Horror blends gore, psychology adeptly
SUMMER from page 9
through several well-executed psycho
logical maneuvers and wide-eyed gore.
In recent decades, successful hor
ror movies have blended the previous
ly separate genres of “thrillers” and
“horror” with varied results.
Generally, a film is so heavy in one
that it marginalizes itself. With the
advent of such groundbreaking hor
ror/thriller films as “Friday the 13th”
and “Halloween,” the two genres
blended to create a balance of visual
terror and brain-draining suspense.
Also begun by this same movement
was the focus on the vulnerability of
teen-age kids. Using typical risk-taking
behavior such as drinking, sex and par
ties along with attitudes of invincibili
ty, these films have doubled as modern
day morality plays and, ironically
enough, have received the complete
financial support of their subject mat
ter.
“I Know What You Did Last
Summer” is no different. The makers
of this movie are well-acquainted
with successful horror-film cinema.
The deep oceanside photography is
gray and eerie and seems to chill the
entire theater. Contrasting mundane
activity with gratingly awful sus
pense, the timing of the film’s editing
is impeccable and masterfully cut.
Providing the heart of the film
are the characters. The director, Jim
Gillespie, intentionally creates a
character ensemble that people can
relate to, but not necessarily identify
with. Members of the audience are
all acquainted with the jock, beauty
queen, smart one and nice kid, even
if they don’t see themselves that way.
Because the characters are so easily
identifiable, their demise is given
greater impact and heavier weight.
Ultimately, the film strikes an
artful and experienced balance
between gore and psychology, creat
Photo courtesy of Columbia Pictures
A FRIGHTENED FOURSOME (from left, Freddie Prinze Jr., Jennifer Love
Hewitt, Sarah Michelle Cellar and Ryan Phillippe) panics about what to do
following a car accident in “I Know What You Did Last Summer.”
Portishead
“Portishead”
GO! Beat/London
Grade: A
After three years of work, the pio
neers of trip-hop have returned with
nothing less than another disc brim
ming with liquefied emotion. The
dichotomy created by dark, tortured
lyrics and buoyant pop-jazz and
fueled with heavy bass and old
school breaks exemplify Portishead
and its latest self-titled release.
The band’s debut, “Dummy,”
infused electronica with passion, cre
ating a darker, more enigmatic genre
of music now classified as “trip-hop.”
The driving force behind this
dynamic sound is Geoff Barrow, a
26-year-old composer who is to
Portishead what Trent Reznor is to
Nine Inch Nails. His vision and
arrangements create the soundscapes
upon which lead vocalist Beth
Gibbons layers her smoldering voice.
Perhaps the most reluctant star of
our time, Gibbons has an almost
mythical tendency to walk out of
interviews (about 90 percent of the
time). Her introverted personality
carries over to her music, creating an
extremely personal atmosphere, evi
denced in her lyrics and vocal styling.
With varied comparisons to Barbara
Streisand, Edith Piaf, Janis Joplin and
Billie Holiday, Gibbons sings in a
manner that cannot be categorized
and with sentiment that is undeni
able.
Unable to stand alone, Barrow
and Gibbons are accompanied on
their journey by guitarist Adrian
10-Close
Wed., October 22
BUDWEISER
NIGHT
* lots of giveaways
• Frozen T-Shirt Contest
Penny Pitchers
8-Close
WC’s
477-4006
1228‘P’» Upstairs
n
Utley and sound-whiz Dave
McDonald. Utley’s influences range
from Hendrix to James Brown to A
Tribe Called Quest, adding to the
diversified nature of the band.
McDonald’s deep understanding and
effective use of sound-production
techniques like delays and echoes,
double-timing and drops, stem from
his reggae background and also real
ly help.
Portishead’s “Portishead,” while a
long time in the coming, has revital
ized what made the group so special
from the beginning: a uniqueness that
can be imitated but not duplicated.
Opening with the shady and sul
try “Cowboys,” the album portends
an intricate, mystic pilgrimage into
the psyche of a lost and desperate
soul.
Gibbons’ constantly ascending
vocals in “All Mine” and “Undenied”
display the epic nature of human feel
ing, which in current times has been
scaled down and nicely packaged in
mainstream pop for the mass public.
Recent artists trivialize raw emotions
for profit at the expense of their lis
teners, singling out Portishead’s hon
esty.
With the advent of this sopho
more album, Portishead remains true
to form, while striving for new and
dynamic sounds. No gift-wrap pack
aging necessary.
- Chris Thomas
Get Ready To Laugh/
It’s Patrick Candelaria
One of the Sbuf HwesKs
fastest" riang comics
Thursday. October 23
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CYCLE WORKS
Autumn is here. Winter is coming. Stay warm,
dry, and comfortable with cycling gear from
Peart Izumi. New colors and styles now in stock.
All 97*s from Trek Specialized, Klein and
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Coat Swap
This weekend only at The Moose's Tooth, 4007 O St.
489-4849.
For sale: Ladies pirate costume with all accessories,
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buy and sell Levis.
Black Sofa Loveseat and 10 Speed Mountain Bike,
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the fast, easy way to clean out unwanted items.
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Call 436-0628, ask for Enos
Get some of my Papa's age
Old brew for the weekend.
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