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Page 10 ? January 23, 1985 E ntertainment THE GAMECOCK O Here's anothi By Andy Duncan Two days ago, my assistant editor offered his views on the best and worst movies of 1984. In the interests of truth and fair play, I now present my own lists. Surprisingly, we seldom over lap, proving once again how miojeciivc mis reviewing ousiness is. We'll start out with the best movies, counting down to No. 1. THE KARATE KII) John Avildsen, who directed "Rocky," uses the same basic formula with great success in this charmer about a wimp and his Oriental mentor. The chcmistry between Ralph Macchio and Pat Morita holds the interest more than the familiar plot does. THE BOUNTY Yet another retelling of that South Seas mutiny, a leaky vehicle to be sure, but this one is kept afloat by Robert Bolt's intelligent screenplay and Anthony Hopkin's magnificent portrayal of Capt. Bligh. Directed by Roger Donaldson. A PASSAGE TO INDIA David Lean's meticulous version of the E.M. Forstcr novel boasts good performances and superb photography, but the messages grow murky in the second half. Still, it's a commendable effort, and actors Peggy Ashcroft, Alec Guinness, James F-ox and Victor Banerjee can't be faulted. GREMLINS Joe Dante's sick joke turns "E.T." upside down in a fascinating potpourri of comedy, horror and general eccen tricity. That Steven Spielberg was one of the executives behind this movie proves he's a good spun, my fiiciid Robert O'Cor.rcr put this movie among his worst; I guess he didn't get the joke. THE FLAMINGO KID We agree on this one, in which Matt Dillon abandons his tiresome hoodlum image to play a naive, somewhat inept teenager in a refreshing comedy about growing up in 1963. Directed and co-written by Garry Marshall. STARMAN Jeff Bridges is an alien in human form and Karen Allen as his down to-earth love intcicst in the best science fiction film of the year. This is director John Carpenter's finest work yet. THF. DKKSSKR This filmed play provides grand theatrical roles for Albert Finney as a crumbling Shakespearean actor and Tom Courtenay as his clinging assistant. Their performances are almost too big for the movie scrcen. Written by Ronald Harwood. based on his play; directed by Peter Yates. 'Burning dow Culture Cli sflmm t , ' *KH|glg5p^g "Waking Up With the Houta on Fire" shows commiseration with the world. er opinion on GHOSTBUSTERS This witty tale of misfits battling a supernatural invasion of New York City is a grand comedy in the old style, with hilarious performances by Bill Murray, Dan Avkroyd, Harold Ramis and Rick Moranis. Written by Aykroyd and Ramis; directed by Ivan Reitman. TERMS OK ENDEARMENT The Oscarwinning Best Picture is a touching celebration of American oddballs. Shirley MacLaine and Jack Nicholson won richly deserved Oscars, but Dcbra Winger and John Lithgow are no less praiseworthy. Based on the novel by Larry McMurtry; written and directed by James Brooks. THE NATURAL The real best movie of 1984 is this combination baseball yarn, Homeric epic and top-drawer entertaining Hollywood hokum. The best cast in years includes Robert Rcdford, Robert Duvall, Glenn Close, Wilford Brimley, Richard Farnsworth, Robert Prosky, Darren McGavin, Kim Basingcr, Barbara Hershey anH 51 nir/?lv rnmir 1 np Hnn Ralf*r RncpH r*n the novel by Bernard Malaniud; directed by Barry Levinson. But put away the bouquets and reach for the mildewed vegetables, for we now herald the true stinkers of 1984, going in order down in the depths to the biggest bomb of them all. KEI) DAWN John Milius's inept movie tries to excuse its mindless violence by directing most of it against Communist invaders. Well, 1 hate Communist invaders, but 1 also hate movies that pervert patriotism into cheap thrills and fast bucks. Powers Boothe deserves better. CANNONBALL RUN II Burt Reynolds and his buddies assemble to party and laugh at each other's unfunny jokes. The result is about as entertaining as a test pattern. Director Mai Needham doesn't even muster the energy to include a decent car chase; I guess hn mrrprfl \/ it u/acn't u/nrth thp effort. DUNK Frank Herbert's great sciencefiction novel goes to dust at the hands of writer-director David Lynch. Lots of fine performers are in it, but none are allowed to make an impression; audiences who haven't read the book will probably wonder what ail the fuss was about after sitting through this drivel. NO SMALL AFFAIR This sex comedy has no sex, no comedy and no characters I'd like to sit next to on me suoway, mucn less n the house? jb's Boy Georc By Robert O'Connor Boy George's usually entl audience may not feel the spend money on what appea less fun music ("war is slur people arc stupid" is one of th< but the third album by 1 Culture Club is their most inti The campy title, "Waking the House on I-ire * * taken I prehistoric Doris Day film, j George's blindingly red hair have confused commercial I Culture Club is an established i excellent musical talents wii than face-value reasons ft record-chart victories.. "Waking Up" offers Boy C his most intert&tihg and* intrO strengthening the near-perfei 1984's "Colour by Numbers.' "WAKING UP" is a ripei duct of George's misery and c for the world's negatives. F anti-war precision of the wid< "The War Song" to the mood of "Mistake No.3," this four has created 10 undeniably in SOURS. K9HH Side one opens with the pr< "Dangerous Man," which sets g .g but ordinary temper for the Drummer Jon Moss, bassis Craig and guitarist Roy Hay 1984's film hig ff hp ;-^bbb^^btt^^t^^^essb 'it'--pn| 1 Karen Allen was starstruck by Jeft Bridget in John Carpe pay money to watch onscreen. George Wendt the se deserves better. waste SUDDEN IMPACT Clint Eastwood's Tl fourth Dirty Harry movie is mean-spirited I didr swill, filled with brutal shootings, castra- pect tions, stabbings and rapes. It cheapens the coher performers and the audience, and the fact it humc made so much money is shameful. creau deed BEST DEFENSE Dudley Moore and Ed- such die Murphy wander around in search of a of IS script and something to do. Could no one on ihat t m W \e sizzles on 'set safe and sometimes unnoticeable lusiastic backdrop to the sexual confusion that need to Boy George's lyrics are rich in. rs to be "Dangerous Man" embroils the >id, and listener in a bewildering statement on c lyrics), sexuality. Britain's Genders and sexual ambiguity are riguirig. 'be reigning themes on "Waking Up." Up with Underneath the outrageous facade and from a disinterest in public opinion lies a per?nd Boy former who seems very unhappy and seem to utterly lonely. Boy George's writing isteners. reflects this to a curious degree. group of "The War Song" broke Culture ;h more Club's string of seven top-10 hits and >r their at f'rsl seemed out of place within the rigid( pop music confines o^ .Culture ieorge at nClubU Gtorge zoomed in orii'Chilli'I sjictive, : wanand 1!: 1 ction of listeners in the process. Nevertheless, the tune is a, rhythmic. an<J;lyrifcfil wonder. rted proontempt "UNFORTUNATE THING" is a rom the reflection of Boy George's undirected >|y hated past. ("I was sure I'd get my reward in v heautv time"), while "Crime Time" evokes -man act energy with its somewhat rockabilly teresting s,y'e and undaunted pleasant nature. However, "Mistake No. 3" is the stimulating force on side one. :dictable a bright Boy George completely controls the album. tune. The vocals echo hauntingly t Mikey through a song that could not be more offer a emotionally correct. ("Why is my love |hs, lows IB Splf' - .^grME ~ ' jB'"'' ip?'- :: ':|^^^AS8^5*pEiE:l 23^K iwniiiiii' 'ii'Wfljj m. . ; ? nter's best film yst "Starman." ^ ;t think of any jokes to include? The of talent is criminal. UK JOY OF SEX With a title like that, i't expect Shaw or Ibsen, but 1 did exsome attempt at plot, one or two ent lines of dialogue, a few stabs at ir and some other indication that its 3rs planned to make a real movie, or inhad ever seen a real movie before. No luck. The director of this worst movie >84 was Martha Coolidge. Remember lame, and beware. ^ 9 ious' album such a struggle with life "). The sadness of "Mistake No. 3" works because it asserts that the world is cold and unfeeling rather than accepting and tolerant. ("How cynical A are people.") SIDK TWO serves up a more passionate and personal aspect of this chameleon performer. "The Di\e" begins the side on a sly note with a mischievous beat and token Culture Club rhythm. "The Medal Song" is a particularly beautiful song, but not as easy to figure out. With allusions to Francis ;Farmer qnd man's detestable nature, **The Me^al Song'* is a quirky tune. ? yJuifefUJll hfeWhi tftVikme as ft was ^ain.") J .".Don't Tajk-Abpyi It?" similar to last year's "Miss Me Blind," has an unusually upbeat message. "Mannequin" comments on a love relationship out nas the album's weakest melody. Closing out "Waking Up" is the powerful "Hello Goodbye," which has nothing to say, but is meiodically infectious all the same. "Waking Up" is less a group effort * than an invitation into the lonely and sometimes troublesome world of Boy \ George. Culture Club has made its third album its most interesting.