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MOVIES
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dancers, Gaz crunches the numbers
and decides that solvency lies in strip-
ping.
His vision, however, encompasses
two crucial differences: One, his
shindig will showcase homegrown tal-
ent (or non-talent) —specifically, Gaz
and his mates. And two, none of this
stop-with-the-G-strings stuff for them;
to be sure of packing the house, they
will go "the full monty."
The movie opens with a promo-
tional film from the early 1970s:
"Sheffield — City on the Move." The
industrial town was booming, and it is
jarring to see what has happened to
the place in the quarter-century since:
It's a rusting hulk, with its manly,
macho workforce going through a
kind of psychological disintegration.
Gaz's buddy Dave (Mark Addy), a
huge, gentle oaf, is having problems
with impotence, exacerbated by the
terrifying prospect of baring his bulk
before a crowd of local females. Gerald
(Tom Wilkinson), their despised for-
mer superintendent, is ashamed to tell
his wife of his unemployment and
goes off each morning to a phantom
job.
As Gaz pulls the sorry, reluctant
group together from down-and-out
pals and a classified ad, The Full
Monty flirts with formula and a tri-
umph, of sorts, seems (and in fact
proves to be) inevitable. But through
the unlikely sensitizing of this unlikely
crew, shrewdly interwoven with farci-
cal elements — the rehearsals in par-
ticular — by first-time screenwriter
Simon Beaufoy, the film remains
heartfelt throughout.
Robert Carlyle, so unsettling as the
psychopath Bigby in Trainspotting,
here displays a jaunty side as the irre-
sponsible but well-meaning and sud-
denly entrepreneurial Gaz. Other per-
formances, too, are low-key and
unmannered. Director Peter Cattaneo
brings just the right touch to this
slight but affecting tale: a lingering
sadness gradually overwhelmed by an
inexorable and wholly serendipitous
joy.
Donna Summer, Hot Chocolate,
Sister Sledge and Tom Jones have
never appeared more foolish — and,
at the same time, have never been bet-
ter. The same could be said for Gaz
company.
A Fox Searchlight Pictures release.
Director: Peter Cattaneo. Writer:
Simon Beaufoy. Cinematographer:
John de Borman. Composer: Anne
Dudley. Cast: Robert Carlyle, Tom
Wilkinson, Mark Addy, Lesley Sharp,
Emily Woof. Rated R. (Reviewed by --)
Arthur Salm)
IN THEATERS
MASTERMINDS: Take the "thrill"
out of "thriller" and you just have "er."
As in: Er, when does the excitement
start?
A harmless, though not entirely
charmless, story of a brainy bad guy
(Patrick Stewart) who seizes a school
full of rich kids for ransom. The only
obstacle between him and a really high
tax bracket: Ozzie (Vincent
Kartheiser), the teen stepbrother of
one of the students, who keeps foiling
the dumb grown-ups.
Stewart should have a Groucho
nose and glasses to go with his new
mustache, so archly does he spoof his
way through the movie.
Cast: Patrick Stewart, Vincent
Kartheiser, Brenda Fricker, Annabelle:
Gurwitch, Katie Stuart. Rated: PG-13.
(Reviewed by James Hebert) * 1/
2
KULL THE CONQUEROR:"Kevin
Sorbo handles the title role in Kull the
Conqueror with the same easygoing
physical presence that you see in the
"Hercules" TV series, and he has the
sense not to spend too much time act' \
ing. Kull, like "Hercules," is very silly,
and Sorbo has mastered the knack of
hinting that he's hip to the nonsense
without undercutting the story.
Whether or not Kull will prove to
have been a wise career move for
Sorbo, it's certainly the sensible thing
to do. The fans he has gathered as
Hercules want him to do something
different, but not very different, and :\
that's what we get here.
Cast: Kevin Sorbo, Tia Carrere,
Thomas Ian Griffith and Litefoot.
Rated PG. (Reviewed by Charles
Britton)
i/2
SHE'S SO LOVELY: John Cassavetes,
the late actor and director, was a
fanatic for actors. He married a great
one, Gena Rowlands, who has a small
role in She's So Lovely, which was
directed from an old Cassavetes script
by his son, Nick.
Harry Dean Stanton, as a grizzled
boozer with a swollen lump on his
forehead, does sly take-overs of most
of his scenes, and John Travolta
charges into the last half of the movie
like a locomotive and rules many of
his scenes.
In keeping with the Cassavetes tra-
MOVIES on page 118