The gamecock. (Columbia, S.C.) 1908-2006, January 23, 1985, Page Page 10, Image 10
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.