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.entertainment 3-D hack j By John Vaughan In the continuing saga of "Friday the 13th," the best part for Joe Moviegoer is guessing which foolish teen-ager will receive which sharp instrument through which part of the body. Unfortunately for Joe, the worst part is that he will always guess correctly long before such exciting events occur. Even more unfortunate for Joe, the guessing has been getting easier from the original to "Part II" and now to "Part III." Ah, but this time around, there's a bonus for Joe ? all that carnage may be viewed in 3ni WELL, THE44bonus"isn'tione, and this is one Joe Moviegoer (I kind of like horror movies) who is ready to tell the producers of "Friday the 13th" that the party's over. The flimsy, contrived plot that existed in the original fell apart completely in "Part II" and it seems the good people at Jason, Inc. (yes, they've named the company after tneir crazed Kiner; were experimenting with active vagueness and deliberate confusion when they slapped together "Part III." Debbie (Tracie Savage) and Andy (Jeffrey Ra unaware of the savage bloodbath that awaits Country'leg By Johnny Boggs When "The Statler Brothers" logo appears album, two things almost can be taken foi album will sell and it will be good. The Statlers continue this popular career wi release, appropriately titled "The Legend Goe This newest collection by the most awa country music marks the last time the Statl< tenor Lew DeWitt. DeWitt, whose tremendous high notes be< tradition, retired this summer because of bad be replaced by Jimmy Fortune, who toured when DeWitt was sick. "The Legend Goes On..." is the group's wc to poor health, and ha* been replaced. ^ I W'lBIIlM WH ll'IIIBIBWM? III?IIIIWIII ? IHU1HBI ob flounder film review For those unfamiliar with this trilogy of box-office successes (with a budget as obviously small as this, Jason, Inc. is raking it in), the story has been simple. In the 1979 original, a group of teen-age summer counselors arrived at a camp on beautiful Crystal Lake, only to be methodically mutilated by an unknown killer. The heroine, if one could call her that, hpoamo tho cnlo cnrviunr unH om oraoH VM *V/ vaiv UVIV UMA TIT Vi U i tvt VltlVk ^VV? triumphant from an ax battle with the murderer, who turned out to be the camp cook, Mrs. Voorhees. APPARENTLY Mrs. Voorhees was exacting her revenge on the unsuspecting teens, because it was a group of counselors' irresponsibility that led to the drowning death of her son, Jason. The 1981 sequel opened as Jason, who i inovnl oirin Kl\j ic cnmo c nrf nf "nnHoaH" lO OV/111V OUJL t V& UIIUVC4U homicidal maniac, took his revenge on his mother's killer by pushing an ice pick through her brain. Naturally, a new heroine gers) begin a romantic interlude, them. ends'cut nev ? on a Mercury dlblim r granted: the ?????? the past few years, but tha th their newest "Years Ago," "10th Anniversj sQn..." some of the best country albur rded group in It is a difficult task to follo> jrs will feature 1981 cut and their best albi "Legend" does have its mome ^ame a Statler The album features the so t health. He will i-K>n Keia ana his older brothe with the group daughter Kim wrote one tune Phil Balsley helped adapt an sakest outing in number. ? DeWitt are the original Statler Brothers. DeWi sin predict Chris (Dana Kimmell) lunges with an ax at a Part III." And it's in 3-D! was necessary. So when the camp reopened at a later date, a tresn crop of fun-loving teens arrived to be sliced, chopped and diced..This time the film was directed by Steve Miner (the original was the child of Sean S. Cuningham), who unimaginatively showed the audience very similar attacks. The second time around, the bloodbaths were horribly predictable. Kn/*lr 5m oil li?o uitvc 10 uav,i\ 11* an ma tuiiici -league iui ill, and "Part III" unabashedly employs the same old gimmicks. By now, the scenes are so familiar one wonders why Miner didn't save some time and just re-use the footage from parts of one and two. iiie< oni? rriin i f i 1 uEi oniCi incj iicwebi ci up ui iieuumsiic post-adolescents (played typically by masochistic post-25-year-olds) driving up to Crystal Lake for a weekend of lovemaking and pot smoking. That means, of course, the audience gets to "relate" as they watch the characters make love and smoke pot. Everyone has a mate but attractive Chris (Dana Kimmell), and it's an easy guess that she is to be the heroine. Much to her surprise but not to the viewer's,she meets a former beau in the house who wants to resume their romance. During thp drivp to thp lalfP th#? Ornnn O oiv album faci review iiUp! ??By Pamela Sli t is not a complaint. Simply, usr, n ary" and "The Originals" were . series o ns released durinc their vears - ~------ " ; rorogram 01 c v up "Years Ago," the group's mernbers lm in an 18-year career, but Although v !nts* ... ? , , , . strumental se ngwriting craft of lead singer excellence. r, bass singer Harold. Harold's T^e opeilinj , DeWitt another, and baritone poSer pauj d arrange a traditional gospel Raymond Du See "Legends," page nine overtones beg UK JONGli and Dudley's viola to crea themes with v WBMSmMst Later in the ^S^MBbKhP pair of etudes had ^egun. T* stirring numl gentle, deftnei 1? It was foil \ 1 Liapounov th \ ^^|||r Jpr J greatly from t . r 13 interpreted d( \ B evening on as H tones handlec Christie's tre Albert Rouss formers shov century poetr ||| "Songs and III in a complet - grimness that H polished bari 111 u\/ui^ ri Vader sound 1 " Jllljft ability w ~ v!?;- - " :^B M> iJl Bui IE Hjyy y,, . pv Mm m ?*- 'SS '"BHwKWwMBwfe# M i demonic murderer in "Friday the 13th encounters an eccentric old man who warns them to "go back where you came from" and pulls an eyeball out of his duffel bag to express his opinion. The old man gimmick is particularly bothersome; apparently every "Friday the 13th" will have one around. Oh, hadn't I mentioned that the ending is, in the classic hack-iob tradition, left decidedly open for future sequels? I won't give the ending away, but it has been seen before (almost exactly as it is seen here) and by the end of this tedious routine, audience predictions have a very high rate of correctness. TO FLESH out the middle, we are treated fr* honb-inrtc f Vi o f fnafurn a moof nlaatrot* o tv/ MUVl\illgO VIUi V AVUtUI V U IliVUV V1VU V VI J u knitting needle, a pitchfork, a spear-gun (in one of the few effective 3-D effects), a machete, a carving knife, a sizzling fireplace poker and an ax. Noninstrumental deaths include a skull crushing and an electrocution. The 3-D, with few exceptions, does nothing for the film. The opening titles are good, the eyeball incident garners a few screams, and the spear-gun, as mentioned, is very effective. But even for the most devoted horror buffs ("It's so bad, it's good") "Friday the 13th ? Part III" is only horrible. , ilty present ressive debut law irtment of Music got its new September Con ff to a smashing start Tn^dav n with a hamber music performed entirely by faculty ocal pieces dominated the concert, the inlections were part of the program's charm and I number was a sonata by the German comindesmith, with Frits de Jonge on viola and idley on piano. The composition's romantic an the concert on a proper foot. '.'S rendition of thfi viola's r\art 117QC ConeifiirA I . _ V waw* V J^TM> V TV Vtu OV/lIOl VI V V* | expressive piano blended smoothly with the te an often haunting air, particularly in the ariations. evening, pianist W. John Williams performed a which concluded the concert as rousingly as it le first etude was a popular piece by Chopin, a ber that Williams played with studious, yet ss. ? ? ? - - owea Dy a transcendental etude by Sergei at, in its wild, unsupressed strains, differed he Chopin etude. Both selections were superbly sspite a broad variation in moods, ending the atisfactory note. neatly between the sonata and the etudes were 1 selections which served as the concert's rhaps the most intriguing of these were the that featured flutist Constance Lane, soprano 3 and pianist Charles Fugo. PLET'S "Viens! Une flute invisible soupire," a life and nature, had its aesthptiraliv niAQcinal -"J J/.V?UI"6 1 with care by all three performers. Lane and atment of the "Deux Poemes de Ronsard" by el was equally enchanting, as the two pered how well Roussell adapted Ronsard's 16thy to music. Dances of Death," by Modest Mussorgsky, was ely different vein; even the title connotes a was present throughout the two selections. The lone of Donald Gray took on Death's persona. o ne conveyed a malevolence that made Darth ike Peter Pan. Sm "Concert" page tin*