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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
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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
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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
