Page 4
The Battalion
Thursday, November 11,1993
Nails, etc.
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THURSDAY 11/11
The Road Kings
See our ad on page 5
FRIDAY 11/12
Bi£
Otis
$6. Cover
SATURDAY 11/13
Joe Ely
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iZ]
THE AGGIE PLAYERS
THEATRE at A&M since 1945
Edu/ard A/bee's
A Pulitzer Prize winning play
from the author of
Who's Afraid of Virginia Woolf?
November 4-6 10-13, 1993
8:00 p.m. Rudder Forum
Students: $5.00 General Public: $7.00
Groups of 10 or more: $4.00 per ticket
Tickets available at the
MSC Box Office in Rudder.
To order by phone call 845-1234
Produced through special arrangement
with Samuel French, Inc.
Fill *
A Tearless’ portrayal by Bridges
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By Joe Leih
The Battalion
"Fearless"
Starring Jeff Bridges, Isabella Rossellini and
Rosie Perez
Directed by Peter Weir
Rated R
Playing at Cinema III
n irector Peter Weir can claim a cinematic re
sume that includes a long list of such ad
mirable films as "Green Card," "Witness"
and "Dead Poets Society." But he has far sur
passed his previous ventures with his latest
release "Fearless."
By employing incredible skill and finesse,
Weir's awe-inspiring film will easily be hailed
as his masterpiece.
The story (written by Rafael Yglesias and
based on his book) revolves around Max Klein
(Jeff Bridges), an architect who survives a
heinous plane crash but isn't hurt, saddened,
or in any way distressed about the event. In
fact, Klein develops a god complex, believing
he is invincible.
To test this divinity, Klein constantly
tempts death in a variety of ways and ends up
alienating himself from his wife (Isabella
Rossellini). Klein then turns to fellow passen
ger Carla Rodrigo (Rosie Perez) to help her
with her guilt about the crash, but Klein seems
intent on a path of self destruction.
Bridges brilliantly plays the part of Klein.
With subtle, sophisticated mannerisms.
Bridges magically brings out Klein's inner
struggle witn mortality. Plus, Rossellini and
Perez are incredible as the two polar women
pulling at Klein's turbulent life.
But Weir's camera direction is the jewel of
the film. His array of extreme close-ups skillful
ly points out Klein's attempt to piece together
the life of a crash victim, and Weir's random,
jolting shots of the plunging plane richly show
the stark terror of the passengers.
Weir definitely deserves an Academy Award
nomination for this effort. But with the directors
of such films as "The Remains of the Day," "In
the Line of Fire" and "The Age of Innocence"
crowding the ballot, he might be overlooked.
That would be a tragedy.
* u '* , ■ *r *■ V- /•- • •
Flesh and hone... ’ stretched and dry
By Jacqueline Ayotte
The Batt alion
"Flesh and Bone"
Starring Meg Ryan and Dennis Quaid
Directed by Steve Kloves
Rated R
Playing at Schulman VI
If only the long version of "Flesh
and Bone" were edited down to a
brief, hour-long film, it could pass as
award winning.
It's too bad because the long version
is the real version, and it's downright
disappointing.
Yes, it has Meg Ryan, Dennis Quaid,
James Caan, murder, sex and even
mystery.
What more could you ask for?
Try a bottle of vivarin.
Each scene captures in full detail the
dry, vast plains of West Texas. But the
story drags on and on along with the
bland atmosphere. It loses the view
er's interest by the time the plot should
be well on its way to thickening.
Dennis Quaid and Meg Ryan star in the overdrawn film "Flesh and Bone.
The story opens with a West Texas
farm family taking in a lost little boy,
Arlis Sweeney (Quaid), for the night.
While they're sleeping, the boy begins to
rob their house and lets in his shot-gun
wielding father, Roy Sweeney (Caan).
When a member of the family wakes up,
Sweeney scolds the boy and shoots the
family except for a baby girl who's left
alone, screaming in the night.
The film immediately cuts to 30
years later, when Arlis has grown up,
never to forget that haunting night.
His life is drab and relies mostly upon
See 'Flesh and Bone'/Page 6
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