15, 7:15, 9:15 Fri. - Wed.: 5:30 only (No Sat. & Sun.) -. i Ben Kingsley n m 1:30 and 7:30 PG Now he is free. can stop him, even ,ime |
