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November 19, 1982 - Image 24

Resource type:
The Michigan Daily, 1982-11-19
This is a tabloid page

Disclaimer: Computer generated plain text may have errors. Read more about this.

9 S


CPreep .
things ai
Starring: Hall Holbrook, Leslie Nielsen,
E.G. Marshall, and Fritz Weaver.
Written by Stephen King
Directed by George A. Romero
Movies at Briarwood
By Richard Campbell

... .. .. . .. . .. .. .. .. .. .. .. .. .. .. .... .. . . . . . .
.. . ..............et iu......

A FTER THE MANIC murders com-
mitted in endless Friday the 13th
and Halloween sequels, it's fun to watch
a good horror flick like Creepshow.
Which is not to say that Creepshow is
devoid of particularly nasty killings.
But they're not the reason you sit in
your seat for two hours alternately
screaming and laughing.
Directed by Dawn of the Dead's
George Romero and written by horror-
novelist Stephen King, Creepshow
takes as its format one of those fright
magazines that mixed ridiculous tales
of ghostly revenge with a mad dash of
It is in terms of that style that the film
succeeds. Nothing in Creepshow is
unimportant. If a door closes, it either
creaks or slams shut. Actors overplay
(A mateur and
Commercial Photofinishing)
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Del Rio
122 W. Washington
Hours: 11:30 a.m.-2 a.m. Monday-
Friday; noon-2:30 a.m. Saturday;
5 p.m.-2 a.m. Sunday.
By Julie Hinds
1 969-THOSE were the good old days.
Where have all the radicals gone?
Where is that tough, cocky attitude?
Where are the real places to drink
1982-we're drowning in a sea of pink
and green as students try to out-
conform each other. We sup our beer at
Charley's or Dooley's, where happy,
peppy, preppy plasticity is the order of
the day.
That's o.k.-if you're good at that sort
of thing. But if you long for a time when
the hair was longer, the clothes more
rumpled, and the drunken statements
more profound, there's still an oasis on
the Ann Arbor bar circuit. This haven of
authenticity? Del Rio.
Located at 122 W. Washington, this
comfortable bar with foodstuffs is
frozen in a time when Ann Arbor was
more, well, mellow. Bizarre modes of
dress and thought are not only accepted
here, they're encouraged. The waiters,
with their ponytails and genial un-
pretentiousness, set the tone. No

prepackaged top-40 tunes here like the
swinging bars serve up-the music is
blues, jazz, rock, loud.
Sure, the physical setting leaves
something to be desired. Although it's
located next to some of the nicest
restaurants in town-The Earle, Old
German-the neighborhood is
definitely seedy. Far away from the
shiny student sanctums, it's not really a
place to stroll at night without a big
friend or a big dog.
Inside, however, the atmosphere is
dark, woody, and intimate. The
capacity is small-about 50 people-
and encourages thoughtful conver-
sation. A fabulously ornate ceiling
floats overhead. And when the closing
lights go on, the red lamps merely
flicker a tad brighter-almost as if the
bar is sorry to see its patrons go home,
On a typical night, the crowd is
predominately townies, with a few
graduate students and a mere
sprinkling of undergrads. No freshmen
(without savvy) allowed-IDs are stric-
tly checked at the door.
The prices run from convenient to
damn cheap. Del Rio knows that if
you're slightly counterculture, you
probably don't have a lot of money. For
hard-core poverty cases, the plain, but
filling, burrito is a mere 85 cents. The
$1.95 deluxe burrito can easily feed two.
Other staples on the menu are pizza,
nachos, and the beer-steamed Det-
burger (created, according to the
menu, by J. Detwiler, jazz musician
and former bartender).
The menu is as mysterious as some of
the customers. Two hard-boiled eggs
for 40 cents, bread and butter for 35 cen-
ts, alfalfa sprouts for 15 cents-who or-


Del Rio: Harking back to the '60s
ders these items? Anorexics? And who'
put the fishtank on top of the cigarette
machine? Answers to these questions
need not be sought. They add to the
place's mystique.
The Complete bar offers Stroh's
Signature, Stroh's dark, O'Keefe Ale,
and Heineken on tap. A pitcher runs
from $4.50 to $6.75. The dark beer's the

best for blendi
It's fun bei
tough image tc
those Shetlan
to keep clean
acting nice an(
is just too mu
down and go tc

Creepshow: That's scary

every line. And when the killing begins
the camera dizzily tilts while the lights
turn into primary shades of red and
blue. This isn's exactly a subtle film.
The 'film's only faults lie in the
collaboration of King and Romero. For
the most part, King's tales of earthly
hauntings are concerned with charac-
ters rather than bizarre deaths. His
latest book, Cujo, has little to do with a
rabid St. Bernard but lots to do with the
impending break-up in the
protagonist's marriage.

On the contrary Romero has always
been short on character. It takes him an
entire movie to sketch in a character
which King would do in one paragraph.
Creepshow, with its emphasis on style
and pinache, affords little time for
building characters.
Luckily, Romero has brought to the
film several actors able to gouge a
character out of thin script. Hal
Halbrooke, Fritz Weaver, and E. G.
Marshall all manage to present slightly
off-center humans where Romero
comes up short.

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Inside of Creepshow are five short
stories dealing with the macabre and
the mystical. In order of appearance
they are: "Fathers Day," in which a
grisly corpse returns from the grave to
evenge his murderess; "Jordy," con-
cerning a lone dull-witted farmer who
discovers a meteorite with decidedly
fertile powers; "Tide," which com-
bines the latest in video technology with
a cuckholded husband; "The Crate,"
an old create dating from 1843 holds
both a ravenous beast and the answers
to a hen-pecked husband's dreams;
finally, in "Creeping Up On You," a
power-hungry Howard Hughes-like
recluse meets his match in the for-
midable guise of 25,000 cockroaches.
All of these creepy snippets are fun,
full of shocks, high-camp horror, and
colorful effects. But in the majority of
the stories, there simply isn't a suitable
climactic ending to capitalize on the
previous scenes. "Jordy" hasn't much
going for it and finally just peters out,
"The Crate" never wavers from its ob-
vious path, and "Creeping Up On You"
is only saved by Marshall's performan-
ce in an otherwise bland spot.
King has written a couple of short
stories along the lines of "Tide"
wherein a husband seeks out his wife's
lover and puts him in a life or death
situation. What makes King's stories
work are his eniphasis on charac-
terization along with a gimmick mur-
der. All Romero provides is the gim-
mick and some style. Even Romero's
use of snappy endings (as in Night of
The Living Dead, which in Creepshow
dissolve into their cartoon panel
drawings, can't save some of his
Butall crabbing aside, Creepshow
provides enough thrills and chills along
with cartoon production values to give
even a jaded horror film buff some

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A Publication of The Michigan Daily




8 Weekend/Novenibcj i9, 1982

1 IWeeke

1 ~ Wp~k.m
.~ VV

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