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About The daily Nebraskan. ([Lincoln, Neb.) 1901-current | View Entire Issue (Dec. 16, 1991)
Outstanding action flick relies on collaboration and comedy “The Last Boy Scout” By Anne Steyer Senior Reporter__ Bruce is back. Bruce Willis, the star of the enormously popular “Die Hard” films, ' finally returns in a good movie. He stars in “The Last Boy Scout,” a can’t-miss action film from the makers of some of the best action films of the 1980s. Producer Joel Silver (“Die Hard”), director Tony Scott (“Top Gun”) and writer Shane Black (“Lethal Weapon”) collaborated to return Willis to what he does best— wise-cracking adven ture. Willis is Joe Hallenbcck, a self loathing former Secret Service agent who has turned to private investigat ing. Assigned to protect an exotic dancer, Hallenbeck finds himself embroiled in violence and corruption after she is brutally murdered. He also finds himself, albeit reluc tantly, with a new partner. The dancer’s boyfriend, ex-quarterback Jimmy Dix (Damon Wayans), insists on includ ing himself in the investigation. This investigation leads to a group of bad guys, sports-team owners, politicians, hit men and the like, who are out to legalize sports gambling at any cost. As is required of an action film, “The Last Boy Scout” is replete with explosions, high-speed car chases and lots of gun-toting. There is some gratuitous violence, including a lot of blood-spitting and some problems with helicopter blades. The story isn’t particularly plau sible. The plot is paper-thin and pure formula. But it works anyway, mainly because of the powers in front of, and behind, the cameras. Silver and Scott are familiar with the workings of an action/adventure picture, and Black is an expert with snappy repartee. Willis and Wayans engage in a lot of that and have a solid chemistry. Their characters work well together, lx>th being down on their luck. Both are has-been heroes; Hallenbeck once saved the president’s life, and Dix was an all-star quarterback. So, their relationship is a little different than most male-bonding buddy flicks, even though they are the traditional “we-don’t-want-to-be partners” partners. Willis is at his dry, wise-cracking best as Hallenbeck. The role takes him back to his smirking days on “Moonlighting.” He has collaborated with Silver before, most recently on the dismal “Hudson Hawk,” but more impressively on the “Die Hard” films. They return to that level of action entertainment in this film. Wayans, known mostly for his work on Fox ’s“In Living Color,” is good in this shoot-’em-up. He’s much bigger than he looks on the small screen, fitting the role of a former football player perfectly. His comic timing, always good on “In Living Color,” is right on target in the film. Regardless of succumbing to ac tion-film formula, “The Last Boy Scout” is humorous, action-packed and thoroughly entertaining. Fifth Continued from Page 12 In “Tonight’s the Night,” male and female vocals alternate as Yo-Yo insists upon a woman’s ability to control her own life. In this one, Yo-Yo calls for consciousness both as women and as blacks. She gives the audience a tiny taste that leaves the listener waiting for more when heard with some of the more hard-driving cuts. Shifting from Yo-Yo to the Dis posable Heroes of H iphoprisy is quite a letdown as its two members serve up preachy diatribes against TV over a dulling and repetitive beat. the group’s label, 4th and BWay, has put out much better, from the powerful female pounds of Isis to the dancy, jazzy funk of Dream Warri ors. Going back to the black conscious ness of Yo-Yo but coming from the male perspective is “2Pacalypse Now” by I upac ahakur, wno avoids being Yet Another Angry Young Black Man by channeling his anger into solid rap songs. Tupac shares his anger but lets the music carry it along, and that keeps us listening and interested to this one from Interscope Records. We started this column with the live music-of Anthrax and Public Enemy and now close with Boogie Down Productions’ “Live Hardcore Worldwide” on RCA records. Giving several tracks each from performances in New York City, London and Paris, Boogie Down Productions pours out a wide range of reggae and rap numbers that liven up the crowd and listen up the listener, whether live or recorded. Peterson is a senior English major and a Daily Nebraskan A&E staff reporter. Matthew Sweet “Girlfriend” By Mark Nemeth Staff Reporter Matthew Sweet’s third major re lease titled “Girlfriend” begins with what may be the best song of 1991. “Divine Intervention" is an angry and beautiful breakthrough rock song that features Sweet’s ominous bass line and career great performances by New York guitarist Robert Quine and Television^ Richard Lloyd. If Michael Stipe’s “Losing My Religion” is a vague and unclear yet catchy song, based loosely on losing one’s religion, then “Divine Inter vention” is a committed and catchy work of intelligence and anger. It inspires the listener to the personal and political, and yet still, it’s a rockin’ good tune. The poignancy of the rest of “Girlfriend” is reflective of per sonal loss as well as religious loss. “You know I wrote another song,” sings Sweet. “They keep telling me the past is gone.” Songs like “You Don’t Love Me,” arc beautifully bitter with lyrics like now can i uescrme me way you slowly look my hope away, and all of the lime, 1 thought I knew you.” While “I Wanted to Tell You" is empower ing and post-loss with the lyrics “I was wrong, but I wanted to tell you what I couldn’t say . .. Love, well never mind.” The first single from this addictive record is the third song, “Girlfriend,” a high-energy rocker that sounds like much of Sweet’s record, but is diffi cult to describe. If it wasn’t for Sweet’s calming voice and sophisticated sen sibility, the sound could be compared to the modem post sub-pop of Bob Mould, Nirvana or Teenage Fan Club. “Girlfriend” is full of great songs, both slow and upbeat. The upbeat ones arc possibly more immediately catching, like “Divine Intervention,” “Girlfriend” and “Evangeline.” “Evangeline” is a song about a woman with whom the songwriter thinks he’s in love. This woman’s Catholicism is more important than earthly desires, which is apparent in the lyrics, “Try her on. She fits like a glove. Too bad she only thinks about the lord above.” “What a beautiful moment,” Sweet sings at the beginning of the personal ballad “You Don’t Love Me,” re minding one of Graham Parsons of Flying Burritio Brothers or Byrds fame. “The truth comes out at last,” Sweet sings, “as my head comes apart. Drunk, and in a manner of saying, wasted. Because you don T love me. You can’t sec how 1 matter in this world.” “I cannot understand my God,” sings Sweet with a soothing, rough yet tense voice on “Divine Interven tion.” “I don’t know why he gets to me. One day my life is filled with joy, and then we find we disagree.” There is a beautiful discrepancy between Sweet’s soft voice and the pain and anger that the electric songs play to. “Divine Intervention” may be the best song of the 90’s because it is an intelligent voice ol anger in a lime with an ever expanding array of things to be angry with. Most major releases sound over produced. “Girlfriend” does not Some tracks are panned completely to one side, reminiscent of the Beatles or some David Bowie records. Many reviews have compared “Girlfriend” to Big Star or the Beatles. These comparisons arc understand- ■ able, but this is an assertive record of " mostly potent songs, undeserving of the limitations provided by compari sons. It appears that either Sweet’s vi sion is clearer than on his first two major releases or that more people arc understanding that vision, as the press coverage, radio play and sales of “Girlfriend” indicate. “Inside” and “Earth”, Sweet’s previous releases, show a steady per sonal progression and self-discovery leading almost to the greatness of “Girlfriend.” Sweet’s vision is inspired and in spiring, particularly for a major re lease: grungy pop-song grit with a voice in a lime when most major artists spend more time learning to dance rather than writing songs. Rooms Continued from Page 13 recorded in years. And, strangely enough, an artist with pretentiousness to spare closes out the album almost perfectly. George Michael’s livecover of‘Tonight” is a note-for-notc touching tribute to the man’s two pop heroes. It makes the album something worth keeping. Cover songs arc rarely an improve mcnion the original track. Thai’s just a given. People liked the way it was before, so why would some bonchcad want to change it? It is necessary to drop your guard and just let the hap piness of this collection envelop the aching for a simpler time of silly love songs, like the ones John and Taupin wrote so Jong ago. Rediscover them through this collection, but never stop buying the originals. —Paul Winner , •-——-i - ‘ 2... > ~ ; -M MATTHEW SWEET | GIRLFRIEND H Thursday, Dec 26 Starting Thursday, December 26th, Everyday's a Beach Party at Penrod's with: • Live Bands • Volleyball Games • Beach BBQ • Limbo Contest * r • Animal Raft Races • Muscle Beach Starting at 11 am Seafood Grille Opens Don’t Miss the 3pm Bikini Contest!! Miami Style!! Tuesday, Dec 31 _ 7pm Welcome 1992 at The Orange Bowl New Year’s Eve Party Headquarters Special Discount for University of Nebraska Students $ 10 (Bring Your I.D.) Alumni $15 Regular Admission $25 Upon Arrival to South Florida, Call PENROD’S Orange Bowl Hotline (305)538-1111 © For Official Pep-Rally and Events Schedule I---1 Wednesday, Jan. 1,92 Post Game Victory Party!! : —.r'll? . - '' ; • ■ v • .j. , V Inspiring new release emphasizes anger, loss I
