Cowboy
Continued from Page 9
Williams, Jr., but sung by Margo
Timmins on “Trinity Session,” don’t
exist on the Junkies’ latest.
Overall, “Black Eyed Man,” with
its storytelling songs and classic in
strumentation produces a laid-back,
but interesting sound. If country music
“twang” doesn’t top your list of fa
vorites, but you’re tired of pop, the
Cowboy Junkies’ “Black Eyed Man”
may be just the right blend.
....ii.... ' i
If you're going over 200, >Sm
drive to your docton “ »
for heart disease. The risk is greater if you also smoke, are over
weight, or have high blood pressure.
Check your cholesterol regularly. If it’s over 200, make a pit stop
at your doctor’s. There you’ll leam ways to reduce your risk and
tune UP yOUr health. Your cholesterol level A number to lively
For information call . ,, . ._. .._
(402)346-0771 V Amer,can Heart Association
1 1|Nebraska Affiliate
AMERICANS WITH DISABILITIES ACT
(ADA) .
PUBLIC FORUM
UNL is planning to complete a self-study with respect to ADA regulations. As part
of this process, the ADA Self Study Evaluation Team is seeking input from the
University Community related to serving the disabled on campus.
DATE I1ME LOCATION
April 9, 1992 3:00-5:00 Lied Center
April 10,1992 3:00 - 5:00 East Union
An interpreter will be provided at both meetings for the hearing impaired.
i
If for any reason, you find that attendance at the forum is not possible,
please call the ADA Forum number, 472-9696, and leave a message.
NATIVE AMERICAN SYMPOSIUM
Sponsored by
The Institute for Ethnic Studies
College of Arts & Sciences
University of Nebraska-Lincoln
Nebraska Humanities Council
National Book Foundation &
The NE Center For The Book
Cherokee Poet/Writer
DIANE CLANCY
Wednesday, April 15 - 2:00 p.m.
Andrews Hall Lounge (Room 228)
Lakota Authors
KENNETH LINCOLN AND MARK MONROE
Readings and Discussions
Thursday, April 16-7:00 p.m.
Regency Suite/City Campus Student Union
^AhJacult^slafT^tudenlsofiheUniversit^n^h^ubli^M^invited^
Irresistible Prices Til We’re Gone
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DELIVERY AVAILABLE FROM OUR OTHER 5 LOCATIONS
King’s ‘campy’ cat concoction
collapses under bad dialogue
“Sleepwalker”
By Steve Pearson
Staff Reporter_
When the concept for a horror film
is so ridiculous it can’t be explained
with a straight face, it’s doomed tc
fail.
Stephen King’s newest horror flick,
“Sleepwalkers,” is a victim of its
outrageous concept.
The film opens with an explana
tion of the legend of the sleepwalkers.
They are said to be shape shifters,
part human and part feline in origin,
that feed on the life force of virginal
females. They are vulnerable only to
the scratch of a cat.
The film focuses on two sleep
walkers, a mother and son, Mary and
Charles Brady (Alice Krige and Brian
Krause).
Charles is commanded by his mother,
with whom he has an incestuous rela
tionship, to bring virgin Tonya
Robertson (Madchen Amick) home
so they can feed.
Unfortunately Charles has started
to fall in love with Tonya, but his
mother will not relent. In a bit of
inspired dialogue, he protests, “Why
are you being such a bitch?” She
replies, “Because I’m hungry.”
Such clever dialogue runs ram
pant throughout the film. When Char
les’ eyeball is gouged out by Tonya,
he cries, “Look at my sweater. My
mom’s gonna kill me!”
The film’s attempt at humor may
have been intentional, but the mix of
horror and campy comedy just doesn’t
work.
Cat lovers beware. “Sleepwalk
ers” contains countless scenes of
violence toward cats. As the movie
progresses more and more hissing
cats encamp themselves around the
Brady home, waiting to strike.
Krige and Krause turn in stere
otypical performances, letting the
amazing “Terminator 2”-like special
effects do their acting for them. Amick
somehow manages to turn in a believ
able performance in a totally unbe
lievable film.
Stephen King appears in a cameo
as the cemetery caretaker, demon
strating why he took up writing rather
than acting.
King’s movies seem to have lost
their punch over the past several years,
not living up to his early efforts.
“Sleepwalkers,” his first original
screenplay (the others have been
adaptations of his work), does not
reverse the trend. This film is so campy,
it has the potential to become the next
generation’s “Attack of the Killer
Tomatoes.”
FBI agent faces heritage
in breathtaking murder tale
“Thunderheart”
By Gerry Beltz
Staff Reporter
Even with a running time of more
than two hours, “Thunderheart” (Plaza
4,12th and P Streets) just seems to fly
by.
What we have here is a homicide
case on a Lakota Indian reservation in
the Badlands of South Dakota. The
FBI sends in Ray Levoi, portrayed by
Val Kilmer (“The Doors,” “Real
Genius”). He’s the FBI agent assigned
to the case not just because he’s a
good agent; according to his records,
he has Sioux Indian heritage and the
FBI public relations department wants
him for the job.
Once in South Dakota, he teams
up with Special Agent Coutell (Sam
Shepard of “Country” and “Baby
Boom”) to hunt down the culprit.
Along the way he runs into Fred Ward
(“Big Business,” “Henry and June”),
who plays a cinematically typical goon
lhat uses violence to keep the peace,
and tries to arrest a member of the
tribal police named Crowhorse (Gra
ham Greene of “Dances With
Wolves”).
Crowhorse also is following the
case, but with the help of different
sources; he is listening to the wind
and water, and having much better
luck than Levoi or Coutell.
However, Levoi begins to uncover
certain facts that Coutell has either
missed or ignored. He also begins to
rediscover his Native American heri
tage, something he has ignored since
he was seven years old.
From that point on, the movie flies
by. Just as the audience gets a chance
to catch a breath, the action starts up
again.
Kilmer is great here. He tries to be
the stone-faced agent sent to do a
three-day job, but winds up gelling in
a lot deeper than he ever would have
liked.
Ward and Shepard both have the
same problem: Their screen time
between them may total IS minutes
(if that), which is disappointing for
two classic actors like them.
The real gem of this movie is the
Performance from Graham Greene.
rom a single footstep, he discerns
shoe size, tightness, body weight, and
does it all with an attitude that the
audience just eats up. He’s constantly
flipping Levoi off as the movie pro
gresses, and Levoi begins trusting
him more than his own decisions,
thus beginning some wonderful chem
istry between the two that lasts for the
rest of the picture.
Filmed on location at a Lakota
reservation as well as in the Bad
lands, the sweeping scenery shots are
absolutely stunning, and the plight of
life on the reservation is as real in the
movie as it is in real life. Director
Michael Apter (“Class Action”)
combines these elements well to bring
some special life to the movie.
We’re talking good stuff here, and
this movie should be seen before it
hits a video store. Those breathtaking
shots of the Badlands cannot fully be
appreciated on a 13 inch screen.
Dorn
Continued from Page 9
D: The writers didn’t write t ; con
flict. The actors have done this, and
we played that into our rolls. My
colleagues are a great bunch of tal
ented people, and we use our talent to
create these situations. So whenever
Worf would say we should kill, Troi
would counter with, “But there arc
thousands of people on the planet,
OK?” And we have that set animos
ity, which is always talked about.
Also, Troi is always accosting Worf
in the hallways. Worf respor with
an annoyed, “What?” And' gives
her advice, much to Worf ismay.
H: Yet, this year Worf wanted Troi to
take care of his child should he die.
D: Things change, don’t they? There
is an earlier episode where Worf has
gone to see Troi to ask for advice
about his son. And she gave him major
advice on the son. This put the rela
tionship on a different level. The writers
saw this and wrote it I was surprised.
It was a great idea.
H: Your character has grown a lot.
Where do you think he will go?
D: I’m not sure. He is definitely not
the same person he was in the first
season. I would like to sec him find a
mate, a stepmother for Alexander.
H: Who do the Klingons represent?
D: They are supposed to be Russian.
Gene Roddenberry gave me the para
meters. (The parameters) were that
the Klingons were to be the Federa
tion’s biller enemies. As lime goes
on, we realize that the enemies arc
ourselves.
H: I think that Star Trek has given a
whole number of people work. Has
affirmative action been seen behind
the camera?
D: No, not really. I have to basically
fight. My stunt guy, Rusty, although
he is black, looked like a white guy.
And this is something that stems back
from the old days when whites played
ethnic roles. So I said something about
it. I phoned the producers and asked
them if they couldn’t find a person
who looked more like me. They didn’t
understand where I was coming from.
H: We have Worf and we have
Michael Dorp. I read that Marina
Sirtis says that you can be very hard to
get to know. Yet, we’ve had an excel
lent conversation. Who is Michael
Dorn?
D: I don't know who he is. I’m still
discovering myself. I have a strong
sense of loyalty, adventure — (I’m a)
risk-taker. I think that I would be a
great father and husband — gruff and
surly at times, sarcastic.
Barrett
Continued from Page 9
from me. They wouldn’t let a woman
be second in command.
“It was a glancing blow to me. But
since then, they’ve come around.’’
The role was replaced with the
role of nurse Christine Chapel. Bar
rett now can be seen in cameos on
Star Trek: The Next Generation as
Deanna Troi’s mother, Lwaxana Troi.
As Barrett continued to answer
questions, the autograph line snaked
quickly by her. The fans had a selec
tion of pictures from which to choose
for her to autograph.
Lwaxana is probably best-known
for putting the moves on Capt. Pi
card.
Whenever Lwaxana Troi makes
an appearance on board the Enter
prise, she bemoans the fact that her
daughter is not yet married.
“It is one of her life-long goals.
One of her missions in life is to see
that her daughter is married," she
said.
If the daughter needs a husband, so
does the mother. It is no secret that
Lwaxana is always on the lookout.
“In an upcoming episode, I’m
headed for the altar," Barrett said, but
was mum on any other details.
The autograph line continued.
One fan asked what she would like
her fans to know about her.
“There isn’t much to know about
me," she said. “I’m pretty much an
open book. I can’t think of anything.
Gee, you ask tough questions. These
are questions that one should really
prepare before answering.”
W ith that she laughed and resumed
signing autographs.
r, • ~~
