4
"Like Father, Like Son"
Starring Dudley Moore and
Kirk Cameron
Directed by Rod Cameron
Rated PG-13
***
Several years ago Walt
Disney Films released a movie
entitled “Freaky Friday, ” which
is about a teenage girl who
changes minds with her
mother. In the tradition of
Disney movies of the time, it
was a light comedy.
“Like Father, Like Son”
uses the same premise with the
other sex and more adult
humor. Like the basic premise,
the script lacks creativity, and
the only worthwhile moments
in the movie are those
provided by Dudley Moore and
Kirk Cameron in their switched
roles as son and father.
When the movie begins,
Moore is playing the part of
Jack Hammond and Cameron
is portraying Jack’s son Chris.
Jack is a respected doctor at a
local hospital who has high
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hopes for his son’s future in
medicine. Chris, however, is
more interested in girls and
partying, much to his father’s
dissatisfaction.
The two accidentally obtain
a serum that causes a mind
transfer between them, and
there is no remedy immediately
available. The level of humor in
the ensuing scenes depends
largely on the abilities of Moore
and Cameron to make their
switched characters believable.
Moore is excellent as the
teenager who suddenly finds
himself with an adult body. The
best scene in the movie occurs
at a hospital board meeting
where Chris tries smoking for
the first time.
Cameron is not as skilled an
actor as Moore, but he does a
reasonable job portraying Jack
after the mind transfer. Jack
decides to go to high school as
Chris, but the problems he runs
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into are less humorous than the
happenings at the hospital.
“Like Father Like Son” is an
obvious attempt to spotlight the
talents of both Moore and
Cameron. The problem is that
the makers spent so much time
concentrating on the two that
they forgot to make the story
interesting.
There are some very funny
moments, but the movie could
have been much improved
with a better script.
-Review by Tom Reinarts
"Babylon and On"
Squeeze
A&M Records
**y 2
Squeeze is a British pop
band that first started in the late
1970s. After “Sweets from a
Stranger,” the band’s fourth
album, the members decided
to break up. Chris Difford and
Glenn Tilbrook, the two who
do most of the singing and
songwriting for Squeeze, tried
to make it as a team, but
achieved only moderate
success.
Difford and Tilbrook then
started talking to the other
band members and the
decision was made to reform.
At their best Difford and
Tilbrook are capable of writing
excellent pop songs. Past
examples of this ability are the
songs “Tempted, ” “Black
Coffee in Bed” and “Pulling
Mussels (From the Shell).”
“Babylon and On” has the
feel and sound of the previous
records, but it does not have
any songs on it that are
exceptional. This album is all
right as a whole, but it is
unlikely that any of the single
releases will do very well.
The lyrics of “Babylon and
On” generally concern human
- relationships that are not
working out. On past albums
the lyrics were very poetic and
always added to the
recordings. Those on this
album seem somewhat forced,
giving the appearance that the
recording is a fulfillment of a
contractual obligation with the
record company rather than
something the band wanted to
do.
There are few pop bands
that have as pleasing a sound
as Squeeze, but the group has
done little to change or add to it
in the past few years. It is
getting old.
The best songs on this latest
record are “Hour Glass,”
“Footprints” and “Some
Americans. ” “Hour Glass” is
the first single release. Each of
the three is slightly better than
the average pop song, but the
rest of the numbers are average
to below average.
This is not a bad album, but
considering the past
accomplishments of Squeeze, it
is disappointing.
-Review by Tom Reinarts
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