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About The Battalion. (College Station, Tex.) 1893-current | View Entire Issue (Aug. 2, 1990)
The Battalion LIFESTYLES Th 4 Thursday, August 2,1990 Lifestyles Editor Todd Stone 845-33 Summer movie season makes solid comeback New films ‘PresumedInnocent, ’ ‘Freshman ’ strengthen mediocre season Brando parodies past success with funny, original ‘Freshman’ By John Righter Th here are very few actors capable of isolating themselves for 10 years on a Taitian island, and then out of the blue walk stone cold into a lead role and reel off an Oscar-deserving performance. In fact, Marlon Brando might be the only one. Brando must be honing his acting skills by spieling some lengthy soliloquys at the dinner table, ’cause the only thing the two-time Oscar winner has lost during his isolation has been the control of his waistline. Brando is still undoubtedly one of the greats, and his latest performance for “The Freshman,” his first starring role since “The Formula” in 1980, is once again both baffling and outstanding. “The Freshman” offers another intriguing character for the . enigmatic Brando, an actor accustomed to causing confusion in eclectic and controversial films such as “Last Tango In Paris,” “Apocalypse Now,” “Superman” and “One-Eyed Jacks.” In “The Freshman,” Brando plays the powerful, but fatherly. Carmine Sabatini, a “Godfather” parody who becomes a mentor to Clark Kellog (Matthew Broderick), a young film student who has come upon hard luck since his transfer to New York from Vermont. Kellog is introduced to Sabatini by Victor Ray (Bruno Kirby), a small-time hustler who cons Kellog out of all his belongings, and then when caught by his possessionless victim, offers to get him a job \^ith his Uncle Carmine. After having been indoctrinated to the perils of big-city life in a mere 20 minutes, with no expectation of assistance from an unsympathetic Battalion File Photo Matthew Broderick, Bruno Kirby and Marlon Brando (left to right) star in the comedy “The Freshman. faculty advisor and an equally callous environmental-extremist stepdad, Kellog hesitatingly accepts Sabatini’s offer to deliver a package for the exorbitant wage of $500. Kellog, a college student who we are led to believe is quite bright, somehow has difficulty realizing what he has gotten himself into with Sabatini and his new job. Before he can yell “Godfather II,” Kellog delivers a Komodo Dragon, is chased by the Wildlife and Fisheries Department for illegaling transporting the endangered reptile, is involuntarily engaged to Sabatini’s lovely daughter, Tina (Penelope Ann Miller), and becomes a “permanent” member of the Sabatini family. Speculating over his dire straits, Kellog figures during one of his many asides, “There’s a kind of freedom in being completely screwed, because you know things can’t get any worse.” Unfortunately, before Kellog finally resolves his life, things get even more unusual and complicated. It’s uncertain how writer and director Andrew Bergman was able to coerce Brando into portraying the tongue-in-cheek Sabatini in wake his rare film appearances. Theon! surety with Brando is that you car possibly guess what the manwiUii After a string of graphically- intense roles. Carmine Sabatiniis surprisingly warm and funny character. With Sabatini, Brando not only the most captivating fp on screen, but also, somewhat surprisingly, the funniest. The parodic parallels between Don Corleone and Carmine Sate: are wry and witty, and Brando combines old- and new-fashioned Italian stereotypes, as well as mat and female caricatures into the persona of Sabatini — an emote man not averse to tears, cheek twisting or male lip kisses. On the other hand, Sabatini also threatens stock brokers, rips off priceless pieces of art (try theMoi Lisa) and still hails Mussolini (In one scene Kellog asks Sabatini if: framed picture on the wall isinde: 1 Mussolini, to which the kingpin replies, “Well, it ain’t Tony Bennet.”). An equally bizarre casting role goes to Bert Parks as himself emceeing the entertainment at the opulent gourmet-club feast (the destination of the Komodo dragor. Parks is even more of a parody, performing hilarious tongue-in- cheek versions of “Tequilla” (complete with sombrero and moraccas), “Maggies Farm"and “There She Is, Miss America,”to the prestigious gathering. “The Freshman” really shines through Bergman’s off-beat cast:; and character exchanges. Bergmat inserts plenty of quirks and little loops to keen his film fun. Still, for Brando’s performance and Bergman’s honest attemptata superior and original comedy, “1‘ Freshman” is definitely worths Th Bt I hai prc rec Rn of: not prc a 1 Ma dis act pro 'Young Guns IF matches quality of original By Todd Stone “Young Guns II” has all the ac tion, characters and style of the first film. Being as good as the original is just dandy for most sequels, espe cially if you thought the first film was entertaining. Unfortunately, I think the original “Young Guns” was an average film, and the sequel, just the same. Emilio Estevez returns as Billy The Kid, and it doesn’t take long for him to re-unite with some of his re negade pals from the first film. Doc, played by Kiefer Sutherland, married and became a school tea cher before he was captured by a lynch squad. Thrown in a prison hole, he finds another first film pal, the stoic mexican-indian Chavez (Lou Diamond Phillips). Billy conveniently happens along to rescue them, and the gang is to gether again with a few newcomers. So what happens? Well, it seems the New Mexico governor promised to give Billy a full pardon in exchange for testify ing against members of the “Lincoln County Cattle War,” in which Billy and the gang participated during the first film. Of course, the governor lied, so Billy and the boys are forced to flee across New Mexico with ex-Billy gang member Pat Garrett (William Peterson) and a New Mexico posse chasing after them. Unfortunately, that’s about it for plot, so the narrative painfully and tediously ho-hums along. There is some good action scenes here-and- there, but not enough to make up for the simple story. Like the first film, the humor is the best element, especially from Es tevez as the Kid. He seems to be the only one enjoying this movie. Este vez is convincing as the charasmatic killer and borderline psycho Billy, but he’s the only interesting per former on screen. Sutherland is a fine actor, but screenwriter John Fusco gave him little to do other than being a martyr as Doc. Phillips has the intense screen presence but little to say as Chavez. Christian Slater and Alan Ruck’s performances as new gang members were wasted. Probably the most confusing char acter was Pat Garrett. Peterson was fine in this role, but it seemed the filmmakers couldn’t decide if Gar net “B< I Par for< Taut 4 Presumed Innocent ^ blends drama, suspense By Don Atkinson Jr. Did he kill her or didn’t he? That question will haunt you throughout “Presumed Inno cent,” the new suspense-thriller starring Harrison Ford, until the last moments of the film. Ford stars as Rusty Sabich, a prosecuter in the district attor ney’s office who has had an affair with a co-worker, Carolyn Polhe- mus (Greta Scacchi). When she is brutally raped and murdered, all the evidence points to Rusty. Needing a good lawyer, he hires Sandy Stern, played by Raul Julia (“Kiss Of The Spiderwo- man” and “The Morning After”). Stern is considered to be one of the best lawyers around, and he is Rusty’s only hope to be cleared of the charges against him. “Presumed Innocent,” based on Scott Turow’s 1987 best-sell ing novel, is a relentless film. From the beginning of the film when Rusty receives a letter read ing, “Stop it. I know it’s you,” un til the end when the identity of the killer is finally revealed, “Pre sumed Innocent” never lets up on the suspense. Director Alan J. Pakula (“All The President’s Men” and “So phie’s Choice”) maintains an even Presumed Innocent Starring Harrison Ford U1 and Raul Julia Directed By Alan J. Pakula Rated R Billy The Kid’s gang is back for more shoot-’em-up action in Battalion File Photo ‘Young Guns II.” rett should be a ruthless hunter or a flake. In one scene he may be intimidat ing, but in the next Garrett seems like an insecure ego-maniac. I don’t mind my villians having big egos, but they need to be sure of themselves before they go out and kill people. Director Geoff Murphy has some slick moments in this film with pan oramic shots of limestone canyons, plateaus and buttes, but it seems the simple narrative was too cumber some to be compelling. It’s a shame. Both “Young Guns” films had the potential of being quite good. But the actors are forced to play generic western characters (ex cept for Estevez). They do it with in tensity and zest, but it’s not enough. I admit every good western has stereotypes, but it seems that to be interesting nowadays, there needs to be something more. In case you’re a Bon Jovi fan, his music was barely noticeable through most of the film. What music I did identify as being Jovi’s was rather tame at best. With more characterization, this film could easily have been more in triguing. But if you like the stars, maybe seeing them in a western might be somewhat fun. I suppose if you have two hours to kill, “Young Guns II” will probably handle the job. But take my advice: wait for the film to reach dollar-pric- ing. You won’t have to wait long. I he film offers no easy resolutions, no quick explanations. The viewer is required to participate in the proceedings as much as the characters.Viewers used to loud, car-chase- filled-cop movies will most likely be bored with “Presumed Innocent.” chase-filled-cop movies will mosi likely be bored with “Presumed Innocent.” The action is subtle with most dialogue delivered in hushed tones. The film offers easy resolutions, no quick expla nations. The viewer is requiredto participate in the proceedings as a much as the characters. . tar jy rest a xayal The these throw! jood. :hat t; which ingen Mis; southe jerseh the ca garage that so Dais ■oyd i jomin lor.), i prive f .pie an ■with a i Miss Ford plays Rusty as a multi-lay I jng a ( ered character, obsessed one mo Hoke’s ment and ruthlessly professional dent, the next. Bonnie Bedelia (Brucf Willis’ wife in “Die Hard” and For example, the letter Rusty receives at the beginning of the film is never explained later. If you hadn’t been paying attention to an earlier line of dialogue, you would have no idea how or why the letter figures into the plot. Also, “Presumed Innocent leaves you very disturbed at thf end. The film requires you to think about the plot resolution and draw your own conclusions, Although “Presumed Inno cent” will probably not have peo pie standing in long lines toseeit the film is one of the best avail able at the movie theaters ri now. The film features a strong cast with good dialogue and excellent direction. “Die Hard 2”) turns in a strong [) a i S y j I) Dor. performance as Rusty’s wife, Bar bara, who not only must deal with her husbands infidelity, but with the possibility that he could beajj murderer. iceds ] The trong- tiff, 1 tertain A f pace throughout the film. The ac tion is never rushed or slowed needlessly. Adding to the moody atmo sphere of “Presumed Innocent” is an excellent musical score by John Williams (“The Accidental Tourist” and “Jaws”). Without a doubt, “Presumed Innocent” is a very deep film, de manding intense concentration and attention to every detail. Viewers used to loud, car- JHokc a Iferent The two strongest perforjnal an mances in “Presumed Innocent ■ friends are undoubtably those of Julia as | by over Stern and Paul Winfield as the Ify 0 judge presiding over Rusty's murder trial. Both actors bring a touch of humor to the film that is absent elsewhere. “Presumed Innocent” will make you writhe in quiet sus pense. If you’re a fan of these types of films, then “Presumed Innocent” is not to be passed up. ;ood la With Tandy Daisy” Date — Revet dvers a