Image provided by: University of Nebraska-Lincoln Libraries, Lincoln, NE
About The daily Nebraskan. ([Lincoln, Neb.) 1901-current | View Entire Issue (April 13, 1990)
Latest ‘Ernest' film utterly without humor By John Payne Senior Reporter Television commercial star Jim Varney has reprised his role as Ernest Worrel in “Ernest Goes to Jail,” yet another in what already seems like an onslaught of bad movies starring the Roberts Dairy buffoon. Never has the importance of being Ernest been so minuscule. This hair-brained, utterly humor less flick simply is more than any film-goer should be forced to endure. The intent here obviously is slap stick, but it has failed miserably. Many of the scenes appear to be a direct rip-off of the recent Pee Wee Herman movies. It’s a good sign that a screenplay is in trouble when it starts borrowing heavily from Pec Wee. To go into any kind of depth as to what this movie is about would be pointless. Suffice to say that Ernest, who works as a janitor in a bank, -- - — suddenly finds himself in the Big House after being switched with the prison tough guy. The baddie (also played by Varney) bears an uncanny resemblance to Ernest, so with the help of his thugs, he pulls the switchc roo while Ernest is taking a tour of the penitentiary. And so, as innocent Ernest errone ously is incarcerated, the convict, - 6 —--— “Nash,” is out living Ernest’s life — and plotting to rob the bank that he now works at. Ernest, on the other hand, is scheduled to fry in the elec tric chair and must find a way to escape and stop Nash. Nothing like a little capital pun ishment humor. It’s fun for the whole family. “Ernest Goes to Jail” was ill-fated from the beginning. Its makers obvi ously were operating under the as sumption that Varney is funny. He isn’t. He wears thin very quickly, and watching him stumble around, get thumped on the head, and work his way in and out of preposterous situ ations over and over agair, makes for a painfully bad movie. And that’s the most pitiful thing about “Ernest Goes to Jail.” It doesn’t even have enough bad material to make it to the end of the movie - it has to repeat the same idiotic gags three or four times just to fill up the 1 1/2 hours. The writing here is so in ept that every joke can be seen com ing down main street before the punch line is given. One day, perhaps when we are all dead and gone, Hollywood screen writers will realize that unbelievably stupid people arc not funny, only annoying. Some more advice for filmmakers: never cast a dairy products spokes man as the lead in the comedy, with 'joxer Randall “Tex” Cobb and vari ous “Hee-Haw” stars in supporting roles. There probably arc more quali fied people out there. Here’s hoping that Varney will go back to doing 30-second TV com mercials and stop making movies. If not, let’s pray that his next flick will be “Ernest Goes Away.” Know what I mean? Brian She Mho/Daily Nebraskan Urban Dance Squad uses multitude of sounds in respectable debut effort By Michael Deeds Senior Editor_ Urban Dance Squad “Mental Floss for the Globe” Arista Yo, I’m rappin’ and uh scratchin’, and uh, no bands arc matchin’-- ME/ I’m fusin’ rap, punk, funk, it’s a snap/ Yo, I'm copyin’ Colour, Icc-T, Fish bone and othcrs/But I’m different ’cause I rap, I swear, I swear, 1 swear, no crap . .. So goes the story lor Urban Dance Squad, a talented band undoubtedly, but nothing to hold the rock presses over. Bragged up pretentiously by Arista as a band “at the hard core of the new dance underground,” the quintet specializes in a sound that docs mix a little funk, some major scratching, cuts and percussion over the steady, typical mouthings of vocalist Rudc boy. But this Amsterdam-based Dance Squad depends more on rapping and less on jamming than some of their musical associates. Arista claims the band “blew bands like Firehose and 24-7 Spy/, off the stage at Poppark Festival ’89.” OK, guys, maybe the band played great, but let’s wait until they are established in the states before we start badmouthing established acts like Hose and Spy/, both famous for monstrous live shows. Urban Dance Squad plays w ith a lot of sounds at once, and frankly, they must be praised for avoiding' electronic rhythms and pre-recorded scratches, unlike most of our favorite rap acts today. Tres Manos docs dabble with appealing but quictguitar riffs in most of the songs, conjuiing memories 01 good Beastic tunes. But Rudcboy likes his reverb, which becomes less omi nous and more annoying after awhile. “Fast Lane” captures some of the band’s supposed live energy, while Famous When You’re Dead’ ’ pokes fun at the world of martyr mass ap peal. On a dimmer note, however, “Piece of the Rock” bangs the Nancy Re agan crack-message out for the mil lionth time to a world that knows the same old song by heart. Urban Dance Squad is a respect able band making a respectable debut effort. The band lakes few chances on the 13 cuts, but after louring with acts like Red Hot Chili Peppers and Tin Machine, should have little trouble breaking out in America. Chills Continued from Page 9 Andrew Todd with keyboards and backing vocals, Justin Hanvood on bass and backing vocals, and James Stephenson on drums. There really is nothing special about this album. For the most pan, it is boring and not very appealing at times. The sound of The Chills is very hard to pinpoint. At best, it is pop alternative rock with some serious ness and silliness mixed in. One thing going for The Chills is a unique sound, with the standard lineup of guitar, bass, drums and keyboards. Their sound is anything but ordinary. Their use of keyboards is exuaordinary; unlike many bands, The Chills rely heavily on a weird, innovative keyboard sound. Lyrically, Phillipps focuses more on the imaginative side of life, which proves to be to very strange at times. The oniy bright spots on “Subma — rine Bells” arc “Heavenly Pop Hit” and “Dead Web.” Both songs are upbeat, weird, poppy and downright silly, with an interesting carnival sounding keyboard persistent through out. On “Heavenly Pop Hit,” Phil lipps pokes lun at the music world and the way pop stars act and gloat. “And so I stand and the sound goes straight through my body/I’m so bloated up happy I could throw things around mc/And I’m growing in stages and have been for ages/Just singing, and floating - and free. . ./It’s a heavenly pop hit - if anyone wants it.” Aside from those few bright spots, not much else sticks out substantially on “Submarine Bells.” The keyboards and vocals are neat and everything, but The Chills can’t depend on key boards and vocals alone. They aren’t Dcpechc Mode. It could still be a while before The Chills heat up the music charts. BEFORE YOU CAN FOLLOW YOUR DREAMS, YOU'VE GOT 10 FOLLOW THE RULES. Register With Sofotivo Service. H'sQukfe. It's Easy. Aadlt's Tb« Low. A pvMm MfvKt mi Him I_I &/ _ ■H NEh AMERICA'S No.l COMEDY NITE CLUB College Nite Friday Nights at 11:30 pm Featuring comics as seen on Johnny Carson, Letterman, Arsenio Hall, Showtime & HBO! I Starts tonight! I Must be 18 years of age No alcohol served or permitted I Cover Charge $6.00 I Call NOW For Reservations I 438-BONE