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10A
Friday, March 3, 2000
Effects brighten Pitch Black, but predictable plot spoils
It's a sad fact — science fiction is a genre plagued by bad acting and writing that's even worse.
Pitch Black has an edge on the competition — its writing and acting are just mediocre, it has a great beginning and it is a "should see" for sci-fi fans.
Mimicking the style of George Lucas, the film begins with a shot of a huge starship passing by. Within moments, you're inside the ship, watching as all hell breaks loose.
Pitch Black
After an excellent, intense crash sequence, the remnants of the ship and its survivors find themselves on a deserted planet that has three suns and no night.
Among the survivors of the crash are Carolyn Fry (Radha Mitchell), the only surviving member of the starship's crew; Richard Riddick (Vin Diesel), a recently recaptured psychotic murderer; Johns (Cole Hauser); Riddick's armed escort; Paris (Lewis Fitz-Geral), a pampered antique dealer; Imam (Keith David), a pilgrim on the way to "New Mecca"; and Jack (Rhiana Griffith), an adolescent runaway.
Exploring the planet, the survivors discover hordes of aliens who are vicious, intelligent, and have an insatiable taste for humans. But
Acting: B-
Writing: C+
Cinematography: A
Sound: A
Overall: B
Showing at Southwind 12, 3433 Iowa St.
the creatures despise light, which makes them non threatening on a planet where it's always day — but if a total eclipse occurs, it could become messy.
Pitch Black is the second film directed by David Twohy, who also directed the 1996 film The Arrival. His writing credits include The Fugitive, Waterworld and G.I. Jane.
Ironically, the writing is what bogged down the film — some of the characters were flat, and it didn't really matter if the aliens ate them. The story promises some interesting developments, but they're revealed in a predictable manner.
The biggest problem is the aliens. They are scary and don't look too fake, but there's just too many of them. The vast numbers make for
a couple of interesting shots, but ultimately their numbers detract from the film.
History has shown us that the scariest thing is the unknown, and Pitch Black uses this concept at first. But once darkness falls, the monsters surround the characters all the time and it ceases to be a scary movie.
In effect, you'll settle back from the edge of your seat, stop wondering what's going to happen next and start making predictions about which of and when the characters will die.
The acting is mediocre, with a couple of bright spots from Fitz-Gerald and Diesel, but because Diesel's character is written without an ounce of humanity, his acting is somewhat wasted.
At least the special effects are good. It features interesting cinematography, good sets and impressive digital work. The sound, especially during the crash, is excellent. All the aesthetic work supports the film well — the visuals and sound don't make the movie, but they do make up for some of its flaws.
If you like sci-fi, go see *Pitch Black*. If you don't mind sci-fi and your friend really likes it, go ahead and tag along. But if you dislike sci-fi, stay away — you won't find anything extraordinary to make it worth your while.
Rearview entertainment
Hitchcock classic returns to big screen
By Brian Bartelt
Kansan movie critic
If you're reading this, odds say that you are at least partially college-educated. This means that, like it or not, you're a sophisticated consumer. Discerning, Cultured. Fortunately, your advanced education also has eradicated your sophomoric attitude of shunning the past and has increased your hunger for qualitychema.
Yeah, right. Lucky for you, there's a film that offers this quality entertainment. It's called *Rear Window*, and it's one of the best films ever made.
This 1954 Alfred Hitchcock classic has been restored and re-released. Moreover, you get a chance to watch this film in a theater — and with better picture quality than ever before. That means that apart from the semi-cheesy title screens and the Donna Reed décor, this film doesn't appear visually-old.
The story isn't dated, either. It centers on LB. "Jeff" Jefferies (James Stewart), a magazine photographer with a taste for adventure. Jeff has a problem - a job-related accident leaves his entire leg in a cast, stranding him in his New York apartment with nothing to do but look out the window. Fortunately, he's got a lot of interesting neighbors to watch - including Mr. Lars Thorwald (Raymond Burr, of Perry Mason fame), a salesman who
Rear Window
Acting: A
Cinematography: A
Overall: A
Showing at Tivoli Manor Square, 4050 Pennsylvania St., Kansas City, Mo.
seems to dwell in the miasmic haze of murder. Enlisting the help of his girlfriend Lisa Fremont (Grace Kelly), his nurse Stella (Thelma Ritter), and his detective friend Thomas Doyle (Wendell Corey), Joff sets out to solve the murder from the voyeuristic safety of his home.
Alfred Hitchcock was a master of cinema, and his forte was suspense. *Rear Window* replaces the annoying, implausible, and disappointing parts that foul so many other suspense films with pure tension.
Visually, this film lacks the cinematic punch that modern films have developed, but it retains a graceful style that modern films often lack. The sweeping, long-range camera motions that track Jeff's window watching are difficult shots, requiring great timing and coordination, and Hitchcock pulls them off without a hitch. Likewise, the sound is genius. Rather than give us a wall of sound like most modern suspense films, he gives each thump and scream intense meaning.
Whether you're a Hitchcock disciple or have never seen a Hitchcock film, go see this movie. You won't be disappointed.
Rayguns: Talentless Foals!
Buy it
Ska-riffic!
Some of the best ska music since Reel Big Fish invaded the country with Turn The Radio Off'a few years ago comes from Topeka band Rayguns. Tight arrangements and catchy lyrms make Talentless Fools! well worth tracking down. From fun ska songs such as "G.M.B." to angst-ridden punk in "Nothing For Me," The Rayguns have got it down.
With guitar master Mike Conner strumming away and Aaron Bunay handling bass, this eight piece group fills the rest of its number with horns. This has an overpowering effect. That adds to the intensity of the album. Few local releases capture the intensity of seeing a band perform live, but Robert Reebek of Mercy Studios seems to excel at doing just that. With the exception of "Atwood," every song is a winner. Check out "Better Off" and you'll be hooked.
For show dates and more info, go to the band's Web site at www.rayguns.com.
Justin Parlette
Angry Salad Angry Salad Burn it
Although Angry Salad's pop anthems are infused with good intentions and some solid musicians, the group's self-titled album lacks the spirit of sincere creation.
The band seems to be following the same old rock formula: guitar licks and percussion rhythms that, in the end, are too radio friendly to be interesting. The chord progressions in a majority of the songs never dare to step out of the bounds of convention, and spontaneity is a sparse commodity.
The sound is never offensive to the ears, as the four seem to be pretty well-groomed and well-rehearsed, and Angry Salad could probably be a palatable band live. The group has even recorded a theme song for a new show on the WB Network. However, the good chemistry Angry Salad possesses cannot make up for its lackluster album.
Melineh Kurdian
Apollo 440
Apollo 440
Gettin' High On Your Own Supply
Buy it
If you think that Apollo 440 and its hit "Stop The Rock" are a new phenomenon, think again. The group's third album, Gettin' High On Your Supply, is the product of 10 years of techno-rock exploration.
A few fuzzy vocals, monsterish guitars and twists of the turntable later, you can't help but mosh or groove to the sound offered. The tripped up trance-like six track "For Forty Days" possesses a certain purity that breaks up the gritter rock sounds. This leads into a very happy, hip-hop song, "Heart Go Boom."
After a brief, soaring synthesizer meltdown in the first track, Apollo 440 gets right to business with "Stop the Rock," to be heard on the radio and Music Television for years to come. Interestingly enough, this repetitive rock anthem is not the best cut on the album. As the beat goes on, the music becomes more creative.
All together, Gettin' High on Your Own Supply leaves you with an adrenaline rush that's best spent on the dance floor.
Melineh Kurdian
The Bacon Brothers
Getting There
Buy it used
With the release of Getting There, Kevin and Michael Bacon have invaded the music world with their acoustic guitars and folkish melodies on an album that, with a few notable exceptions, sounds good. A blend of country and old-fashioned rock 'n' roll makes this album worth checking out.
The down-to-earth lyrics found in songs like "Ten Years in Mexico" and "Don't Look Back," combined with the smooth harmonies of vocalists Kevin and Michael, really surprised me, as I was expecting another movie-star rock attempt gone wrong (i.e. Jennifer Love Hewitt).
It becomes obvious that the musical talent of the Bacon brothers is hard to question—but don't expect TOO much from them. Their writing occasionally hits a wall.
Sometimes the lyrics are a tad trite ("Sitting in this trailer park tonight, still basking in the memory of that glorious fight"), but the fun arrangements cover lyrical missteps almost perfectly. Other than that, the Bacon Brothers have put out a great CD.
— Justin Parlette