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Friday, January 28. 2000
Ashes an emotional roller coaster
McCourt's autobiographical journey successfully makes transition to the big screen
By Clare McLellan
Kansan movie critic
Angela's Ashes, the film adaptation of Frank McCourt's 1996 best-selling memoir, eloquently brings McCourt's words to life on a sad but deeply-moving journey through his youth in Ireland.
The subject matter is far from upbeat, but the story is compelling and the production is well-done. McCourt's writing style, although impossible to match perfectly on screen, translates well through a talented cast and effective screenplay. Director/writer/producer Alan Parker (Evita) does a fine job of transferring this vivid story from paper to life.
The movie opens with the young, impoverished McCourt family leaving New York City to go home to Limerick, Ireland, hoping to start a better life. Limerick is a poverty-streken town, however, and Malachy Sr. (Robert Carlyle) has ceaseless trouble finding work and fighting alcoholism. The family endures the death of three of its children because of atrocious living conditions and limited access to medical care.
The mother, Angela (Emily Watson), does her best to keep the family going through hardships and disappointments but is visibly affected by their seemingly hopeless situation. She is the anchor of the family, the one who isn't too proud to beg in order to feed her children, and she always finds a way to survive, however meager. The story is told through Frank's eyes, and he clearly draws on and tries to embody his mother's strength.
Watson's performance is exceptional. She takes her established talent as an actress to a new level in portraying Angela's emotional turmoil. From depression to moments of joy, from exasperation to apathy, Watson makes her character believable.
Ridiculed at school for their poverty, the brothers rely on each other for companionship. Young Frank is played to charming perfection by Joe Breen in his first acting role. The love Frank feels for his younger siblings is obvious. Breen's innocent face and huge, inquisitive eyes are remarkably expressive, making many scenes memorable and sweet.
One scene that sticks out is one in which Frank's all-male class at school is practicing to receive First Communion. The boys must all sit with their tongues out, waiting their turn while the teacher walks desk to desk lecturing about the importance of the event. Breen's facial expressions here are priceless.
As Frank grows, he becomes determined to better his situation and to one day go back to America. His poverty, as always, holds him back.
When Frank can't take watching his family suffer anymore and his father has been gone quite some time trying to find work in England, he leaves his mother and secretly moves in with his uncle.
He begins work as a messenger for the post office and receives his first set of new clothes from his aunt to start his new job. It is painfully humbling to watch him look in the mirror, eyes filled with tears, because of this small symbol of status.
The dismal tone of the film is matched by the dismal cinematography and the naturally dreary town of Limerick. John Williams's sweeping score is equally melancholy and beautiful. The scenery is so representative of poor Irish towns that the audience can almost smell the sewage collecting at the McCourt's front
door and feel the filth of their surroundings.
Although the first half of the movie is strong and moves quickly, the story becomes sluggish about threequarters into it. A subplot involving Frank's first girlfriend seems to be tossed in, not quite congruent with the story, as do several scenes of Frank's adolescent life. Some scenes nail the attempted emotion, others miss the mark because of poor writing or editing.
The film ends on a hopeful note, but it is an uncertain hope. To those wanting the wonderful last line of the book to appear in the film — sorry. It would have been a nice touch. Nevertheless, Angela's Ashes is a humbling and poignant film that puts a sharp perspective on life. It may even make us appreciate all that we have a little more.
Lack of punch makes Play it to the Bone a letdown
Kansan movie critic
Play it to the Bone could have been a great movie, but unfortunately, it wasn't.
This film tells the story of two has been boxers, Cesar Dominguez (Antonio Banderas) and Vince Boudreau (Woody Harrelson). The two best friends get a second chance at fame when they are asked to fill the undercard (like an open act) at a Mike Tyson fight.
Bv Brian Bartelt
It sports a talented and proven writer/director, some solid actors, effective visual and aural aesthetics, some great plot elements and three fatal flaws. These three knockdowns are potent enough to TKO the film into the "unremarkable" category.
Most of the screen time is spent on their road trip from Los Angeles to Las Vegas. In their company is Grace Pasic (Lolita Davidovich), the ex-girlfriend of both men. The film climaxes with Cesar and Vince duking it out in the ring.
Play it to the Bone isn't much of a departure for writer/director Ron Shelton, whose past credits include the well-received sports films Tin Cup, White Men Can't Jump and Bull Durham. Many of the notable characteristics that mark these films are again present, including a strong and influential female character (Davidovich) and a motif of overt sexuality. The dialogue, though lacking the potency of some of Shelton's earlier films, remains clever and competent.
Banderas and Harrelson both play their roles with believability and consistency, and are a pleasure to watch. The film's first flaw, however, lies in Davidovich's performance. While 85 percent of her acting is acceptable — even charming — the remainder is over-the-top and
PLAY IT TO THE BONE
Overall: B-
Cinematography: B+
Showing at Southwind 12.3433 Iowa St.
unbelievable.
Where this film really falls down is in the script. The plot escalates well; the tension in the minutes before the fight was enough to make me physically uncomfortable. The story features some interesting takes on love and relationships. However, a useless, mid-trip stint with 20-year-old sex toy Lia (Lucy Liu) is a worthless excuse to throw in a tasteless, uncomical sex scene. It's flaw No. 2.
The sounds and visuals of the film are high quality. Intriguing lighting and camera work are tastefully used to portray flashback and fight sequences. The soundtrack is noticeably effective, offering funk, techno, and folksy Latin music — all without being obnoxious.
The third flaw is the real kicker. Although the body and climax of the story are potent, the resolution is so anticlimactic that you leave the theater asking yourself why you bothered to watch the film. Like a bad aftertaste, the let-down is so frustrating that it spoils the moments of good flavor the movie had.
This film could have been a contender, but instead, it throws the fight in the final round. Unless you're a huge fan of being set up only to be disappointed, I recommend spending your time and money elsewhere.
buy it used
Highlights include "Hell 4 a Hustler" and "The Good Die Young" — although there's no throwback to Billy Joel here.
Proving to be nearly as prolific as Walt Disney in the afterlife, Tupac Shakur is back for his fourth album since his death in 1996. The newest release, Still I Rise, is a collection of vocal tracks laid down by Shakur in 1995-1996 and touched up by the Outlawz, who respectfully preserve his artistic vision throughout the album.
Burning churches, AIDS, the Columbine massacre and other social issues are addressed in a flowing rap show featuring the smooth production of Darryl "Big D" Harper and the mixing talents of Claudio Cueni. The production quality of the album is superb, seamlessly mixing the Outlawz's new material with the original vocals recorded by Tupac (The Beatles should take note of this kind of work the next time they want to reunite with John Lennon).
The funky "Killuminiati" is a definite standout. In an open letter to the leader of our nation, Shakur's "Letter to the President" asks him for guidance through the storm of racial intolerance as humanity enters a new age. Although the superfluous profanity detracts from the message, it's an excellent way to open the album.
However, compared to previous Tupac releases, there is a significant lack of drama on the album, and it detracts from its replay value. Explicit lyrics such as the ones in "Dear Mr. President" might work the first few times, but after the seventh time they get rather old. Another problem the album faces in the land of replay is the incredible length of some songs. The average track length is more than five minutes, which is fine for a few tracks, but as the album spins, the unnecessary looping detracts from the overall track quality. Also, the Outlawz get in the habit of taking Tupac's lyrics and excessively repeating them. Fortunately, these occurrences are the exception, not the rule.
My first reaction to Still I Rise was "oh no, not another album of throwaway tracks from a dead artist," but after a few spins it's its inescapable that Tupac would, for the most part, be proud of this material. It's a worthy addition to a rap collection, but not something to pay $20 bucks for.
Justin Parlette
Clint K Band Here We Go
With its recently released 16-track album Here We Go, the Lawrence-based Clint K Band tumbles onto the scene. The three-member band serves up some dull rhythms you can bob your head to, such as in the song "Angels Met," but its predictable chord progressions can leave you strongly dissatisfied throughout most of the album. Clint K Band's radio-pop sound echoes that of Third Eye Blind and Everclear, with bland guitar riffs and trite lyrics to boot. The trio's playfulness is its one redeeming factor and might make for an entertaining live show, but the album leaves me cold.
burn it
— Melineh Kurdian
Long Beach Dub Allstars Right Back
buy it
The Long Beach Dub Allstars' newest album, Right Back, is full of fabulous reggae rhythms, grooving vocals and some splashes of punk. Eric Wilson and Bud Gaugh, ex-members of the much-adored Sublime, put together this seven-man band from Long Beach, Calif., and the result is a sincere, solid musical effort. LBDA sets itself apart from mainstream pop as Rasi sings "You should never get your style from watching MTV; all you'll get is fashion, no originality" on the fourth track titled "Fugazi." Right Back has depth, variety and a very good sound.
— Melineh Kurdian
Pilfers
Pitlers Chawalaleng huit
buy it
Straight out of New York City (surprise) come the Pilfers and their latest album Chawalaleng. This release makes its way via Mojo Records, home of Reel Big Fish and The Ernies, and it fits right in to their catalog. Smooth vocals along with tight instrumentation make for a super-skiriffic treat worthy of the Pilfers logo plastered all over the disc. Awesome songs like "Agna," "Mr. Exploitta" and "Choose Life" make Chawalaleng a must own for any skya fan. It's a rare occasion when the energy of a band's live show shines through on a studio recording, but somehow producer John Avila has managed to pull it off.
— Justin Parlette