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The stoic Victor Joseph (Adam Beach)
and the talkative Thomas Builds-the-fire
(Evan Adams), go on a road trip to
retrieve Victor’s father’s ashes from a
remote corner of Arizona. The journey
involves more than just that, though: it
involves forgiveness and understanding
between father and son, between friends
and between whites and natives. Look
for a few “Northern Exposure" folks in
the cast and watch for the KREZ traffic
reporter "Lester Fallsapart." Do not miss
this. (Mall Inside)
There's Something About Mary (R)
Ben Stilier, the reigning king of the talk-
show couch scene, stars'as a lonesome
loser who tries to find his high school
crush, Mary (Cameron Diaz). Hilarious,
extremely vulgar (it earns the "R* rating)
and ultimately sweet and harmless. With
Jonathan Richman, Matt Dillon, the guy
from The Karate Kid, and Chris Elliot.
(Beechwood, Commerce Drive-In)
Urban Legend (R) After the brilliantly
gory opening scene, Australian director
Jamie Blanks' new campus slasher fiick
turns into little more than just another
insipid Scream wannabe. Bad acting,
bad inside jokes, cheap startling-style
scare tactics, inauthentic college student
behavior. Matinee stuff. (Warning: a
crazy local has been spotted running
through the cir«ema dressed as the killer,
so be careful). Starring Rebecca
Gayheart, Tara Reid, Jared Leto, Alicia
Witt, Robert “Freddie Kreuger“ Englund
and the annoying Joshua Jackson.
(Beechwood)
What Dreams May Come True
(PG-13) After Robin Williams enters
heaven, his earthly wife (played by
Annabella Sciorra) commits suicide and
ends up in another comer of the after-
world. Will they ever meet again? Cut.
Gooding, Jr., heaven* tour guide thinks
so. This romantic drama opens Friday.
(Beechwood)
Why Do Fools Fall In Love? (PG-
13) This strange biopic of doo-wop
singer Frankie Lymon focuses on his
tragic death and the consequential bick
ering between his (count ’em) three
wives over his estate. Who cares?
Starring Vivica A. Fox, Lela Rochon,
Larenz Tate and Halle Barry. (Mall
Inside)
The X-Flles (PG-13) The TV series
hits the big screen and it* just as weird,
vague and spooky as ever. Follow
Mulder (David Duchovny) and Sully
(Gillian Anderson) as they sink deeper
into the heart of whiteness (AKA the
Tundra Where The Aliens Might Live).
With Martin Landau. It* a decent movie,
even for those unfamiliar with the series.
(Tate)
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RONIN (R) Robert De Niro stars as a hired
gun (supposedly ex-CIA) in this complicated
action-thriller set in France from director
John Frankenheimer (Manchurian
Candidate). The film applies an old Japanese
legend about “ronin” — shamed samurai
warriors who wander the land looking for
work as hired swords or bandits — to mod
ern-day spies, military experts and terrorists.
In the story, De Niro and five rather unsa
vory European “ronin” are hired by the IRA
(led by The Truman Show’s Natascha
McElhone) to intercept a mysterious brief
case from the Russians. Due to the murki
ness of post-Cold War political ties, the
secretive assignment is extremely confusing
and vague ana the allegiances are up for
grabs. The situation is as tense as anything
in similarly stylish films like The Usual
Suspects, Mission Impossible or even Smilla’s
Sense Of Snow.
The film’s strong cast includes Jean Reno
(The Professional, Godzilla), Stellan
Skarsgard (Good Will Hunting), Jonathan
Pryce (Evita, Tomorrow Never Dies), Sean
Bean (GoldenEye) and a host of treacherous-
looking Euro-villains. It may be hard to follow
what these guys are up to, but they all look
pretty sinister while they’re doing it.
Of course, De Niro dominates the cast as
the wisest and most careful “ronin” of the
bunch. He’s the one who proceeds with the
most care and caution. He grills his boss
(McElhone) about minute details in the tense
opening scenes in the Paris warehouse and
warns his comrades about possible sabotage
and ambush in their early attempts to swipe
the mysterious suitcase.
Obviously, genuine friendships between
“ronin” are rare. Like the gang in Tarantino’s
Reservoir Dogs, these guys try to keep their
noses out of each other’s personal business.
It’s a cold crew, but there is some loyalty and
respect between a few of them. A few violent
combat scenes involving the De Niro and
Reno’s characters illustrate this clearly: De
Niro saves Reno’s life in an opening scene,
and Reno returns tne favor later, finding
makeshift medical help for him after De Niro
takes a bullet in the gut (it’s the most excru
ciating scene of the film — you’ll cringe for
five minutes).
While the examination of the distrust
between these characters propels much of
the story, it’s the series of elaborate and vio
lent car chases through the crowded streets
of Paris and Nice that energizes the film.
Frankenheimer went through a lot of trouble
and expense to capture these scenes without
the use of computer animation — he even
filmed the actors in the actual cars driven by
the stunt men. The results are both impres
sive and disturbing (more innocent by
stander characters die a bloody death in
Ronin than any James Bond film I’ve seen).
It’s rumored that David Mamet re-wrote
much of Ronin's screenplay, although J.D.
Zeik and Richard Weisz are credited. Either
way, it’s a shame that so much of the film’s
intelligent dialogue had to be wasted on such
a complicated story. You may find yourself
put off by the trickery of the winding plot
and infuriated by the somewhat unresolved
conclusion (you’ll leave the theater wanting
to know what was in the case). Is the frustra
tion worth a trip to the mall? Maybe. The car
chases certainly are.
Ballard Lesemann
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