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I
No need to review “Peter Pan." You must've heard of it. But
Peter was feeling left out, so he bribed us and we ran his pic
ture. This classic Disney film Is definitely worth seeing (and it
really Impresses a date to take her to a cartoon).
Dalton’s James Bond
not kinder or gentler
A review of "Licence To Kill," star
ring Timothy Dalton, Carey Lowell
and Talisa Soto. Directed by John
Glen. A United Artiat releaae rated
PG-13. Now showing at Georgia
Square
By SONIA KOLESNIKOV
Entertainment Writer
More action, less woman. More
stunts, less charm. It’s the latest
winning cocktail of your favorite
spy, 007, alias James Bond.
Although it has been panned by
some critics, “Licence to Kill" de
serves to be recognized as a new
kind of Bond, what could be called
a return to the sources.
Since 1962, the Bond movies
have been the most successful se
quel ever, but, over the years, they
have evolved according to their
main actors' personnalities.
With Sean Connery, Bond was a
man, strong, self-condifent and
wise-cracking. With Roger Moore,
Bond was a gentleman and the
world was his country club. Moore
had to rely on super-gadgets to
compensate for his lack of physical
strength, and the Bond movies be
came a succession of extravagant
cars and ultra-sophisticated
weapons.
With Timothy Dalton, Bond
takes a new look. Forget the
charming smile and the funny
lines, the new Bond is a loner who
only relies on himself. He’s also a
man of action. Dalton’s Bond is the
most physical of all.
This Bond movie is quite dif
ferent from the ones produced in
FILM REVIEW
the past few years. Bond is not pre
sented as a superhero, but as a
man, with weaknesses and
strengh.
The plot of “Licence” is very rea
listic. Forgotten are the mysterious
organizations with incredibly evil
and psychopathic leaders, this
time Bond is fighting against a
Latin American drug leader, Franz
Sanchez (Robert Davi) — can you
get any more current and realistic?
No need to say more about the
plot, except that in his personal
vendetta against Sanchez, which
costs him his licence to kill, Bond is
helped by two women.
But are they James Bond girls?
Well, not really. According to the
tradition, most of the Bond girls
are against him, trying to trick
him, before finally giving in, with
the help of a love scene (of course!).
But this time, no bad girls, like
Grace Jones in “A View To A Kill,"
or Barbara Bach in ‘The Spy Who
Loved Me.” This time, the girls are
one hundred percent devoted to
Bond — and I mean one hundred
percent.
The new Bond movie is stronger
than ever, with incredible stunts.
It’s good, solid action that takes
your breath from the beginning
until the end. Bond doesn’t rely on
sophisticated gadgets (no transfor
mable car or lazer pencil) and some
viewers may miss the comic book
like aspect of the old Bonds, but it’s
all part of a more realistic ren
dering.
Dalton makes a very credible
hero, but, unfortunatly, not a very
¥
The Red and Black • Thursday, July 27, 1989 • 5
SCREEN
‘Weapon 2’ winner by KO
A review of “Lethal Weapon 2,"
starring Mel Gibson and Danny
Glover, Directed by Richard
Donner A Warner Bros, release
rutxl R Now showing at Gettrgia
Square.
Another well packed action movie
that delivers well.
Mel Gibson and Danny Glover
ore back as Detectives Riggs fthe
crazy one) and Murtaugh (tne vet
eran waiting for a well-deserved
retirement) This time, they're
fighting against representatives
from the South African govern
ment — get the picture? Tne new
FILM REVIEW
Hollywood villains are no longer
Russians, but South Africans
The movie surprises bv its vio
lence and its fast pace (Compared
with it, Bond’s action looks pale
But too much can kill by overdose,
and even though it’s a good movie,
you may have the impression,
coming out of the theater, you’ve
been hit on the head by a sledge
hammer and run over by the
subway express
Take some precautions. Bring
an aspirin — any brand.
— Sonia Kolesnikov
'Bernie’s' a bummer
A review of "Weekend at Bernie’s
now playing at Georgia Square
©
Two guys (Andrew McCarthy,
Jonathan Silverman) go to their
boss’s beachhouse, find the boas
dead, pretend he hasn’t died and
enjoy the house for the weekend.
There are some funny scenes
(Bemie waterskiing), but the
basic plot device is too weak
(Why not just call the cops?). It's
like someone came up with a
funny idea (two guys pretending
a corpse is really alive) and then
didn’t take time to invent a good
way to set it up.
— Kavan Ward
‘Shag:’ the movie review
A renew of "Shag The Movie” now
playing at the Lefont BeechwmxL
©
Dalton, Timothy Dalton
credible James Bond. There is
something locked on his face that
doesn’t make him very sympa
thetic to the public, as Connery
was. However, his physical perfor
mance makes him the most cred
ible action-Bond ever.
“Licence To Kill" may not be the
best James Bond movie, but it cer
tainly takes the unending sequel
around a new turn. No surprises
(you don’t think they’re going to
kill the golden goose), but enter
tainment guaranteed
Although it’s not really a shaggy
dog, this film could definitely have
used a little grooming.
The plot: four Southern belle-
wanna-be’s, just graduated from
high school, go to Myrtle Beach for
a weekend in the summer of 1963.
The accents are atrocious, but,
luckily, they’ve faded away by the
end of the film. The acting isn’t too
bad, aside from that. But the pro
ducers clearly didn’t go out on a
limb to fir d fresh face? — one actor
looks like a cut rate Charlie Sheen,
another appears to be a cheap ver
sion of Matt Dillon.
The best thing about it is a
sweet, very true romance between
slightly overweight Pudge (Anna-
beth Gish, last wasted in “Mystic
Pizza”) and red-haired, freckled
Chip (Scott Coffey). The two are an
unexpected pleasure to watch Had
the film focused entirely on them,
it could’ve been great.
Regretfully, however, the audi
ence must sit through a lot of
clutter.
‘UHF’ good, ‘UHF’ bad
A review of "UHF," starring "Weird Al” Yankovic as a loser who becomes
the manager of a run down TV station. Directed by Jay Levey. An Orion
Pictures releaae rated PG-13. Now showing at Georgia Square.
FILM REVIEW
PRO
Alright, I realize this looks
stupid. It is rather stupid in many
places, but it’s still funny.
In fact, the stupidity is the point
— it’s a wicked satire, making fun
of the stupidity of current TV and
movie fare. Nothing's safe. From
“Ghandi" to Pee Wee Herman to
Geraldo Rivera (‘The Mystery of Al
Capone’s Glove Compartment"),
everything is gleefully sent up in
smoke.
If you liked the, at times, pain
fully obvious humor of “Airplane”
or The Naked Gun" or “Hollywood
Shuffle," you will like this. If you
like, or at least occasionally feel
the urge to laugh at, “Weird Al”
Yankovic’s music, you will like
this. His script features the same
warped, satirical humor as his
songs.
Stupid, yes. But stupidity can be
very funny.
— Kevan Ward
C0N © © ©
People often ask how low TV can
go. What about how low movies can
go? Well, here is the answer — it
can go no lower than “UHF.”
This is no movie, this is garbage.
I spent the first ten minutes won
dering what I was doing there,
then the next 20 minutes won
dering if I should leave, and, fi
nally, resigned to stay, I just stared
at my watch.
This trampoline for a one-man-
show falls flat. Despite some few
sparkles of ideas, the jokes are not
funny. In fact, they’re so stupid
and so cheesy, you want to say,
“Ha. Ha. Ha.”
It wanted to parody bad TV pro
grams, but it only succeeds in
being a bad movie.
If you have any slight faith in
my judgement, don’t bother seeing
it. It’s not a question of money, it’s
just not worth your time.
— Sonia Kolesnikov
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