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About The daily Nebraskan. ([Lincoln, Neb.) 1901-current | View Entire Issue (Oct. 11, 1996)
ft ( Big movies, laser lights: It's your pick There’s no shortage of entertain ment this weekend. Films, music, madness ... take your pick. The music is loud, the movies are loud —it’s loud entertainment weekend here in Lincoln. Theaters usher in three big-name films this weekend to duke it out: “The Long Kiss Goodnight,” “The Ghost and the Darkness” and “The Chamber.” “The Chamber is the latest film based on a novel by John Grisham. Gene Hackman plays a convict on death row, and Chris O’Donnell plays the long-lost grandson who’s trying to save him. With the track record of Grisham movies (“A Time lb Kill,” “The Firm,” “The Pelican Brier), this will probably be another big hit. And after die performance Hack man gave in “Crimson Tide,” he’s sure to give the audience a good tune. “The Ghost and the Darkness” features Michael Douglas and Val Kilmer versus lions in: Africa in 1896. The movie is based on a true story and was filmed on location in the savannah. “The Long Kiss Goodnight” stars Geena Davis as an amnesiac housewife who’s really an assassin, and Samuel L. Jackson as a low class private investigator. As action-comedy films go, this should be One of the best. The com edy looks good, the action looks big and the plot is just generally cool. “From The Journals of Jean ' Seberg” will play this weekend at the Mary Riepma Ross Theatre. Tt’s showing tonight at 7 and 9; Satur day at 1,3, 7 and 9 pjn. and Sun day at 3,5,7 and 9 pjn. After you’ve had your fill of _•__1_1__A- A. _I_J1J niuvita, uui uua 3 eclectic music scene. Knickerbockers will feature The Mount McKinleys and The Return of Mudjack tonight. The New Zealand band Eye-TV (actually, in New Zealand they’re called The Nixons, but that obviously won’t work here) and Houndstooth will perform Saturday. Shows start at 10 pm.; cover charge is $3. Big A1 and die Heavyweights will play their brand of red-hot blues music tonight at The Zoo Bar. Sat urday night, blues artist Willie “Blind Eyes” Smith, will perform. Both shows are $5 and start at 9. The Mueller Planetarium’s La ser Light Show plays “Rockin’ ’80s” this weekend with shows to night and Saturday at 8, 9:30 and 11 p.m. “Laser Country” will light up Sunday night at 8:30. “From Generation to Genera , tion” also opens this weekend. It deals with the question of how people will be remembered by their family. It will be shown at the Jew ish Community Center Saturday at 8 pm. and Sunday at 2 pm. Ad mission |s$8 for the public and $6 for students. So take your pick. Film, music or madness, this weekend’s got it all. LARRY HOLLOWAY ■ is the owner of % Retro Recycle, i| located at Shop uses 70s themes to sell vintage wares / || ' ' ti By Ann Stack Senior Reporter Recycling is a big issue in Larry Holloway’s life. After all, he built a busi around the concept. Holloway is the owner of Retro Recycle, (also known as the Retro) which opened in Lincoln Sept. 1 at 1717 O St. He owns another Retro Recycle at 12th and Howard streets at the Old Mar ket in Omaha. “Recycling is the main thrust of the venture,” he said. “We’re such a disposable society. There’s so many pre-owned garments that should go around again.” In the 11/2 months since the store opened, Holloway said, business has been better than he ex pected. "We’ve had fabulous custon * “Word of mouth has been are ^ r. J'X. _ _____ __ _' The Retro offers something for just about everyone. It’s in the building of a former Goodwill Store, but it’s not exactly a thrift store. For one thing, it’s not a nonprofit organization — the stores pay for used clothing. “We pay cash or we’ll give some one a marker exchange for merchan dise,’’ he said. “As we progress, we hope to set up a buying cento*.” The store deals primarily with clothing from the 1950s, ’60s and ’70s. The big thrust of the store is denim, he said. “Our specialty is denim and casual wear,” he said. “We try to stock disco wear as well, for costumes and special occasions.” As testimony to that, racks of jeans dot the wide, airy storeroom. Lava lamps line one wall, along with vin Please see RETRO on 13 | 1 ' Si ■ TV___ AU . . By Bret Schulte Film Critic “The Ghost and the Darkness” opens in late 19th century England with bridge engineer Col. John Patterson (Val Kilmer) receiving a commission to construct a bridge across an “ex tremely precarious ravine” in South Africa. Patterson leaves his pregnant wife for six months while he completes the bridge construction. And here the journey begins. From the beginning, the most captivating as pect Of this film is the breathtaking widescope cinematography. As Patterson travels by train through the African safari Ik witnesses breathtaking mountain-scapes effectively framing the grandeur of the African continent. Arriving at the job site, Patterson is immediately confronted with the task of killing a lion who has been sporadi cally attacking the workers. That first night, Patterson plants himself in a J tree and snipes the lion as it ap- a proaches. Problem solved. Well, not quite. After a few weeks, the camp, filled with thousands of Af rican and Indian laborers, is suddenly attacked by two large, mysterious li ons who have developed a sudden dis like toward humans. Patterson, after having tried every idea imaginable to snuff out the large cats, is joined by the nomadic hunter Remington, played by Michael Douglas. Remington, a Southerner, has fled to Africa after losing his family and pa triotism in the Civil War. He now hunts, not because he likes it, but because he has the talent. At least, that is what he claims, but there is little evidenceof such in the film. / Both Kilmer and Douglas forget their roots and background throughout the movie. Douglas seems to think that being a Southerner simply means be ing belligerent, which he uses to com pensate for his lack of a twang or drawl. While Kilmer maintains the dignity of an educated citizen ofthe British King dom, he too only remembers his ac cent on occasion. Alter anxiously waiting, the ques tion as to what the lions are, beak or demon, is never really reckoned with. Meanwhile, the film relies heavily on dramatic close-ups and expressionis ts camera work to relay emotion and suspense that the script cannot. The picture paces itself well, and the camera work effectively establishes Africa as a continent of shadows and beauty, both which are deadly. How ever, the film falls apart after a while, particularly by having an abrupt, anti climactic conclusion. Perhaps if the script had dealt more with the facts, since this movie is based i i _H Film: The Ghost and the Darkness ytypit, U1C 111UVIC kUIUU tutvc UCCU 1CI11 a tinge of real suspense. Regretfhlly, the str* much on the circumstances surrouna ing the attacks, and not enough on the motivations and mystical properties of the man-eating killers who successfully slaughtered more than a hundred men. I
