Film shows friendships withm mob By Robert Richardson Senior Reporter Everyone has seen a shoot-’em - up, good-lo-go, authentic Italian accented, chase-’em-’til-you-kill-’em, Sicilian mobster movie. But director Michael Karbclnikoff s “Mobsters” is somewhat different, offering all the blood and a little more. Karbelnikoff doesn’t get hung up on minute details because the story he is trying to tell is too important to let it get lost in the muck and mire of a bad killing scene. Although there are plenty of fatal “hits,” they are often funny. The story Karbelnikoff is trying to tell is one of friendship. Giving audiences an underlying theme to follow, Karbelnikoff doesn’t really let the audienccgct to know the big mob bosses but rather introduces the viewer to a gang of kids who grow up on the streets of New York watch ing each other’s backs — because they have to. Lucky Luciano (Christian Slater) and Meyer Lansky (Patrick Dempsey) meet about 1917 in an alley as Lu ciano saves Lansky’s life from an upset knife-swinging thug. The two some become inseparable friends who, along with Bugsy Siegel (Richard Grieco) and Frank Costello (Costas Mandylor), soon rise up above the street scum they so detest, but are so much like. During the Prohibition era, the four make oodles of money running whis key to illegal nightclubs. Their quick upward mobility is noticed by two main New York mob bosses, who both fight for the group’s loyalty. Acting, and not special effects, is a strong point in “Mobsters.” Slater’s character is believable and humanis tic. The audience can relate to his character, he is amiable but strong — not always two compatible traits. Anthony Quinn as a mob boss is very natural. His small role isn’t. Brando, but it’s still a fresh approach to an old situation. Along with the acting, writers Michael Maherm and Karbclnikoff’s portrayal of the mob scene make this new outlook on organized crime a welcome piece of work. Mahcrm and Karbelnikoff’s sarcasm rivals some of the best. This movie is not the “Godfather” and it wasn’t intended to be. The purpose of “Mobsters” is to tell the tale of four young men and their unconventional way of making a liv ing. Outstanding efforts by writers, directors and actors make this movie a joy. Love Continued from Page 9 tunc. From here, the LP really goes downhill. While the songs are more musically and lyrically accessible, they are also more forgettable. The band’s overwhelming compulsion to make the lyrics rhyme ruins some other wise OK tracks. On the tracks where the lyrics are better, staid and me chanical playing drags the songs down. At their worst, they sound like a copy of Survivor or someone from that era. Not good. One good thing that can be said for TLA is that they do play tightly. It’s evident that they’ve played together quite a while, and know each other well. Drummer Michael Trask man ages to lay down solid and interesting percussion on most of the songs. The vocals, shared by guitarists Jay Bennett and Ken Hartz, often come off as two college boys who whine loo much. They gel annoying prclly quickly. Lars Gustafsson does an adequate job on bass; he keeps reliable time without being overly flashy. Maybe he should flash a little more; it might make things more inter esting, and keep this Titanic Love Affair from running aground. — James Finley I-i