Vid Guy: Once Was Lost, Now He’s Found...... pg 7A ^ T 1 \ / i r t THE ARTS AND

ENTERTAINMENT

SECTION OF THE

DAILY NEXUS

A Look At the Program of Nine International Shorts Page 6A The Santa Barbara International Film I Festival’s Weekend Schedule, pg. 3A 2 A Thursday, April 2,1992 Icore

■ e x h i b i t r e v i e w Deconstructed Visions Display Features Work of Two “Peripheral” Artists

A lbert Prey’s build- Corbusier in Paris, are pat­ f \ ings are “horizon- terned after a distinctly / % tal wall planes ex- American phenomena — JL JLtending into the heartless industrial output landscape.” If you glance After mass- His search to find the aes­ through the first couple of producing pro­ thetic of simplicity in nature pages of your UCSB catalog is less harmonious than he waste you will notice before and ducts, toe began imagines it to be, and as the Architect Albert Frey’s Loewy House in Palm after shots of Storke Plaza mass-producing biographical placards state, Springs is one example of the artist’s work. arches. This transformation people and spaces “his work began to take on is exactly what Prey’s work for them to live in. the metaphor of the ma­ (now showing in the South The artist incorporates is all about chine, due in part to the Gallery), is a aecons tractive rock, folk and blues tabla­ Modern architecture’s ... Albert Frey was a standard industrial mater­ investigation of musical ture in her documentation departure from the or­ part of this ials available at the time.” notes. The work looks very on the work of an artist, and namentation and detail adaptation. Prey Houses I and II are, much like Egyptian hiero­ includes references to ev­ characteristic of the Victor­ h o w ev er, therapeutic glyphics, blending moods erything from earlier, over­ ian age was so severe after spaces in an industrial con­ with musical notes and sized choir books to Pygmy the First World War that it text. They may mark con­ small pictorial collages. Es­ bark drawings of central Af­ * might be considered anti- temporary architecture’s sentially symbolic, it can be rica. Both her work and that Victorian. It was not until first attempt to rid itself of described as “an amalgam of of Albert Prey can be con­ architects like Prey came on functionality.” we began mass-producing modernism’s decadent ex­ visual and musical sidered artistically “peri­ the scene that residential The fiat walls, the expan­ people and spaces for them cesses. By providing the experience.” pheral” to the mainstream, structures were approached sive plane of corrugated alu­ to live in. We began moving shell of industrial structures and are worth checking out with the same frugality and minum, the crisp cubicle west into vast desert spaces without complexities these “I’m interested in certain low-cost budgets that were lines against a smoggy sky and our architectural stan­ factories have blessed this notions about music,” as­ Both shows run through typical of the factory build­ were first familiar at our dards faced heat and society with a zen serts Lightbody, “Who April 19 at the University ing mentality — “compact workplaces but probably sandstorms. deconstructionalism. makes it? What role does it Art Museum. For more in­ spatial arrangements” that would have outraged your Frey was a part of this On the subject of decon­ play? What kind of beha­ formation, call 893-2951. were “honest expressions of average homeowner. After adaptation. His designs, de­ structionalism, Joyce Light- vior is involved? And the materiality and mass-producing products, spite early training with Le body’s show, Margins 7 music itself.” —Christian Lincoln A Shakespearean Labor of the Bawdy and Soul

It must be spring. Shrew who decided to continue her involvement with the Much of this theatrical work includes what Swander and 1116 sun is shining, lust is in the air, and UCSB’s Ameri­ company past graduation. She described the play as essen­ cast members call the “body” of the play, or its emphasis on can Shakespeare Company, under the tutelage of veteran tially a feminist work, citing that “the women have it more the physical. As with many of Shakespeare’s works, and de- director Homer Swander, is presenting another of the great together and it is the men that keep breaking their vows.” finitely Swander’s readings of them, this often refers to sex. bard’s sex comedies, Love's Labor's Lost. Despite this, she argues that, “in the end, we see that the “People don’t realize that Shakespeare is not stuffy,” The play, performed at the newly remodeled Girvetz men and the women both have a lot to learn.” argues Jordan, clad in tights and the ridiculously splendid Theater (1004) starting tonight is, in the words of the Kang’s dedication is not an exception in the produc­ dress of Don Armado. “He wrote funny and ‘bawdy’ stuff, 70-year-old Swander, “about the idiocies of sex and love.” tion’s two casts, which include a total of 31 students and and, if if s performed right, you can see how accessible it is.” In short, Love’s Labor’s Lost concerns the plight of four alumni. Cast members rehearse an average of seven days If a full dose of “bawdy” is on your agenda, check out male students who take a vow to study, fast and avoid wo­ per week, beginning in Winter Quarter, and often well into Love’s Labor’s Lost in the new Girvetz Theater. Perfor­ men for three years. That is, until four women enter the the night mances will run tonight through Sunday, April 5, at 7:30 picture. Joe Jordan, a Junior English major who is cast in the p.m. (with a 2p.m. matinee on Sunday), and April 9-12 at “It's about young people today,” said Swander, who be­ amusing role of Don Armado, believes the time commit­ 7:30p.m. (2p.m. matinees on both the 11th and 12th). A gan student Shakespeare productions some 20 years ago. ment is a necessity. special performance will be given Friday, April 24 at 7:30 The play’s timeliness was echoed by UCSB alumna Eu- "The more time we spend rehearsing,” Jordan said, “the p.m. Call 893-3535 for more information. nah Kang, a cast member of 1991’s The Taming of the more we find in the play.” —Pax Wassermann

FOUR DAYS ONLY!!! EXCLUSIVE ENGAGEMENT SANTA BARBARA PREMIERE FoSF

"Long on Laughter, Im agination." Kevin Thomas. LOS ANGELES TIMES

"It is quite refreshing to see that (l «SF) has chosen its films wisely, and that the num erous awards... are well earned indeed." Staff Alex Demyanenko. VILLAGE VIEW

★ ★ ★ ...this is a windfall...a fine first" Contributors David Elliot. SAN DIEGO UNION Denis Faye A nna K ent ANDALUSIAN PICTURES PRESENTS Christian Lincoln Alex Maclnnis THE 1ST INTERNATIONAL Terrence C. Meyers

FESTIVAL OF SHORT FILMS Assistant Editor “Bringing You the World’s Best Live-Action Shorts” r a s a Pax Wassermann This unique & highly entertaining collection of films from New Zealand, Canada, Great Britain & the USA includes: AH thôHmëi E d ito r TOM GOES Satisfaction Guaranteed METAMORPHOSIS TO THE BAR THE CHILDEATER Brian Banks (Canada) IUSAI (Great Britain) If you are unhappy with your purchase for any W inner ■ Palme d V r Cannes Best Short-Berlin International Film Festival Academy Award Nominee reason, simply bring it back within 14 days for a full *lnspired...a brilliant work.* ‘A true gem." ‘Exquisitely wrought.* Kevin Thomas, LA TIM ES Alex Demyanenko. VILLAGE VIEW Kevin Thomas. LA TIM ES exchange or credit. plus 6 other exceptional & award-winning shorts. The films in this diverse group are some of the best the medium has to offer. SHOOT ALL NINE FILMS SCREEN AT EACH 2-HOUR PERFORMANCE morninglory FOR APRIL 3 rd - 6TH ---- music PRIZES 33 W. Victoria Street Thousands of titles for less! At The Cinema Santa Barbara TVin Theatre, Friday: 7:00*9:30 Santa Barbara Isla Vista Between State & Chapala. Parking is Saturday: 4:00*7:00*9:30 Goleta AT THE COMPACT DISC I TAPE STORE ARLINGTON MATER 1218 State Street 910 Emb. del Norte available behind the theater. Sunday: 4:00*7:00*9:30 MORNING GLORY RECORDS MAY COMPANY MUSIC PLUS Monday: 7:00*9:30 CALL-FOR-TIX (805) 583-8700 966-0266 968-4665 S ee White Men Can’t I t Jump And Win. TICKETS ARE ALWAYS AVAILABLE AT THE THEATER BOX OFFICE 1 HOUR BEFORE THE FIRST PERFORMANCE Prizes Awarded Every m m m r n FOR MORE INFORMATION CALL TOLLFREE 1-800-925-CINE ...... N ight . , WÊSKB m nreview Thursday, April 2,1992 3 A Festival Weekend Schedule FRIDAY SAT. 2 pm A it Museum ? 5 .0 0 p m F iesta Feature Documentary Canadian Cmema SB Inti Film Festival US Premiere | , The Latter Portion of the Independent-Minded Discovery Short Ä The Leader, His 'D river and the Love-Mot SÉMI I Driver’s Wife - *i (Oitadian, 1991,13?, $7) Program Offers Some Worthwhile Picks I (England, 1990.1:25, ^ s i i l i p m w e « a ; Legs Best of British ' ' 1 Bv Alex Maclnnis (U S A , \ On The W ire ♦30 pm Fiesta (England, 1990,135. $7) resumably you the Very Big Fish (l p.m. World Caente 7 :0 0 p m F ie sta realize that we are Saturday at the Fiesta) and WbrtCoMt Premiere W orld Cinema ' in the middle of a cinematographer extraordi­ Escape (rota “Liberty" CTnema W&ÊÊmÉmM( 1 (Poland, 1990,1;4G, $7) (Australia, 1991,130,$7) P film festival. Not known for a ground-breaking, con­ naire Vilmos- Zsigmond Bob The Frog in “ Burp* The current installment makes his directorial debut Cinema Prancais ? vs' (USA, 1991, «3) of the Santa Barbara Inter­ troversial or otherwise in-your-face prog­ with The Long Shadow The Hairdresser’s Husband (bOQ pm Herta (France, 1990,133,57) ' US Independents national Film Festival keeps ram, the Santa Barbara Film Festival (12:30 p.m. Sunday at the W orld Premiere with its tradition as a show­ nevertheless shows some remarkable Fiesta). A n K ra Nervous Ticks case for a respectable • At midnight on Saturday D onohueui .rt&A, 1991,133,$?)' I sample of films, both foreign stuff. there is a screening of Blab­ The Rainbow WJSpca&m*;.: M g and domestic, and provides berm outh (at the Fiesta), a 33QpotHertn •§ j US Independent» BestofBriittfc;; ' I m locals an opportunity to see print of The Blob that has Enchanted AprB (USA. 1991,1:45,57) cinema from off the beaten been re-dubbed to humor­ (England, 1991, t:4t,$7) < 1 2 3 0 am Resta track of major Hollywood circuit could be one of the most ous effect, a la W hat’s Up 9:45 pm Berta i M idnight Madness releases. Given this often obscure progressive programs of the Tiger Lily? Biobbermouth | content, it can be a chal­ festival (4 p.m. today at the West Coast Premiere (USA, 1991,136, $7) It is a user-friendly .festi­ • Proof is an Australian Highway 611 M U val in its favoring of English- lenge for the casual observer Santa Barbara Art drama about a blind man’s language films (two-thirds to explore the possibilities Museum). obsession with photogra­ SUNDAY of the films are from of the festival. • Delicatessen is a French phy that won Special Men­ SAT. amHert*' i mm English-speaking coun­ The list of the 60 or so black comedy steeped in tion at Cannes (7 p.m. Sa­ The Leader, His D river and tries) and accessible subject films has few reference grotesque surrealism, turday at the Fiesta). 11 am Art-Musuem the D river** W ife matter. Not known for a points for any but the most whose arrival has been heV- S p e cia l E ve n t $20 Repeat from Fnday ' • The festival closes with a The Making and Marketing e f 10:15 am H ert* ground-breaking, controv­ die-hard cineaste, and with­ alded for weeks by the fun­ screening of the Academy Independent Film s Chinese Cincina ' ersial or otherwise in-your- out getting a festival pass (at niest trailer ever to hit Santa Award-winning Mediterra- Panel D ucotrtcn Budding Desire face program, it neverthe­ $150) there’s no economi­ Barbara screens (tonight at neo at 5:15 Sunday at the (C3ti«M990,L50($7} * less shows some remarkable cal way to browse; at $7 a 8:30 at the Fiesta Five Best of British s * 1:1030 am Berta Fiesta. Tift ’ . ’ Canadian Cmem# I' v | stuff. shot it’s risky to gamble on Theaters). Most students do not The Favkmr, The Watch, and The Quarrel The festival is committed too many films just because • There are two showings of take advantage of this festi­ T h e V e ry B ig F is h (Canada. 1991,138,57) to the U.S. independent of a catchy title and clever The Leader, His Driver and val in our backyard, which (BnglanrVFrance, 1991, 132, $7) '■ 10:45 am. H e|(§ ¡ || synopsis. the Driver’s Wife, another 2:00 pm A il Museum Discovety Shorn market, giving us a chance is such a convenient way to Feature Documentary (USA, 1991,1:18,57) to see small, alternative But, for anyone inter­ darkly comic film, although sample contemporary alter­ Discovery Short ^ * Meet me at The Dog Bar] films that will soon be ban­ ested in exploring the last this one is a documentary native cinema. So make a West Coast Premiere Rosemary; M em orial: Letters ished from the screen, only half of the SBIFF, here are a about a paramilitary white- point of catching something The Famine W ithin From Am erican Set (Bert to be found on video. few suggestions to consider: supremacist (2 p.m. Friday 1230 pm Fiesta, i unusual this weekend be­ Balloon Head j p i l ’Cfeema ' ' It also features a healthy • A program of the works of at the Art Museum, 10:15 cause it’ll be another year (USA, 1991, ¡01} * US Frentiere amount of both short films Santa Barbara Video Mak­ a.m. Sunday at the Fiesta). before the pickings around 2:i5 pm Fiesta The Long Shadow ' < and documentaries, which ers costs a mere dollar and • Bob Hoskins and Jeff here- will be so good. Chinese Cmema (Israel/Hung&ry, 1992,130 $7) are two genres that have Goldblum star in the British Woman Danon Human § 3:00 pen Fiesta ■' ' ' features the work of seven For information about (China, 198$, 1:48, $7) /WferoCSnejaa even less hope for exhibi­ local video artists, including and French co-production, screenings, call the SBIFF 330pm Retta H e rm a n tion outside the festival UCSB’s Chris Ball, in what The Favor, the Watch, and at 689-INFO. Canadian Cinema . (Norway, 1991,130, ST) US Prometti 5:15pm Heat* d o s in g F e s tiv itie * and F ilm (Canada, 1991, *34, $7} Mediterraneo-Academy Am nesty TVS ogy Award Winner (USA.1991.t03> I I

WITH SWERVEDRIVER AND MONSTER MAGNETS THURSDAY APRIL 23 AT THE UCSB ROBERTSON GYM 8 P.M $15 UCSB STUDENTS & $17.50 GENERAL TICKETS AVAILIBLE AT ALL TICKETMASTER OUTLETS INCLUDING MORNINGLORY MUSIC AND THE A.S. TICKET OFFICE. FOR MORE INFORMATION CALL 893-3536. 4 A Thursday, April 2,1992 Daily Nexu

LAMBDA CHI ALPHA Ik w m . m m m FRATERNITY UCSB WvMiWMvMk brings you their

W B S m 16th ANNUAL iBUPUQHÎn INTER SORORITY VOLLEYBALL TOURNAMENT l i

IN 7 1 200 S( O N T ] R O C E CAWf

• 4 • R t t I 0 t t f i I

WORLD SPOT M, LA Âitâii Ton

« m 1 0 6 . 7 F I SP a l d i NCi SAT-SUN APRIL 11 & 12 WILL ROGERS BEACH LOS ANGELES, CA. ly Nexus Thursday, April 2 1992 5A

Annual

INTER SORORITY VOLLEYBALL TOURNAMENT APRIL 11, 12, 1992 WILL ROGERS STATE BEACH

a €> FROM 40 UNIVERSITIES IN 7 WESTERN STATES COMES 200 SORORITY TEAMS TO PLAY ON THE WHITE SANDS OF WILL ROGERS STATE BEACH, LOi'ANGELESl CALIFORNIA 6A Thursday, April 2,1992 iver tfory

fs- Jk lÉÉ il \ ■ ■ ■ ■ ■ H H

From left: Devon Pierce and Matt Eddy In Sqfarl Holiday, Michael J. Cox and Lisa Maija Alach in Rushes, and Chuck Butto In A n Urban Tragedy ome things don’t D.O.A.) to evoke a timeless­ have to big to be a ness appropriate for the I hell of a lot of fun. characters, psychic embodi- Si The In te r n a ­ ments of barflies tional Festival of Short everywhere. Film s (at the Victoria Street Short and Sweet The short film format Theatre, Friday, April 3 The Festival of Short Films Highlights Works That provides an opportunity for through Monday, April 6) the kind of intense styliza­ proves it. Stretch the Film Form - To Audiences* Delight tion that would drive some The program, coinciding insane if done at feature, with the latter part of the Bv Alex Maclnnis length. Films such as A n Ur­ Santa Barbara Film Festival, ban Tragedy and Rushes contains nine films in all, and its entries have gar­ producers of the infamous duit for getting the work to potentials of the short film exploit the artificial nature eight of them less than 12 nered over 13 Festival Festival of Animation and a an audience to see the form. of the films by pushing ele­ minutes long. The entries Awards (including a Palm young filmmaker with the films,” said Sean Reilly, one The two strongest entries ments to the extreme. They represent work from the D’Or from Cannes) idea of promoting live- of the producers of the ard* the bar stories. The use wide-angle lenses, exag­ United States, Canada, worldwide. action instead of animated festival. Lounge Bar, a New Zea­ gerated acting, hyper-real Great Britain and New Zea­ The Festival is compiled films. "Audiences are hungry land film written, directed, set design, self-conscious land. The program includes and distributed by Andalu­ "There’s been a tremend­ for programs like this,” scored and starring Harry camera work and break­ four student films and an sian Pictures, a group ous amount of work and ta­ Reilly added. "Since the S in c la ir and Don neck pacing to provide a Academy Award nominee, formed by the union of two lent out there, but no con- early ’80s and MTV, people McGlashan, uses one loca­ rich but exhausting viewing have become accustomed to tion and three actors to pro­ experience. watching short works and vide an amazing and amus­ Other highlights include: are more receptive than they ing case of the physical col­ a documentary about base CONCERT would have been 15 or 20 lision of past and present, jumpers (people who clan­ SERIES years ago.” narrated via song by a destinely parachute off tall The festival is the first lounge singer with great buildings in the still hours of program assembled by the sideburns. dawn), a man who finds group and is currently in the Tom Goes to the Bar is a happiness riding the eleva­ early stages of a nationwide wonderful straight-faced tor eveiy morning, and a tour. Hie films appearing in look at the quirky regulars boy-and-an-older-woman- the program were culled in Pete’s Bar and Grill. It on-his-parents’-hotel-bed from over 200 submissions uses beautiful black-and- story. WITH and the works chosen high­ white photography by Yuri The variety of subject light some of the aesthetic Neyman (Liquid Sky, matter and the brevity of THE each piece keeps things CAVEDOGS moving; there is rarely a dull moment, and when there is, K T Y D ^ v it passes quickly. Audiences are bound to find plenty to like in the program. NEXT FRIDAY SPIKFS T h is w eek With so few opportuni­ ties to see short works, this APR10 8PM could be Santa Barbara’s Pinci at Spike's one and only chance to see ARLINGTON these films. (Although An­ THEATRE dalusian Pictures has its fin­ H JhÜr& ^Coors Light Night gers crossed for a video $ 1 .5 0 , deal). Besides, for those who Fri—Los Guys 9-12 pm think they can do better, there will be application PAULY & V Sa^Biü Fernberg 9-12 pm forms available at the door to submit films for the next Sun-MoifäLate Night Happy Hour show. SHORE For more information on Tue— Pat Milliken 9-12 pm \. WITH the Festival of Short Films, Wec^Afan & Marsha Ö 2 pm call the Victoria Street WILDSIDE Theatre at 965-1886. 964-5211 6030 Hollister APR 12 8PM Goleta CA 93117 ARLINGTON THEATRE Santo Barbara International Film Festival AN EVENING WITH LYLE LOVETT i r S p e c ia l Ev e n t i r LITTLE VILLAGE Jim Keltner • Ry Cornier • Mick Low* • Join M att The Making and Marketing of Independent Films Saturday, April 4,11:00 ani, Santa Bariiara Museum of Art $20

Panel discussion with esteemed • Producers • Directors • Writers • Publicists • Distributors • Theatre owner/operator W IT H THE FAIRFIELD FOUR MAY 15 8PM Get your answers from the pros!! Interact with ARLINGTON THEATRE esteemed industry members. At this panel discussion ON SALE SUNDAY 10AM you'll learn all you need to know... and morel!

Tickets: (805) 963-4408 & 583-8700 Tickets available at all outlets including the Compact a Disc and Tape Store (Goleta), Mornlnglory Music (by.) and The Arlington m4¡é m SBIFF Hotline (805) 689-INFO • TDD via CRS Jheatra boxpffka-Tp charge by phone calU805) 5S3--&7Q0U ---- -.. ore ¡tic’s nee Thursday, April 2,1992 7 A Mystery Solved: Cheap Publicity Stunt Storke Tower Was a Good Guess, But the Missing Man Was Here All Along K, so I was here the whole time, Video Guy?” contest is The problem with this new have on those Hollywood “Look, we’re alright? The “Where’s The Video Nicholas Cohn who, in a film, like the Toxic Aven­ humping but not really” little black G- Guy?” contest was all a cheap very James Bond fashion, ger sequel, is that Troma strings, which are alright by me. publicity stunt, like you didn’t fig­ said I was in Storke Tower. has become too concerned ureO that ou t It really didn’t pan out like I One guy has a monologue where he ac­ That wasn’t exactly right, with making money and expected. I mean, I was perfectly satisfied y r T h e tually manages to make bad jokes about but I did go up there one appealing to many people. dolphin meat, Nixon, fat people and Rol- with the four entries, but everywhere I night and put empty beer Because of this, the new went, people kept saying, “I thought you lerblades — all in about three breaths. cans between the bells so Video films all just make an “R” There are a lot of pointless shots of semi- were missing!” and “Oh! Oh! I found The they went BING! BONG! rating, unlike the pre­ naked females with, and I quote, “melon- Video Guy!” It got really old, really quick. BING! CRINK! BONK! Guy decessors with their better heavy breasts.” It wasn’t nearly as fun as the “Win A So you win, Nick. “X” ratings. It really takes Date With The Video Guy” contest a few On The Video Guy Beer-o-Meter, I give In other news, I have away from the quality of this film a 7.5. It was OK but it just lacked years back, when every time I tinned a cor­ chosen to review Class o f N ukem ’ High the movie. For example, in the new film direction. ner, some nude woman would attack me. Part H: Subhumanoid Meltdown. there is a scene where a young couple is This is The Video Guy saying, “I’m right Too bad shegraduated. Or my first contest, It’s about this junior college built under­ making out and gets hit with a dose of radi­ here.” The “Meet Tne Video Guy” contest, where neath a nuclear power plant One of the ation and they start to fester and ooze and the Nexus misprinted it to be fire “Eat The teachers is making clones to be slaves for eventually, they melt into each other. As Video Guy” contest That was pretty zany, the human race but it all starts to spiral out enjoyable as this scene is, it would have NEXT WEEK: except when I had to go to the hospital to of control when the clones start to explode been soooo much better if Troma would The Video Guy Tells get the rabies shot Then there was “The and a squirrel eats some nuclear waste and have-gone for the “X” rating, and had the Video Guy Tractor Pull,” which was a ball. turns into a monster. couple be naked. More About His Alleged I don’t know, this one just wasn’t as fun. This film was made by Troma Films, the Well notnaked, really. Troma never had Disappearance. Anyway, the winner of the “Where’s The same people who made Toxic Avenger. completely naked people. Instead they ÉFELM REVIEW S Two Hustlers Who Can Play the Game Jum p*s Good Shots Overcome Its Misses looks about as much like an inner-city ball­ W hite Mem Cam*t Jum p, Starring Wesley Snipes, player as he does a streetwise hustler. Woody Ha nelson, Rosie Perez, and Tyra FerelL W ritten and Directed by Ron Shelton. That’s the scam. Deane is the big talker, the man whose mouth comes up with “It’s so hard being this good” as he dribbles past a Sidney Deane and Billy Hoyle base their defender. Hoyle is the LA. counterpart to hustles on teamwork. Hoyle provides the Harrelson’s Woody Boyd on “Cheers.” If no-look passes and Deane responds with you look closely, you can see the perennial the slam dunks. As the central characters glaze in the man’s eyes. . > in White Men Can’t Jump (at the Cinema Ron Shelton, who wrote and directed a Twin and Fiesta Five), the basketballers sports-and-life movie for all time in B u ll Woody Harrelson (with the ball) goes one-on-one with Wesley who make their living on the blacktops of Durham , sets up the action well here, but Snipes (without it) in Ron Shelton’s W h ite M en C a n ’t J u m p Los Angeles must rely on their chemistry as the payoff is usually anti-climatic. With the much as they do on their jump shots. exception of one surprise in the middle of pression on Deane and the Venice Beach were assembled for the film’s trailer so that It’s fortunate, then, that they are in sync the film, the late of Shelton’s protagonists regulars, is a filmmaker’s clinic on how to it would sell to every kind of audience). It’s from their very first meeting at Venice are never in doubt This is a serious flaw, as edit a 20-minute scene so that the audience a wise decision, because straight-up sports Beach. They work together so well that the success of films like The Sting hinge on is not yearning for a change of scenery. comedies don’t go far, with the best pos­ they are able to conquer the city’s toughest the big hustle which provides the major Shelton clearly knows his techniques, sibly being the hilarious-but-formulaic courts. And much like their on-screen twist and closes the action. Shelton lets his shooting from all the angles so that each Major League. White Men Can’t Jump alter-egos, Wesley Snipes and Woody Har- film simply run its course. jumper appears more difficult than the last. tries to be more, and Snipes and Harrelson relson work together so well that their che­ But Snipes and Harrelson keep things The film is not as funny as one would are there for the tip-ins even when Shel­ mistry conquers the film’s rough edges. It’s moving along nicely, complimented by a like, but that is not the fault of a dead ton’s shots won’t fall. a triumph in casting. handful of exciting basketball sequences. script Shelton has simply chosen to film a Nevermind that Harrelson’s Hoyle The opener, in which Hoyle makes an im- drama with bits of humor (most of which —Brian Banks The Troubled World of Basic's Spider Women holic, ex-drug addict, sex-crazed do-gooder. Curran and scenes feature much naked skin, yet little naked passion. Bade Instinct Starring Michael Douglas, Sharon Stone, Jeanne Tripplchom and GcoKseDnndza. Music by Jerry G ddsnith. Edited by Frank J. liáoste. Produced his slovenly partner are assigned to a nasty case that in­ Curran is filled with so much tension and hostility that by Alan Marshall. Screenplay by Joe Eszterhas. Directed by Paul Mahoeven. volves the brutal murder of an ex-rock star. Their prime he would be spent in seconds rather than lasting the four suspect is Sharon Stone’s Catherine TrameU —, a bold minutes of the film’s central sexual montage. and alluring fiction writer who utilizes her goddess-like The film is at its best when concentrating on the psy­ Don’t expect the CUNTS to sponsor Basic Instinct features and equally qualified intellect to manipulate chological games between the cunning Catherine and (currently at the Fairview and Granada) when it makes people. the “aQ too willing to be tied up and toyed with” Curran. its run on campus in a few months. The new Paul Ver- Verhoeven and writer Joe Eszterhas seem far more Particularly witty and steamy is a scene in which Cather­ hoeven vehicle would like us to believe that all women concerned with pushing the audience’s eveiy button ine is questioned by male police officers. She gets the are inherently evil: slimy, slithering creatures put upon through nerve-racking twists and turns, rather than ad­ best of her inquisitors with the aid of her bold defiance, this earth to drive man to find refuge only in booze, drugs vancing political correctness in cinema. Basic Instinct witty barbs and fondness for not wearing panties. and an occasional act of illicit sex. They are spider wo­ plays itself as a souped-up psychosexual tech-noir fan­ This scene is hysterical and shocking as Verhoeven men consuming psychology and communications to oil tasy and nightmare. The three females who enter Nick and cinematographer Jan de Bont slyly capture the ex­ their machine that thrives on hatred and domination. Curran’s troubled world of self-control and addiction pressions of those in the room with rapid zooms and And maybe if you’re lucky, they’ll tie you up with a Her­ appear to be eveiy man’s sexual fantasy, yet they all dis­ sweaty facial close-ups. Stone illustrates with perfection mes silk scarf and treat you to 30-odd puncture wounds play nightmarish malicious intentions. the cold and calculated brilliance of Catherine as this with an ice pick. The infamous sex scenes never quite live up to the scene sets the stage for her flamboyant actions to follow. Michael Douglas portrays Detective Nick Curran, yet emotional foreplay that precedes them. Trimmed to re­ another world-wary, trigger-happy, on-the-edge, alco- ceive the coveted and financially sound R rating, these —Terrence G. Meyers Woody Allen's Latest Gets Lost in Its Shadows

but shines as simply another piece of Allen’s 21-film body In Shadows and Fog Farrow is the unhappy sword swal­ Shadows ami Fag. Starring Woody Allen, Mia Farrow, John Malcovich, Kathy of work. Allen has so much freedom as a filmmaker that he Batea, John Q uak, Jodie Foster Lily Tomlin, and Donald Pleacnoe. Edited by Suaan lower who can’t get her clown boyfriend to commit. The E. Mone. Produced by Robot GreenhuL W itten and Directed by Woody Allen. can afford to devote an entire film to simply looking good. circus is in town, allowing for lots of cameos by people like This time, Allen chooses to emphasize art direction over Madonna and Kenneth Mars. There’s also a killer on the plot Character development ana dramatic structure also The demise of Woody Allen has been greatly exagger­ loose, so the vigilante group offers appearances by Fred get lost in the shuffle of beautiful black-and-white images Gwynne, Kate Nelligan and others. ated. Yes, the filmmakeris latest attempt at Famous Actors which reflect Allen’s admiration for German Expression­ Answer Life’s Questions, this time called Shadows and Jodie Foster, Lily Tomlin and John Cusak also have ism. The film is a wonder to see, as Allen makes smoke, small roles, generating lots of “Look, it’s Jodie Foster!” Fog (at the Riviera Theatre), is one of his slightest come­ haze, and yes, shadows and fog, as much a character as the dies. There’s hardly anything funny here, and the philoso­ cries from the audience. But the real star of this film is the one played by Mia Farrow. mind of Allen which pays homage to a bygone era. Afterall, phical moralizing which makes much of Allen’s work stand Yes, Farrow is again cast in an Allen film. This woman is out seems extraneous. with 86 minutes of contrived sequences and strained dia­ a terrific actress (Hannah and Her Sisters and A lice offer logue, there’s not much else to admire. But while Woody Allen the screenwriter clearly runs into proof), but will somebody else please give her a job? Allen a brick wall, Woody Allen the director presents one of his playing the foolish schm iel in eveiy film is hilarious; Far­ finest visions. Shadows and Fog sinks as a film on its own, row playing the frustrated wife eveiy outing is constricting. —Brian Banks h 8A Thursday, April 2,1992 Daily Nexus

Apacopda UCSB's American Shakespeare Company 935 Embarcadero Del Norte 685-3112 presents

4/2 THURSDAY LOVE'S LABOR'S OFFICIAL RESISTANCE A S . Program Board 4/34 /3 FRIDAYF : LOST DEAD! ANGEL KRO N IX Directed by Homer Swander EPIDEMIC at the new Girvetz Theater (1004) 4/4 SATURDAY Thu.-Sun., March 12-15 / 7:30 PM EEK-A-MOUSE (2 PM matinee-Sun., Mar. 15) 4/5 SUNDAY Thu.-Sun., April 2-5 / 7:30 PM Presents: M D C ! (2 PM matinee-Sun., Apr. 5) Agent 94 Thu.-Sun., April 9-12 / 7:30 PM 4/8 WEDNESDAY PSYCHEFUNKAPUS (2 PM matinee-Sat, Apr. 11 & Sun., Apr. 12) ; 4/9 THURSDAY Admission: $8 / $5 Students PS LAW For more information call: 4/10 FRIDAY UCSB Arts & Lectures (805) 893-3535 LEAD HEAD Special Performance Friday, April 24 / 7:30 PM F«S AVO CAD O P S P * SATURDAY I INDICA, CRE^TuS1^ ATURE 4/13 MONDAY SUNDAE CULTURE HEY UCSB! 4/14 TUESDAY BADLANDS 4/15 W EDNESDAY W IND C A V E & WINDCAVE - 4/Î6THURSOAY' ROCK PHISH WIDESPREAD PANIC UCSB STUDENTS: $2 GENERAL: $3 8PM 4/17 FRIDAY AT THE PUB COME EARLY DESMOND DEKKER THE SPECS * and upstairs w/ DOWNCAST UNDERTOW ¿114/18 SATURDAY e # i/v u _ | E IN SUPPORT OF HANDICAP AWARENESS WEEK SOCIAL DISTORTION PEGBOY 4/2/4/24 FRIDAY EVERY THURSDAY MIGHT JOHN MAYALL 9:30 pm - Midnight T«7 c o m e d y 5/6 WEDNESDAY . YELLOWMAN • All you can Bowl $10/person 5/18 MONDAY • KTYD DJ Plays the Latest Hits YOUNGGODS NIGHT • Prizes from _i |:5/22FRIDraiï W/ Steve Altman and Gene Mitchener DEFIANCE KRONIX • 991 Beer & tape store AT THE PUB 8PM TICKETS $2/$3 INDICA • Domino's Pizza Specials 5/29 FRIDAY 2 NICE GIRLS TICKET INFO: 685-5901 ORCH/D BOWL = • 5926 Calle Real • Hwy 101 at Fairview in Goleta • 967-0128 wiDs ACOUSTICS E w/ Ari Gorman’s Omniverous UCSB ARTS & LECTURES Jazz Odyssey AT THE PUB 4PM ALWAYS WED ALWAYS FREE Take Two film series All those films you heard about, read about, were interested in, and just never got around to seeing. Or you saw them, and couldn't stop thinking about them. All screenings are Thursdays at 8 PM in UCSB Campbell Hall. Series passes: $15. Students: $9.

SWERVEDRIVER MONSTER MAGNETS THUR APRIL 23 ROB GYII TICKETS ON SALE SAT 10 AMI Boy? N the Hood Barton Fink A surreal fantasy about an intdlec- A.S. TICKET OFFICE OPEN 10 - 2 SAT FOR STU TICKETS tual writing a movie script in the 1940s. April 1 UCSB STUDENTS: $15 GENERAL: $17.50 TICKETS AVAILABLE AT ALL TICKETMASTER OUTLETS Prospero’s Books The aging Prospero INCLUDING MORNINGLORY RECORDS. STUDENT transforms an entire island with magic. April 9. TICKETS ARE AVAILABLE ONLY AT THE A.S. TICKET OFFICE AND ARE LIMITED TO TWO PER REG CARD. ThO Rapture A bored telephone operator engages in sexual adventures with strangers by night. April 16.

BoyzN the Hood Black youth coming of age in a JOIN PROGRAM BOARD! dangerous South Central LA. neighborhood. April 30. WE ARE NOW ACCEPTING APPLICATIONS FOR NEXT Life IS Sweet A quirky family with 20-year-old YEAR’S BOARD. IF YOU WANT TO BE INVOLVED IN twin daughters takes on life and its frequent CAMPUS EVENTS, COME AND PICK-UP AN APPLICA­ disillusionment May 14 TION AT THE A.S. PROGRAM BOARD OFFICE ON THE 3RD FLOOR OF THE UCEN. ALL POSITIONS ARE OPEN City of Hope Corruption pervades Hudson City TO RETURNING STUDENTS. DO YOU HAVE WHAT IT where only individual honesty and small acts of TAKES? IF YOU THINK YOU DO, COME IN TODAY courage can salvage life. May 21 AND FILL OUT AN APPLICATION. Single tickets for each film will be on sale at the door, as available, beginning at 7 PM. General public: $5. Students: $3.

FOR MORE IMFO CALL 893-3536 For information call: 893-3535