The daily Nebraskan. ([Lincoln, Neb.) 1901-current, January 27, 2000, Page 10, Image 10

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Intolerable soundtrack loses
Staff writer
A film’s soundtrack can be a care
fully selected, cohesive collection of
songs that helps a movie tell its story.
If the director is involved in the
selection of the music, the songs can
add to the quality of die flick, creating
texture and mood to give the film, and
the soundtrack album, a distinctive feel.
But most of the time, a soundtrack is
a cynical marketing tool, little more
than a slapdash grouping of songs and
artists that have little to do with each
other or the film, except that they are
popular at the time.
The soundtrack to Oliver Stone’s
“Any Given Sunday” is latter type. The
album is colossal in its badness. It’s full
of awful songs by awful groups (and a
few awful songs by talented groups). It
is way too long and acts as little more
than an advertisement for die film.
Jamie Foxx contributes two ver
sions of a tune called “Any Given
Sunday;” another is called “Sole
Sunday” and includes film dialogue.
The phrase “any given Sunday” is recit
ed in nearly every song.
Inside the CD booklet are pictures
of the cast, action shots from the film
and the ridiculously pretentious catch
phrase, “Life is a contact sport.” There is
little in the CD booklet about the actual
music. But that’s OK, because the music
doesn’t matter.
There are literally only two tolerable
moments on the whole album: the vast
ly overrated Missy “Misdemeanor”
Elliot’s first good song, “Who You
Gonna Call,” and a mildly interesting
hip-hop track from Goodie Mob and the
usually excellent Outkast, “Sole
The rest of the disc is a vast waste
land. The usually more reliable LL Cool
J and Hole provide their two worst
songs, ever.
Come to think of it, LL hasn’t
released a good album in 10 years, and
Courtney Love is more concerned with
appearing on talk shows and bad
mouthing her former musician friends
Any Given
ARTISTS: Various Artist
Warner Sunset/
Atlantic Records
FIVE WORDS: Soundtrac
than playing her admittedly good music.
Lli Master P imitation, “Shut ‘Em
Down,” and Hole's industrial-metal
atrocity, “Be a Man,” set the tone for the
rest of the album. Weak hip-hop rubs up
against bad metal and keeps rubbing
until the listener can't take it anymore.
Is there any difference between the
limited rhyming skills of Mystikal’s
“Jump” or Trick Daddy’s “Shut Up”
(sample lyric: “Ooh, Ahh, What’s up,
Shut up”)? Or between the lunkhead
metal boredom of Godsmack’s “Why”
and Overseer’s “Stompbox?” Not espe
Kid Rock, who captures the heart of
the album by combining bad rap and
bad metal, sums everything up with his
anthem, “Fuck That.” That’s exactly
what I said when the album ended.
Goofy Globes survive criticism
For most of the past 57 years, the
Golden Globes were ridiculed, reviled,
castigated and dismissed as a movie
industry joke.
Yet on Sunday night at die Beverly
Hilton, the awards show managed to
attract the biggest stars in film and tele
vision for another outpouring of
Recently, the Golden Globes have
become cherished because of the often
surprising happenings in an atmos
phere less structured and more relaxed
- akin to an older Hollywood.
Like the early Academy Awards,
the Golden Globes are presented at a
sit-down dinner where the drinks flow
The speeches were often off-the
wall and the reactions startling.
Jack Nicholson has accepted an
award by mooning - though not with
his pants down - his fellow nominees.
Robin Williams has showed his joy at a
win by grabbing his crotch.
Mike Connors has expressed his
feelings about losing the award by hurl
ing dinner rolls at the winner. Christine
Lahti once was announced winner
when she happened to be in the bath
Nothing so wacky happened
Sunday night
At least three of the winners made
fun of the warning on the TelePrompTer
to “Please wrap up” when their accep
tances got too windy. After two winners
included their drivers in their litany of
thanks, it became a running gag, with
Dennis Quaid cracking, “Every actor
knows the importance of a good
Teamster driver.”
But that was as zany as it got
In fact, some lament that the
Golden Globes even have become gen
trified into a three-hour marathon on
network television, with endless accep
tance speeches.
Why do actors and filmmakers
even turn out in their finery for awards
that are voted on by the Hollywood
Foreign Press Association, 80 foreign
correspondents, some with question
able credentials?
Timing is a factor. The Golden
Globes are the first major awards, and
they have often portended the Oscars. If
nominated actors and directors fail to
appear, it might indicate their lack of
interest and so might sway Academy
voters negatively. Winners could trum
pet their awards in newspapers and tele
vision ads and thus influence voting.
It’s possible the Golden Globes
have prevailed because Hollywood
loves a survivor.
In 1996, it began a multimillion
dollar contract with NBC. It now has a
new headquarters in West Hollywood
and can donate hundreds of thousands
of dollars to industry charities.
Women filmmakers fill Sundance
PARK CITY, Utah (AP) - Heather
Graham gets to karate-kick her male co
star across a room. Director Mary
Harron pulls the strings on a male psy
chopath running loose with a chain saw.
Golden Globe winner Janet McTeer
fights an academic glass ceiling in the
early 1900s.
Better days are here for female film
makers, at least on the independent
movie circuit The lineup of 113 feature
films at the Sundance Film Festival
through next weekend includes a record
29 pictures directed by women.
“I’m thrilled at what’s happening on
a personal basis as a woman and as a fan
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^ Anyone who thinks these are a bunch
of chick flicks is really making a
Geoffrey Gilmore
Sundance Film Festival co-director
of these films,” said Liz Manne, who
co-founded film distributor Fine Line
Features and now is executive vice pres
ident of programming and marketing
for the Sundance channel. “The origi
nality we’re seeing from these women is
Festival co-director Geoffrey
Gilmore said, “Anyone who thinks these
are a bunch of chick flicks is really mak
ing a mistake.”
Among the field:
■ “American Psycho,” Harron’s
brutish, bloody adaptation of Bret
Easton Ellis’ novel about a 1980s Wall
Streeter whose hobby is serial murder
by ax, pistol, chain saw or nail gun.
■ Sofia Coppola’s “The Virgin
Suicides,” a dark, comic tale of a group
of spirited sisters in a repressive family.
■ Gurinder Chadha’s “What’s
Cooking?”, a skillfully layered love
song to Los Angeles told through the
turmoil of four ethnically diverse fami
lies as they prepare for Thanksgiving.
The movie was die premiere feature for
the festival’s opening night last week.
“If you could open a dictionary to
the word ‘director’ 40 years ago, and it
had a picture, you would probably see
some white guy with a beret and boots,”
said Lisa Krueger, director of
“Committed,” which stars Graham as a
jilted wife on a bold quest to stitch her
life back together.
“Now the picture looks like 500 dif
ferent people, men and women.”
Even with film schools turning out
more female graduates and more
women moving into studio manage
ment, female directors say they general
ly have a harder time than their male
counterparts finding money to make
their movies.
Financial success ultimately dic
tates whether a director will be able to
continue to make movies and graduate
from low-budget independent films to
costlier productions. With exceptions
such as Penny Marshall or Mimi Leder,
Hollywood rarely considers female
directors for big-budget pictures.