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ound in a blenderv
Kirk describes the cam!;;
song is the exception
mn the rule. Overall,tit
s innovative, usingdis
nbinations of instruct
e a unique sound.Thetl
ighlights include“1
ly Happy,” a track woi
void of fiddling, and
1 a piece describing pait
)uld be mentioned that!
> not for everyone, inch
e traumatized by the &
le scene in Deliverance,
■cent album that mayle
cross over with even this
1 to popular music,
ide: C)
—Jason
may, August 28, 2000
AGGIELIFE
Page 5
THE BATTALION
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1804 Welsh
693-2337
A&M Consolidated
2818
-^4 If
Sw. Pkwv ^
j j
www. man ay as .com
Bring It On
Starring Kirsten Dunst and
Elisha Dushku
Rated: PG-13
Directed by Peyton Reed
Moonshine Over America 99: The Documentary
Directed by Thomas Rail
songs, in turn, sound lit
at ions of the Beatles,G«
>lls and a host of feel-goo
Buy this album if you need
The energetic Bring It On will
sappoint adolescents looking for
other cotton-candy, cutesy teen
Sck. It could not be described as
jignant or revolutionary, especial-
considering the entire movie re-
lolves around cheerleading, but
"ring It On delivers more than
ere displays of tan, athletic bodies
rithing to songs like “Everybody
ance Now.”
Bright-eyed and bushy-tailed
mance Shipman, charmingly
ayedby Dunst, is the good-inten-
[oned captain of the acclaimed
anchoCarne High School cheer-
g squad. Shipman’s glittering
odd is shattered by the startling
scovery that her squad’s award
inning hip-hop dance moves have
en stolen, handspring for hand-
ring, from a spicy, less-affluent
eer squad from across town,
reel and sunny Shipman must get
[own and dirty to help her squad
'eate an original routine to per-
»rm at Nationals.
For cynical viewers who cringe
tthe release of generic, often in-
icking up. If not, pass on it iltingly simple teen movies, do
rade: C)
Hie best thing (and 1 say
arcastically as possible)!
irety. The average lengtli
given track is left playiii
TD is approximately 61/!
)t discount Bring It On right away
Jason Bennytf-it has more to offer than recent
leases She’s All That and Boys
id Girls. Refreshingly, Bring It
n neglects to include any half-
ikedj emotional subplots to pull
if the songs are played in e heartstrings. Each character is
mestly one-dimensional. There
e no attempts to create quasi-
pth in the protagonist with “par
ts that were never there,” bouts
e longer play times malt Ith eating disorders or scars from
od compilation, they doit' sfunctional relationships, which
any work on the part ofi ; always conveniently solved by
ro manages to fill a nea:i teddie Prinze Jr. types. Instead,
ite CD with only 11 tradpring It On has fun with its stereo-
; could be more indicate bes and boldly plays each one
Is call “the tracks doing!* |th such melodrama that the audi-
\ DJ of Micro’s prestige! ice finds itself feeling its infec-
d to put in a certainatnoii ous, cheerleader spirit... at least
ig tricks or at least keep or the duration of the film,
i tracks mixed togetheri 1 Bring It On presents a more en-
le. Micro does neither, raining script than the trailers re-
real tragedy here is thal ;al; the shameless display of
ance enthusiasts willbe i! »alth and attractive people inter-
:o buying this CD sithpllfted with some wickedly gratify-
o! the name attached ng bi ac k humor is a winning com-
lly, they will findsolaccim at i OI]L Q ue i ess m eets Election
oi ite tracks because • ynh a lot more eye candy. Though
x' impressed by thenBK,j]j not s i 10wn at t h e Cannes
g t em. (Grade. D) | 1T1 Festival, Bring It On is a
, n JPy pleasure worth seeing.
Jason Benn)|. a ^ B+)
— Brooke Holbert
Thomas Rail
works for a record la
bel, but Spike Lee
could learn a thing or
two about documen
taries from him. Un
like Lee’s non-docu
mentary Kings of
Comedy, this film
chronicles the entire
Moonshine tour and
gets plenty of inter
views with the artists.
By showing-the loca
tion of every show
and individual shots
of crowd members
this documentary
manages to throw in
local interest for
viewers. Bryan-Col-
lege Station residents
who attended the
shows may even find
themselves in the
first five minutes of
the film because it
begins with the dates
The Ait of War
Starring Wesley Snipes and Donald Sutherland
Directed by Christian Duguay
Every summer, Hollywood holds onto its small-budget action movies
until the end of the summer and then floods the market in hopes of recoup
ing the money spent on these films. More often than not, these movies are
sub-par and spend only a week or two at the multiplex before being
dropped for more profitable features. Regretfully, considering the talent in
volved, The Art of War is one such film. It has gunfights, it has explosions,
it even has martial arts, but this film fails to provide the most important in
gredient of movies—■'’entertainment.
Snipes plays a top-secret agent employed by the United Nations who is
only called in the most dire of circumstances, Bond must have turned off
his secret pager watch, and unfortunately, Snipes produces less-flashy re
sults. The opening of this film — complete with a “dramatic” plunge from
a high-rise is such a blatant rip off of the Bond films, it is insulting.
This movie struggles to finds its own tone and pace. The editing is so
choppy it kills any chance of developing flow in the film, and the way this
story crosses genres is almost mind-boggling. It is part action, part political
thriller, part human interest, but it never really connects with any of these
themes. In fact, for a very similar story, one would do much better just to
rent Snipes’ own Rising Sun. It is much better.
Considering the promise shown by blossoming director Christian
Duguay (The Assignment and Screamers), this film is a real disappoint
ment. After showing such genius with smaller-budget films, Duguay never
really seemed to get into this film and seems to have lost sight of the heart
of the story, if there ever were one.
Snipes is a non-entity in this film. His character could have been played
just as easily by nearly anyone else.
Several moments actually click in this clumsy film, but for the most
part, it just makes a person wish for originality instead of another film cut
from an old and antiquated formula. (Grade: D+)
— Matt McCormick
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The film combines a great
soundtrack with concert footage
and behind-the-scenes looks at the
performers lives’ on tour. This
alone would have been good, but
the multiscreen editing gives the
film a music-video feel while be
ing reminiscent of the definitive
concert documentary Woodstock.
The only disappointment in this
film is the relative lack of concert
footage with original sound. Many
of the concert scenes are over-
layed with the film’s soundtrack
music, rather than the music that
was being performed at the time.
However, the soundtrack is excel
lent, and given the overpowering
volume of the concerts (which of
ten distorts the sound during
recording) the producers can be
excused for choosing clarity over
live music.
The best part of the film is its
interviews with the stars. These
give the viewer background on the
performers and a connection with
them. Perhaps the most poignant
moment is Omar Santana’s de
scription of overcoming a debili
tating eye disorder to play in the
dark clubs.
The viewer also gets numerous
shots of the crowds, especially the
“beautiful people,” but the best of
these moments are the choice
comments by rave-goers, “Keoki
never shows,” among them. While
this film may not be available in
the local video store, concert fa
natics of all kinds will find look
ing for it worthwhile. (Grade: A)
— Jason Bennyhoff
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