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Ultra-violent comic book film the best entry in the genre
MUSIC / Beck - Guero
Beck dabbles. He's done hip-hop, rock, country, bizarre tropicalia,
blues, songs that make you happy, songs that make you depressed and
since the world-ending-disaster film.
(Rodriguez used the short as a recruitment
everything in between. But with Guero, Beck has certainly upped the
tool for all the major stars in the film).
Zoloft dose and has churned out a relentlessly mild album. There are
several hits on the CD, but none of them has half the energy, the authen-
ticity of Odelay, or any of his other early albums. Ever since Midnight
, Beck seems to be trying to find himself; Guero
is not quite there.
movies like Constantine
, Batman Begins,
graph. And the people, creatures, that dwell
within it spot the screen with cruelty, charm,
taining and often filled with timely social
MUSIC / The Decemberists - Picaresque
criticism, have never been taken as serious-
outlandishly simple and surreal garb, burst
The Decemberists have been known for putting out wonderfully
bright and energetic pop songs, but they sometimes border on the
tedious as the dynamism falters. Unfortunately, Picaresque
has born the
comic book inspired films if it weren’t for
brunt of this error more than their other, excellent albums. Picaresque
Frank Miller’s 1980s resurrection of the art-
a fair share of enjoyable singles, but they are darker, more reflective, and
less energetic than vintage Decemberists. Not to say this mood is
unwanted, but the Decemberists have a hard time keeping it alive.
arguably the best either hero has ever seen.
MUSIC / Hot Hot Heat - Elevator
and soon various companies were pining to
It's not that the Hot Hot Heat are bad, in fact they have moments
of genuineness, but their recent album, Elevator
, is indicative of the
would be as sucessful as his comic books.
struggles indie-bands face when they make it big. They forget that they
Miller decided to go with the Robocop
don’t have to cater their music to a generic fan base, and that fans are
attracted to that uncut, raw quality. And if they can get back that ener-
Verhoven’s low-budget film and saw many
gy which so lacks on this album, their music will be blasting from every
of the aspects that he loved in comic books’
non-descript, black suburban from Highland Park to Orange County.
darker characters in Verhoven’s creation.
The script he wrote for Robocop 2
stuff of legend. The first draft was brilliant,
sent out to reviewers to garner early press
MUSIC / Fischerspooner - Odyssey
for the film. But when producers read it,
Fischerspooner have had a lot of expectations riding on them fol-
they didn’t understand much of it’s dark
lowing their previous successes. The good news is that they transcend
humor and surreal social commentary.
those expectations by subtly taking their music in a wholly different
direction. Much more vocal heavy and darker, Odyssey manages to
version of the plot, stripped of any social
deliver several hits, but when they get dull, they get very dull. The lat-
ter half of the album is filled with slow moving, heavy and moody
exploitative violence in lieu of characters
songs. The continuity of the atmosphere they create manages success
occasionally, but on the whole this album will be about the singles.
Miller was filled with rage, but his con-
most real of illustrations. Rodriguez made
tract dictated that he write another script for
sure to transfer Miller’s pages to film as
the series. The studio enforced even more
accurately as possible, straying from the
MOVIE / Honey
guidelines on Miller, including a PG-13 rat-
novel infrequently and only to maintain the
ing for the film. After countless re-writes by
viewer’s attention on the important charac-
Americans are blind to good cinema. That a film with the cultural
ters and plot twists unraveling onscreen.
importance and sensitivity of Honey
is ridiculed and fails at the box
writers, the film went on to be one of the
Miller’s books are filled with incessant
office is a national tragedy. The smooth and sensuous body of veritable
and gratuitous nudity, and although sexual-
goddess Jessica Alba is the star here. The film is about more than over-
The Sin City
graphic novel series is
ity and sexual imagery remains a rudimen-
rated things like characters, plot, or social criticism: it’s about movement,
Miller’s response to Hollywood’s pollution
tary piece of the film, not only would the
and raw sexuality
subtly shows the importance of hip-hop
of his work. The often ugly, rejected anti-
hyper-graphic nature of the sex in the nov-
in modern american culture, and it has been aspringboard for Jessica
heros reflect different aspects of his person-
els earn the film an NC-17 rating, but, in fact,
Alba to such promising films as Fantastic Four
. Buy the DVD today!
ality, and the imposing, corrupt, and ugly
it most likely would have detracted from the
city is a jab at the Hollywood system.
lurid eroticism that the released version elo-
MOVIE / Old Boy
It is a violent film, but at the most cru-
often feels like a demented child of directors David Lynch
cial of moments, the horrific, sadistic behav-
and Quentin Tarrantino, yet the film remains refreshingly original
ior of the seemingly cruelest of characters,
throughout. It’s a revenge film, and it makes The Bride’s motive look
Frank Miller’s Sin City
began as an
almost trivial. Our anti-hero is locked in a room for 15 years. TV, his
diary, and beating at the walls are his only pastimes. From the news he
discovers that he has been framed for his wife’s murder. He is finally
dancing in chaps, wielding a pistol, rav-
released, and the film’s sadomassochism blooms to near excess. Still, it’s
aging Bruce Willis, the man who saves her
a brilliant film, more than worthy of its Grand Jury Prize from Cannes.
evokes equally grainy, abrasive, yet beauti-
DANCE / TITAS 2005 Command Performance
For over two decades, TITAS has been one of the most important
arts organizations in the Metroplex. The annual Command Performance
ballet gala has brought near capacity audiences at the Musical Hall at
tive, cool, Closer
performance for hard para-
Fair Park to their feet in long standing ovations for the past decade. This
year was no exception: thanks, mainly, to the almost unbelievable talent
better than his Spy Kids
of New York City Ballet Principle Joaquin De Luz. Still, there were a few
dances which should have been skipped, and the second half went on
for far too long. Still, it was an electric evening of dance.
action film, was determined. He shot a ten
Toro’s severed head. This film is rock n’ roll.
minute short film, with expenses all out of
THEATRE / Buried Child
Kitchen Dog Theater is renowned locally for its eclectic mix of cut-
ting edge theater with radical new stagings of established classics. Buried
is belongs to the latter group, and, thanks to its cast, proves to be
one of the best productions Kitchen Dog has staged recently. The leads
are all perfect, and with only one exception the supporting actors shine
equally as strongly. There were more problems with the supporting
The recent slew of superhero movies, while entertaining, have all taken a little too much
casts in great recent Broadway plays like the revival of The Crucible
from the summer blockbuster genre and not quite enough from their often tragic source
there are here. It makes up for the few problems in the show’s design.
material. Other than
Sin City, these three films do the genre the most justice.
THEATRE / The Magician’s Nephew
C. S. Lewis’ acclaimed Chronicles of Narnia
is finally set hit the
movie screen this winter, courtesy of Walt Disney Pictures. But chapters
of the series have entertained on stages throughout America for years.
Dallas Children’s Theater’s production of this prequal to The Lion, the
Witch, and the Wardrobe
is perhaps the best family entertainment this
year in local theaters. The second act’s production design is more than a
little lacking, but the first act is mystifying, enchanting, and magical.
REVIEWS BY MONTGOMERY SUTTON AND PHILIP WORAM
Minnesota Emergency Health Powers Act Report to the Minnesota Legislature 2003 Minnesota Department of Health February 14, 2003 Commissioner’s Office 85 East Seventh Place, Suite 400 P.O. Box 64882 Minnesota Emergency Health Powers Act February 14, 2003 For more information, contact: Commissioner’s Office Minnesota Department of Health 85 East Seventh Place, Sui
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