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FILM
Continued from Page S
Carthy's Clay, is skillfully under-
stated and minimized. Jami Gertz is
convincing as Blair and Robert
Downey Jr.'s portrayal of Julian as a
drug addict is quite effusive.
The producers have unwittingly
created stunning scenes and shallow
heroes, much like those they mean
to condemn. Tragedy is blamed on
drugs; triumph is depicted by es-
chewing the lethal substances. (To
gain this sort of philosophical
introspection, one could watch a
"Just Say No" commercial.) There

is no dramatic rejection or de-
nouncement of the excessive
lifestyles, lack of parental care, or
other factors which facilitate this
substance abuse.
The ending of Less Than Zero is
too pat, too neat. All of the nasty
things which have befallen our pro-
tagonists are gleefully shoved aside
as they move on to new and better
horizons; nothing has changed in-
trinsically. The crime is that the
creators of Less Than Zero view
this resolution of the storyline as
satisfactory, as if it has meaning.
Less Than Zero is a visually
pleasing, languishing film which

makes sophomoric judgements upon
three characters, all of whom gener-
ate only marginal interest. Regret-
tably, this movie which could have
been so much more is now only one
thing--meaningless. U
R ECO R D S
Continued from Page 4
technique of the highest order, feel,
intonation, and an inimitable style.
He gives especially compelling
performances on two ballads which
round out the first side of the al-
bum, "Lament," and "The Pea-
cocks."
Marsalis' heavy, low tones fill
"Lament," with sorrow and re-
morse. "The Peacocks," features a
piano solo by Herbie Hancock and a
beautiful call and response section

between Hancock and Marsalis. The
album as a whole is satisfying and
well played. Renaissance comes as
close as possible to conveying the
great feeling of hearing mainstream
jazz performed live.
"The Wrath," features a Tony
Williams drum solo. A typical
Williams solo, it is neither fast nor
heavy, but contains a great finesse
and touch. The album closes with a
recording of a live "Concerts By the
Sea" performance. It is a saxophone
solo sans backup. Marsalis stands
alone with his instrument, and his
playing shows that he is definitely
standing on top.
--Robert Mittra
BONSAI
Continued from Page 4
no Mama's best boy/undeveloped

undefined/waiting for his chance to
be profound."
After the show, I was surprised to
discover that "Fat Boys" along with
some sensitive ballads played during
the show, seemingly from a
woman's viewpoint, were written
by Andrew Ratshin. But the charm
and humor of each trio member
exhibited between songs proved that
Uncle Bonsai was not a front for
one talented individual. The witty
repartee alone was a good reason to
attend the show. Uncle Bonsai are
polished yet uninhibited performers
of the kind best seen live. So don't
forget my advice. U
Michigan Daily
ARTS
763-0379


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WEEKEND/NOVEMBER 13, 1987

PAGE 10