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About The daily Nebraskan. ([Lincoln, Neb.) 1901-current | View Entire Issue (Feb. 8, 1994)
ArtsSEntertainment Nebraskan Tuesday, February 8,1994 Courtesy of Columbia Pictures Industries Nick Nolte and Whittni Wright star as father and daughter Matt and Jeannie Hobbs in “I’ll Do Anything.” Nolte’s character deals with daughter, Hollywood By Joel Strauch Senior Reporter_ At first glance, “I’ll Do Anything” looks like another dumb kid movie. But because of its realistic slant and some superior acting, it turns out to be a really good film. The movie deals with the roller coaster life ofMatt Hobbs (NickNolte), a talented character actor who can’t seem to get a break. Even with an Emmy nomination on his resume, he is unable to land any big roles. He manages to get a part-time job as a driver for the big-time producer of Popcorn Pictures, Burke Adler (Albert Brooks). He forms a relationship with one of Adler’s executives, Cathy Breslow (Joely Richardson), who tries to get him the acting roles that he deserves. Suddenly, he is forced to take cus tody of his six-year-old daughter Jeannie (Whittni Wright) when his ex-wife, Beth (Tracey Ullman) is tak en to jail. He tries to devote time to his daugh ter and still continue his relentless pursuit of his acting career. His ego is dealt an intense blow when Jeannie is “discovered” and giv en a starring role in a television series. But he swallows his pride and fulfills his duty as a supporting parent. The acting is great all-around. Nolte is exceptional, as always, as an inex perienced father who struggles with his incorrigible daughter. Brooks plays the egocentric pro ducer to near perfection. He is very convincing in his portrayal of a man who is driven to the brink of insanity by the stresses of Hollywood. Wright, as Jeannie, doesn’t bring bile tothebackofamoviegoer’s throat. This is no small compliment as far as most child actors are concerned. But the best acting comes from Julie Kavner who plays Nan Mulhanney, a movie pollster whose daily vitamins combine to form a truth serum, forcing her to be bluntly hon est. Kavner performs beautifully in this difficult role. The f lm gives the viewers a glimpse of the inner workings of Hollywood, from the struggling actors up through the conceited hierarchy to the produc ers and directors, some of whom are shown to be too callous and self-ab sorbed to be considered human. Originally planned as a musical (thankfully, it didn’t happen), “I’ll Do Anything” is successful as a musicless feature film about the trials of parent hood. MUSIC REVIEWS LflANTSCHAIftJ from wearing thin after seven years of exist ence. In fact, these two new tracks expose the band’s edgiest writing yet. “Rust” and “Face Foot Ladder” easily make Sideshow’s cult punk classic “Kick In The Teeth” seem emotionally subtle. This release not only captures the talents of guitarist Rich H iggins and vocalist Bemie McGinn, but also Side show’s evolution to continuously changing melody weaves. McGinn’s stylistic lyrics and the band’s music-writing abilities are rarities that ele vate Sideshow’s music above the misplaced, East Coast-emotion-core comparisons that have always read like the reaching realiza tions that they are. “Hot Boy” Giants Chair “Frontier Trust” Frontier Trust “Rust,” “Face Foot Ladder” Sideshow Caulfield Records ms> New shipments are in for anyone with a chronic itch for new seven-inch vinyl. Lin coln-based Caulfield Records once again supplies local and national turn-table nee dles with a debut release from Giants Chair, as well as two fresh releases from Frontier Trust and Sideshow. Giants Chair, Caulfield’s third out-of state feature, brings two songs that rhythmi cally bounce like a bare foot stick man on hot beach sand. The Green Bay, Wis., group offers original song arrangements with smooth, almost soothing vocals reminiscent of Firehose. “Hot Boy” is a record that sounds like it was recorded in a dirty farm house basement, not in a white room with too many light bulbs. Omaha’s chisel-and-plow punk heroes Frontier Trust follow up their “Highway Miles” EP with three more songs of Rustler jeans charm. “Untitled,” “Swimming Hole,” and “Another Song About Failure" probably have too much in common musically to keep most critics from barking, but listeners must realize that diversity and evolution are un doubtedly sacrilegious in some musical states of mind. Singer-lyricistGary Dean Davis provides enough entertainment with his George Thorogood-meets-Mark Twain persona to make any three-dollar record worth the mon ey. The members of Sideshow are the undis puted kings of longevity in the hard-edged sector of Nebraska’s original music. Howev er, the Lincoln band’s speedy follow-up to their well-acclaimed “Eggplants and Sun spots” album indicates the threesome is far —Chris Heine “Ring” The Connells TVT Records jtm If you’ve heard The Connells’ latest al bum, “Ring,” for the first time, chances are it won’t be the last time you’ll hear it. And if you’ve never heard of The Connells, a six man college band all grown up, then you might be surprised to learn four albums precede “Ring.” Although originally from the homeland of Otis Redding, Little Richard and The Allman Brothers, The Connells fail to rock southern style, but there’s nothing wrong with that. When the two Connell brothers, David on bass and Mike on guitars and vocals, formed the band in 1984, their sound crossed classic British pop with alternative college rock, resulting in the debut album “Darker Days,” followed by three other releases and “Ring.” “Ring” is pure melody and a good mixture of acoustic guitar and electric Slash-type runs bridging chorus to verse. Melody spills onto track after track, beginning with “Slackjawed,” an ear-catching radio hit. “Slackjawed” rocks the listener, implanting high expectations for the rest of the album— expectations The Connells easily meet. Yet, not all the tracks rock like “Slackjawed” and “Hey You,” a collabora tion between the brothers and guitarist Doug MacMillan, who wrote five 9ongs. Most “Ring” songs sway with laid-back rhythm accompanied by brother M ike ’ s soft soprano voice. Mike’s cleverness for composing lyrics surfaces on the song “’74-*75,” a nostalgic look at a relationship on the verge of revival. In spite of repetition, few listeners will tire of the chorus. “I was the one who let you know/1 was your sorry-ever-after. ’74-’75/ Giving me more and I’ll defy/ ‘Cause you’re really only after ’74-’75 ” While Mike has a hand in writing nine of the 13 album songs, credit should also be given to guitarist and singer George Huntley. Huntley not only plays a woefully sweet mandolin on “Running Mary,” but he also wrote “Doin’ You.” His lyrics take a dig at incompatible relationships. The compositions veer from the beaten track of clichfed love lyrics, although the theme of incompatibility keeps recurring and is best summed up by Mike in “Disap pointed.” “If I disappointed you, I’m so sorry./ You’re a disappointment too.” Listeners won’t be disappointed by this album, the lyrics or instrumentals. —Jill O'Brien t classic v own New videos don t deserve screening Overwrought emotions and gritty style fill this week’s video releases. “Poetic Justice." Director John Singleton returns after his critical and commercial smash “Boyz ‘N the Hood.” This time his tale is told from the point of view of South Central’s wom en — specifically a hair stylist named Justice. Musical superstar Janet Jackson is Justice, a young woman living in the aftermath of L.A.’s violence. After a lifetime of disappointment, Justice turns herself off to emotion after her boyfriend is shot down in front of her. That is until she meets a mailman (Tupac Shakur, another music sensation) and takes a road trip up California’s Highway 1. The story, co-written by Singleton, should have and could have been powerful, but instead it became both a road trip movie and a trite romance. Jackson has substantial star power, but she lacks the intensity for this role. What could have been an introspective look at the troubled life of one woman instead became too many brooding looks and overwrought angst. Rap star Shakur shows some true star poten tial, but his personal life and constant battle with the law may keep him from realizing it. Maya Angelou wrote the poetry that Justice endlessly writes and recites in voice-over after voice-over. Even with that literary weight be hind him, Singleton misses the mark with this one. “Kaliforaia.” Misspelled words forempha sis is one of the more annoying tricks the entertainment business overuses. Now playing at the Starship 9 theater and coming out on home video simultaneously, “Kaliforaia” is a road movie with a serial killer. Brad Pitt (“A River Runs Through It") and Juliette Lewis (“Cape Fear”) star as a modem day Charlie and Carol Ann. Michelle Forbes (Ensign Ro from “Star Trek: The Next Gener ation”) and David Duchovny are hip artists writing a book about America’s own serial killers, who give the two nasty hitchers a lift. Pitt is always worth watching, although the premise and buzz on this flick don’t make r‘Kalifomia" an appealing choice. Also this week, “Indochine,” an Oscar-nom inated film from last year starring Catherine Deneuve, and “Trancers 4: Jack of Swords.” —Anne Steyer 4
