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Simon Birch (PG) A touching family
drama set in 1964 about a very small,
very kind 11-year-old named Simon
Birch (Ian Michael Smith), who’s con
vinced that he is an instrument ot God
and will one day be a great hero.
Inspired by tne novel A Prayer For Owen
Meany by John Irving, the story is a
charming look at religion, faith, friend
ship and trust. Great performances from
Ashley- Judd (Kiss The Girls) and Oliver
Platt (Bulworth). Sneak Preview Sunday
(Mall Inside)
Sliding Doors (R) Gwyneth Paltrow
stars in this surprisingly entertaining
British romance about a young woman
who catches a train in one story, but
misses the train in the other. The old
“what if?" scenario works well as we
watch both stories unfold (she catches
her boyfriend in bed with another
woman in the second story!).
Recommended. (Alps)
Small Soldiers (PG-13) It’s tco bad
comedian Phil Hartman had to go out
on such a tacky clunker. If they can
spend millions on computer experts to
create “small soldiers," you’d think they
could afford some decent writers. Awful.
(Mall Outside)
Snake Eyes (R) Nicholas Cage and
Gary Sinise star in this convoluted
thriller from talented director Brian
DePalma Despite some impressive cin
ematic tricks and creative utilization of
surveillance cameras, the plot is wildly
implausible and only has one major
twist. (Beechwood)
There’s Something About Mary (R)
The Farrelly brothers (Kingpin, Dumb
And Dumber) keep the contemporary
humor crude and rude on the surface in
this ridiculous and enjoyable romantic
comedy starring Ben Stiller Matt Dillon
and Cameron Diaz. At its core, however,
it’s as sweet as the Jonathan Richman
songs that recur throughout the film.
(Beechwood)
The Truman Show (PG) Jim Carrey
stars as the guy on TV in this bold flick
that attempts commentary on our ‘90s
TV-obsessed culture. Despite the daring
concept, Carrey almost ruins the serious
tone with his almost-annoying
Carreyisms. Worth the S1.75, however.
Directed by Peter Wier. (Alps)
Why bo Fools Fall In Love? (PG-
13) Larenz Tate stars as the 1950s pop
singer Frankie Lymon — a guy who, for
some reason, can’t stop marrying
women. His various brides (Vivica A.
Fox, Lela Rochon and Halle Barry)
inevitably find out what’s up after his
tragic, early death, and argue bitterly
over his estate. Weird film. Directed by
Gregory Nava (Selena). With the actual
Little Richard. (Mall Inside)
Wrongfully Accused (PG-13) Leslie
Nielsen stars in yet another parody of
The Fugitive, Hollywood in general and
himself. Not Nielsen's best stuff, but
amusing nonetheless. Why not catch a
matinee for some classic Airplane-style
humor... it beats most of what passes
as “comedy" these days With Kelly Le
Brock. Leaves Thursday. (Mall Outside)
X-Flles (PG-13) David Duchovny and
Gillian Anderson star in the add, murky
thriller based on the poular TV series.
Creepy, but kind of slow and confusing
(Georgia Theatre)
MOVIE PICK
BOOGIE
54 (R) Ready for yet another semi-dramat-
ic flick about American cultural excess dur
ing the tacky disco era of the late 1970s? On
the heels of Boogie Nights and The Ixist Days
Of Disco, first-time writer/director Mark
Christopher’s 54 focuses on a group of young
adults lost in a downward spiral of excessive
drug and alcohol abuse, selfish behavior, hol
low sexual encounters and disloyalty to fami
ly and friends... all set to continuous disco
hits. While the film captures some of the
tacky excitement surrounding the urban
disco scene, it accomplishes little else.
“It seemed like this crazy place that was
full of freedom,” stated Christopher in a
recent interview, “and so different from my
repressive Iowa existence.” The actual Studio
54 disco was indeed a
“crazy place” shielded
from the general pub
lic where the elite and
anonymous club-hop
pers were selected
nightly for admission
based more on their
appearance and/or
reputations than their
money or influence.
Studio 54 co-owner
Steve Rubell constant
ly worked the floor,
skimmed cash from
the till, and kept the
“party favors" flowing,
the music pounding,
and the decadence
level high. It was a
partv that couldn't
possibly last for long.
54 opens with an
introduction to Shane
(Ryan Phillippe of /
Know What You Did Last Summer), a young,
naive New Jersey guy with a curly Vidal
Sasoon hair-do. Still living at home with his
working-class family, Shane can't stand the
boredom of Jersey and yearns for the excite
ment of the Manhattan scene, where “nobod
ies" rub elbows with TV stars and musicians.
After making an erotic impression on
Rubell (played by Mike Myers) at the crowd
ed club entrance, Shane manages his way
through the door and onto the dance floor.
He’s instantly hooked on the place — he
drops everything at home, secures a job
working as a busboy (in short-shorts), and
moves in with two co-workers named Craig
TEDIUM
(Breckin Meyer of Clueless) and Anita (Salma
Hayek of Desperado). Shane immediately
learns the ropes: how to get a promotion,
how to score free drugs, how to keep the
clientele happy and succeed as a serious
“scenester."
Sound familiar? Director Paul Taylor
Tnomas’ Boogie Nights opened with similar
scenes involving “Dirk Diggler’s" dive into
the Hollywood porn industry and his quick
rise to the top. “Shane” and “Dirk" are almost
cousin characters. But whereas Boogie Nights
was as ugly and disturbing as it was funny
and mischievous, 54 doesn’t take the same
risks. As a result, you might chuckle or frown
at a few scenes here and there, but you may
not caie about anything happening to any
one in the disco. 54
also fails to establish
whether it’s about the
individual (Shane), the
group of employees,
the co-owner Rubell.
or the entire disco
scene itself. It’s scat
tered, unrealistic and
pretty boring.
Despite the flaws in
the story line and dia
logue, Mike Myers’ per
formance as the sleazy
proprietor stands out
as welcome relief. His
Rubell is a pathetic
whiner, determined to
keep the party going at
any cost. Sometimes
he’s ruthless and
manipulative, some
times kind and soft-
spoken. His constant
laugh sounds like a
mix between Elmer Fudd’s and Fran
Drescher’s. And Neve Campbell contributes
a few squeaky bright spots as Shane’s pal in
a few closing scenes. It’s too little too late,
though.
One would gain more from all the Studio
54 coverage on MTV and VH1 than from this
flat disappointment. It's a decent first-time
flick from a young director, buL a boring trip
to the theater for the viewer. Hopefully, the
up-coming-rock film Velvet Goldmine by
director Todd Haynes will capture some ‘70s
excess with some real spirit.
Ballard Lesemann
You Won't At
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SEPTEMBER 2, 1998 FLAGPOLE IS