The daily Nebraskan. ([Lincoln, Neb.) 1901-current, January 27, 2000, Page 10, Image 10
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Minimum age is 18 Intolerable soundtrack loses ByJoshKrauter 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 Sunday.” 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 Sunday Soundtrack ARTISTS: Various Artist LABEL: Warner Sunset/ Atlantic Records GRADE: F FIVE WORDS: Soundtrac SUCKS OUT BRAIN, SOUL 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 cially. 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 BEVERLY HILLS, Calif. (AP) - 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 awards; 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 freely. 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 room. 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 “O” Street Oil Change . ‘I Ip __ _ _ ^ Vahmtine The only “Catch" is you have to say “PLEASE!” B • HI On any GM Vehicle! ParK Place open every Saturday nw Includes 5 quarts of m appointment necessary VaJvoline Oil & Oil Filter rOffiudC/taaiiiac/MMv c Ma_h «i »»» “Northside” 434-5200 EX5020“OnSt ^ Anyone who thinks these are a bunch of chick flicks is really making a mistake 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 remarkable.” 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.