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WEEKEND MOVIE LISTINGS Russell House Theater MOULIN ROUGE 8:00 (Fri. only) Nickelodeon 937 Main St., 254-3433 THE ANNIVERSARY PARTY (R) 7:00,9:15 (3:00 Sat. & Sun.) Regal Cinema 7 Columbia Richland Mall, 748-9044 ROCK STAR 2:15,4:45,7:15,'10:10pm AMERICAN PIE 2 (R) 2:05,4:35,7:30,10:00 THE PRINCESS DIARIES (G) 2:00,4:40,7:10,9:40 THE OTHERS (PG-13) 2:10,4:40,7:25,9:50 TWO CAN PLAY THAT GAME (R) 2:05,2:35,4:30, 5:00,7:00,7:30, Q-on m nn THEMUSKETEER (PG-13) 2:00,4:25,7:20,9:45 Carmike Wynnsong 10 5320 Forest Drive, 782 8100 CAPT. CORELLI’S MANDOLIN (R) 1:45,4:20,7:10,9:50 HARDBALL (R) Sneak preview 7:15 Sat. JAY & SILENT BOB STRIKE BACK (R) 1:40,4:15,7:00,9:45 JEEPERS CREEPERS (R) 1:40,4:10,7:20,9:45 JURASSIC PARK 3 (PG-13) 1:30,4:30,7:00,9:15 LEGALLY BLONDE (PG-13) 1:30,4:20,7:20,9:40 “0” (R) 1:50,4:45,7:30,9:50 OSMOSIS JONES (PG) 1:45,4:30,7:15,9:20 RAT RACE (PG-13) 1:45,4:20,7:15,9:45 (No 7:15 Sat. show) RUSH HOUR 2 (PG-13) 1:30,4:00,7:15,9:30 SUMMER CATCH (PG-13) 1:50,4:15,7:10,9:40 Columbiana Place Stadium Cinemas 1250 Bower Parkway, 407 9898 BUBBLE BOY (PG-13) 12:50,2:50,4:50,6:55,9:05 CAPT. CORELLI’S MANDOLIN (R) 1:45,4:45,7:30,10:20 THE CURSE OF THE JADE SCORPION (PG-13) 1:15,3:40,7:05,9:25 JAY & SILENT BOB STRIKE BACK (R) 2:00,2:45,4:30,5:15,7:00,7:45,9:30, 10:15 JEEPERS CREEPERS (R) 1:25,3:45,7:10, 9:20 JURASSIC PARK 3 (PG-13) 1:10,4:00,7:35,9:40 LEGALLY BLONDE (PG-13) 1:30,5:30,8:00,10:25 OSMOSIS JONES (PG) 1:00,3:30,5:45,7:50 PEARL HARBOR (PG-13) 12:55,4:30,8:05 RAT RACE (PG-13) 2:05,4:40,7:15,9:45 THE SCORE(R) . 2:15,5:00,7:40,10:15 SHREK(PG) 1:20,3:35,6:45,9:00 SUMMER CATCH (PG-13) 2:30,5:05,7:25,9:50 Dutch Square Cinema , 14 800 Bush River Road, 750-3576 AMERICAN PIE 2 (R) 1:30,4:10,7:10,9:30(11:50 Fri. & Sat.) THE DEEP END (R) 1:50,4:30,7:40,10:00 HARDBALL (R) Sneak preview 7:30 Sat. JAY & SILENT BOB STRIKE BACK (R) 2:00,4:40,7:45,10:10 JEEPERS CREEPERS (R) 1:10,3:10,5:10,7:20,9:20 (11:40 Fri & Sat.) THE MUSKETEER (PG-13) 1:30,4:10,7:30,9:50 “0” (R) 1:00,3:10,5:20,7:40,9:40 (11:40 Fri. & Sat.) THE OTHERS (PG-13) 1:20,4:00,7:20,9:40 (Midnight Fri. & Sat.) PLANET OF THE APES (PG-13) 1:40,4:20,7:10,9:50 PRINCESS DIARIES (G) 1:15,4:00,7:00,9:30 RAT RACE (PG-13) 1:10,4:00,7:30,9:50 (No 7:30 Sat. show) ROCK STAR(R) 1:20,4:20,7:10,9:30 (11:50 Fri. & Sat.) RUSH HOUR 2 (R) 1:00,3:00,5:00,7:50,10:00 (Midnight Fri. & Sat.) SUMMER CATCH (PG-13) 1:40,4:40,7:50,10:05 TWO CAN PLAY THAT GAME (R) 2:00,4:30,7:00,9:20 (11:30 Fri. & Sat.) St. Andrews Road Stadium Cinemas 527 Saint Andrews Rd, 772-7469 DR. DOLITTLE2 (PG) 2:15,3:50,5:20,6:50,8:20 (9:50 Fri. & Sat.) THE MUMMY RETURNS (PG-13) 2:00,4:25,7:00 (9:20 Fri. & Sat.) ORIGINAL SIN (R) 2:10,4:20,7:05 (9:15 Fri. & Sat.) SPY KIDS (PG) 2:30,4:15,6:00,7:40 (9:25 Fri. & Sat.) TOMB RAIDER (PG-13) 2:20,4:05,5:50,7:45 (9:30 Fri. & Sat.) Carmike Cinemas 14 122 Afton Court, 781-3067 AMERICA’S SWEETHEARTS (PG 13) 1:30,4:00,7:00,9:30 AMERICAN OUTLAWS (PG-13) 2:15,4:15,7:30,9:45 AMERICAN PIE 2 (R) 1:30,4:15,7:00,9:30 CATS & DOGS (PG) 2:00,4:00,7:00 THE FAST AND THE FURIOUS (PG-13) 2:10,4:40,7:10,9:40 GHOSTS OF MARS (R) 9:15 THE MUSKETEER (PG-13) 1:45,4:30,7:15,9:30 “0” (R) 1:30,4:30,7:00,9:45 THE OTHERS (PG-13) 1:30,4:30,7:15,9:30 PLANET OF THE APES (PG-13) 1:45,4:30,7:15,9:45 PRINCESS DIARIES (G) 1:45,4:15,7:00,9:30 ROCK STAR(R) 2:15,4:40,7:00,9:20 RUSH HOUR 2 (PG-13) 1:30,3:30,7:15,9:15 SPY KIDS (PG) 2:30,4:30,7:15,9:30 TWO CAN PLAY THAT GAME (R) 2:00,4:30,7:45,9:50 Movies at Polo Road 9700 Two Notch Rd, 788 7818 AMERICAN PIE 2 (R) 1:15,3:20,5:25,7:30,9:35 JEEPERS CREEPERS (R) 1:05,3:05,5:05,7:05,9:05 MOULIN ROUGE (PG-13) Open-caption presentations 1:00 Sat. & 3:35 Sun. THE MUSKETEER (PG-13) 1:00,3:05,5:10,7:15,9:20 PLANET OF THE APES (PG-13) 1:00,3:30,7:15,9:35 (Note: No 1:00 Sat. or 3:30 Sun. shows) PRINCESS DIARIES (G) 12:50,3:05,5:20,7:35,9:45 RAT RACE (PG-13) 12:55,3:10,5:30,7:40,9:50 ROCK STAR(R) 12:45,3:00,5:15,7:30,9:45 RUSH HOUR 2 (PG-13) 1:00,3:00,5:00,7:00,9:00 Gambrell Hall Auditorium, Room 153 THE CONVERSATION (PG) 6:30 Sun. Levereaux Remembering a lost friend CONTINUED FROM PAGE 5 Smith back. Why do people have to die young? Why is it always the people most full of life—those who understand what living really is long before the rest of us figure it out—have theirs cut so short? Why can’t the good live to be a thousand and the evil die before they grow up? Imagine what the world would be like if Hitler had died of pneumonia as a baby. In the face of this cliched question, we are offered platitudes that are just as enigmatic. We must remember that people are born, and people die, and it’s completely out of our control. There is a time for everything, and everything has its time. But Smith, we still miss you. Singer Ryan Adams shines like Gold BY TUG BAKER THE GAMECOCK Ladies and gentlemen, I have heard the Next Big Thing, and his name is Ryan Adams. No, not that Canadian. Drop theB. Formerly the singer/song writer behind alternative country band Whiskeytown, Ryan Adams took a break from the group in late 1999 to pursue a solo venture. The 26-year-old Jacksonville, N.C., native moved to New York City and began writing songs on his acoustic guitars sans pick so his apartment neighbors wouldn’t complain about the noise. These writing sessions became last year’s much-lauded album, Heartbreaker. The fifteen tracks on his debut showed a startliiig amount of maturity and talent in such a young individual. James Iha (former guitarist for the Smashing Pumkins) once said Adams could “write an album in a month”, and he’s not far off. Even though he just finished a Whiskeytown album released earlier this year, Ryan Adams’ new offering, Gold, is due out September 25, a year after Heartbreaker. Gold focuses on Adams’ [MNP@7:30] Beginning September 10 Mondays @7:30 p.m. in Boyce Chapel at Columbia's First Baptist Church Come experience worship in a relevant, new way. Featuring: worship band, drama, and Bible Teaching that connects with our daily living and targets young adults ages 18-35. — Is Holding an Open Call Audition at: Embassy Suites 200 Stoneridge Dr. Columbia, SC Greystone Exit off 1-26 Sunday September 9th 12 noon Auditions are on a first come first serve basis. We suggest that you arrive early. i-*-J LIKE WHAT YOU SEE? COULD CARE LESS? E-MAIL GAMECOCKMIXEDITOR@HOTMAIL.COM original, “Highwater Every where,” from which Dylan bor rows the title. Then there’s “Mississippi,” easily the finest track on the al bum. It might even be the best song Dylan has written since Blood on the Tracks, and “best” is not a superlative lightly ap plied to the Dylan cannon. Some may balk at the song’s instant pop appeal, but the lyrics give the song depth. The melody features a simple, rising bass line, but the band plays it with flair and fi nesse. Its members prove what Dylan says of them on tour: that they are “the finest bunch of players in the country.” Dylan responds in kind and gives one of his best studio performances ever (the album was recorded live in the studio, with few over dubs). Dylan’s delivery on the chorus (“stayed in Mississippi a day too long”) seems perfect. A song of this caliber is the hall mark of every great Dylan al bum. The obvious, lingering ques tion, though, is how Dylan con tinues to surpass his own leg endary history. Where does he go from here? Most likely back on the road, where he always ends up, destined to live out his life a true vagabond. In fact, a fall tour has already been scheduled. Even in Dylan’s old age, his phe nomenal ability to write and per form songs continues unabated. Perhaps he says it best in “Mis sissippi” when he promises that “things should start to get inter esting right about now. deed, the band (Dylan’s current touring band plus Augie Meyers on organ) blends exceptionally well with Dylan’s vocal delivery throughout the album. “Summer Days” is a thrilling Western swing number one could easily imagine in any old juke joint. “Bye and Bye” and “Moonlight” are jazzy numbers, a la George Gershwin, and showcase Dylan as a crooner (a role he almost pillls off)- “Floater” does just what its title suggests, thanks to Larry Campbell on violin. These songs are timeless; they would sound just as natural coming out of a 1930s family radio. Dylan mixes up the 12-bar blues format in “Cry Awhile” with surpris ingly effective tempo changes. He displays his comedic talent in “Po’ Boy.” Each line is some sort of joke or pun, delivered in the Vaudeville spirit. “Sugar Baby,” however, is no joke; the musical arrangement is as deep and dark as the lyrics. While every track on Love and Theft is a joy to listen to, three tracks elevate the album to great ness. “Lonesome Day Blues” is 12-bar perfection. A sterling ex ample of electric blues, it’s a stomping, gritty, blues rocker straight out of Maxwell Street in Chicago. Dylan howls, growls and spits the vocals out; his delivery on the word “steel,” for example, is bone-chilling. “Highwater” js a tribute to the father of the Mis sissippi Delta blues, Charlie Pat ton. The stunning, banjo-driven country-blues number rages like the mighty Mississippi River it self. It’s a tribute in the finest sense, featuring the same power and passion found on the Patton Dylan The legend lives on through recordings CONTINUED FROM PAGE 5 inspiration. The highlight of the album is its closing track, a 12 bar blues epic, “Highlands,” that clocks in at just over 16 minutes. After the release of Time Out of Mind, Dylan and his backing mu sicians took the new songs back on the road with renewed pas sion, never skipping a beat. So at age 60, with a 40-year-old music career, Dylan does not have much left to prove. But he continues to amaze. Next week, his 43rd studio album, Love and Theft, will hit record store shelves. And so the search is on for adjectives worthy of describ ing his newest work. The easiest way to understand Love and Theft is through Dy lan’s own comments. “I think of it more as a greatest hits album, Volume 1 or Volume 2. Without the hits—not yet, anyway.” This is a classic Dylan comment, sim ple yetpbscure, but it makes sense. Dylan is not talking about these songs as his own greatest hits, however. In truth, these are America’s greatest hits. Take the album’s opener “Tweedle Dee And Tweedle Dum”: It sounds as if the record ing was plucked straight from Sun Studio (Elvis, Johnny Cash) in Memphis, circa 1959. “Honest with Me” has a similar but hard er sound, and is driven by splen did slide guitar work from gui tarist Charlie Sexton. And in two loves. It is one of the best songs on the album. “The Rescue Blues,” “Touch, Feel, and Lose,” and “Tina Toledo’s Street Walking Blues” are all standard bluesy country numbers invigorated with Adams’ soulful songwriting. “Nobody Girl” is appropriately followed by “Sylvia Plath” where he pines for a moody, poetic girlfriend. “Somehow, Someday” sounds like Adams took over lead vocals for the Mavericks, and “When the Stars Go Blue” plays almost like a tribute to Gram Parsons. A true country song, it answers the question “Where do you go when you’re lonely?.... Where the stars go blue.” “Goodnight, Hollywood Blvd.” closes the album in a tearful farewell accompanied by piano and strings. With his songwriting talent and the already strong response he has received from fans and critics, it is guaranteed that Gold will hold its place as one of the best albums released this year. Ryan Adams will keep writing beautiful music, becoming a prolific contributor and possibly be the savior of country music. Whatever success he finds is well deserved. ability to emulate the different styles of his predecessors. Listening to Gold, one can hear snippets of Gram Parsons, Steve Earle, Lyle Lovett, Van Morrison, and even Bruce Springsteen. This album has more upbeat arrangements than his debut, largely due to Adam’s move from New York to Hollywood, which he considers a much more relaxed yet structured environment. Appropriately, the first song on the new album is called “New York, New York”, and the album closes with “Goodnight, Hollywood Blvd.” “New York, New York” is a fast-paced tune driven by bongo drums and Adams’ quick, clever lyrical delivery. Soon, Adams leaves the Big Apple and takes us to the laid back land of California with “Firecracker,” a rollicking song carrying hints of Wilco’s Summerteeth album. “Answering Bell” is a straightforward crush song conveyed wonderfully through a humming organ and background vocals by Adam Duritz of the Counting Crows. Slowing down the album a bit, the first ballad, “La Cienga Just Smiled” is a bittersweet account of being torn between