/ednesday • November 26, 1997
E The Battalion
NTERTAINMENT
'arden heralds good and bad of Eastwood
eview
Midnight in the Garden
of Good and Evil
Starring John Cusack
and Kevin Spacey
Directed by Clint Eastwood
Playing at Hollywood 16
*** (out of five)
Tdnight in the Garden of
Good and Evil tries to coast
by on Southern hospitality,
ut ends up overstaying its welcome.
Midnight in the Garden of Good
ndEvil is based on the best-sell-
^ig book of the same name. It is
he non-fiction account of a mur-
er trial in Savannah, Ga., and the
own’s quirky residents.
The film boasts many strong
oints, but the weaknesses end up
uining what could have been an
excellent movie.
The movie begins with reporter
John Kelso (John Cusack) traveling
to Savannah in hopes of writing an
article on Jim Williams’ (Kevin
Spacey) annual Christmas party.
Instead, Kelso finds himself
embroiled in scandal as Williams
is charged with murdering his gay
lover. In an effort to get the stoiy,
he becomes an informal member
ofWilliams’ defense team, which is
led by down-home lawyer Sonny
Seiler (JackThompson).
The acting in the film is superb
for the most part. Spacey and
Thompson’s Southern accents are
on the money. Thompson almost
steals the show as a “Matlock”-ian
defense attorney.
John Cusack is his reliable self
and adds an every-man presence
to his character.
Lady Chablis, a local drag
queen, is entertaining with his/her
“Rupaul-esque” antics. This cocky
she-male garners laughs with al
most every seen he/she is in.
The main problem lies with the
writing and directing of Midnight.
The script is too scattershot, as
it tries to introduce as many crazy
characters as possible. It is like
watching an episode of the “Gong
Show,” where each person tries to
top the other with wacky antics.
In the book, the medley of char
acters works to its advantage. In
the movie, this mix diminishes the
leads to the point where the audi
ence doesn’t care about anybody,
which is a shame considering the
actors involved.
There are some light-hearted
moments. However, the point
where the movie falters is when it
tries for a sort of pseudo-mysticism.
The scenes ring false and feel like a
rejected “Twin Peaks” episode.
Eastwood is a great director, but
it seems as if he was sleepwalking
through this one. The cinematog
raphy is very uninspired consider
ing the Georgia locales where it
was shot. The movie lacks the
emotional punch of Unforgiven.
X
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Kevin Spacey stars in the new drama
Midnight in the Garden of Good and Evil
Midnight in the Garden of Good
and Evil could have been as tanta
lizing as a fresh Georgia peach, but
instead, it is more like canned
peaches — good, but there is
much better.
— By Travis Irby
wJsHI
ic Blasters from the past re-release
Review fj rst a ib um t 0 r0 ck ’90s music
■O ~
TV)
tST-
The Blasters
American Music
Hightone Records
★ ★★★ 1/2 (out of five)
mong the rock bands that emerged
from the Los Angeles scene in the ’80s,
-the Blasters were the most “roots-
conscious,” producing a sound that took in
fluences from rockabilly, hillbilly and R&B.
The band actually formed in the late ’70s
and released its first album, American Music,
in 1980.
The CD reissue of the Blaster’s debut al
bum sounds as refreshing as it did 17 years
ago. The album sounds as if it could have
been cut in Elvis’ Sun studios in Memphis
in 1955.
The band’s tight rhythm section has each
song swinging, and listeners will find it nearly
impossible to stop the tapping of their feet
while listening. Dave Alvin’s rockabilly guitar
licks and brother Phil’s wail round out the
Blaster’s sound.
The songs on American Music are exactly
what the title says.
Alvin’s lyrics deal with love, heartbreak
and prison.
The Buddy Holly-like “Marie, Marie” is one
of the best songs no one has heard. The
songs’ raved-up tempo and catchy guitar riffs
lead the way for two minutes of rocking.
“Barefoot Rock” features a slapstick
rhythm section, and is another great fast-
paced tune. The band works a fine R&B
groove on “Flat Top Joint,” and Phil Alvin de
livers country yodel in the locomotive “Never
No More Blues.”
The CD reissue also includes six additional
tracks that did not appear on the original
record. The new songs mix in well with the
original songs and do not sound out-of-place.
Although the album was originally re
leased in 1980, it is a “new” release for main
stream audiences. Less than 2,000 copies of
the original LP were released, and it has been
out of print since.
This album is an excellent pickup for fans
of the band and a great introduction for
anyone who likes rockabilly music in gener
al. The disc maintains the warm sound of
the original vinyl, and the liner notes are a
nice touch. This disc reminds us that some
of the best music made cannot be heard on
the radio.
— By Robert Smith
Of
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