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Megadeth
So Far, So Good.... So What?
Capitol Records-
Did you ever have one of those
days when any music you listened to
just didn't cut it? The latest
Huey/Bruce/Madonna/Prince release
doesn't turn you on? And the latest
variation-permutation o f
Smiths/Cure/Echo Brit-pop doesn't
get you off? You know, one of those
days when you say, "I want to kill
something." Well, here's the perfect
soundtrack for those days: Mega-
deth's newest, So Far, So Good....
So What?
There's plenty of the same stuff
that put Megadeth on the top of the
speedmetal heap: death, awesome
musical technique, death, speed-of-
light guitar solos, death, crushing
rhythms, and more death. No false
advertising here; there's plenty of
death in these grooves, whether stated
in the lyrics or implied in the music.
The music is even tighter and
more complex than on their last
Megadeth's lyrics deal with death, death, and death.
album, Peace Sells... But Who's
Buying? New band members Jeff
Young (on guitar) and Chuck Behler
(on drums) bring a more professional
attitude and musical ability to the
group. Dave Mustaine has stripped
the humor from his lyrics, leaving a
cover of "Anarchy In The UK" (with
Steve Jones adding guitar) as the
only ray of sunshine. And if you're
familiar with the song (you ought to
be), you know it's no cheerful pop
tune.
This album should keep Megadeth
atop and ahead of the metal scene,
See, MUSIC, Page 13
By John Shea
Shoot to Kill has a great title. It
grabs you by collar and shakes you.
Its very harshness and violence
suggests an urgency that demands
attention. It demands we come to the
front of our seats.
And that's exactlyiwhere we are
for the first ten minutes of the
picture.
Pan of
the Week
We're there because director Roger
Spottiswoode has put together a taut,
suspense-filled opening sequence
executed in rapid-fire fashion. Sidney
Poitier stars as Warren Stantin, an
FBI agent whose investigation of a
robbery leads him to a suburban
home and a confrontation with a
cold-blooded murderer. Despite
having the house surrounded by
S.W.A.T trucks, Stantin is forced to
negotiate with the murderer because
the murderer has hostages. If Stantin
doesn't back off, the hostages will
die.
But the killer does slip through
the S.W.A.T team's blanket and runs
off to the mountains. Stantin dog-
gedly pursues.
What follows is a 90 minute
chase scene through the mountains of
the Pacific Northwest. Stantin wants
the killer bad, but he isn't on
familiar turf; he's the city boy who
doesn't know the front end of a horse
from the back. So he has to enlist
the aid of expert trail guide Jonathon
Knox (Tom Berenger, Platoon) to
help him through the mountains.
Knox takes an immediate disliking to
Stantin, but he, too, wants the killer
since the killer has taken his expert-
trail-guide girlfriend Kirstie Alley
hostage. So the two men are forced
to work together.
The tease of the opening sequence
- that there might be some
satisfying suspense ahead - quickly
goes up in smoke. Screenwriter
Daniel Petrie seems content with the
conventional. He builds the story
around a chase scene we've seen a
million times and gives us flat,
uninspired characters. The explosive
chemistry the film relies on between
Poitier and Berenger never comes off
because Berenger's lines come
mostly in grunts (if it means
anything, he grunts well).
Petrie's script also has a distinct
Swiss cheese quality to it. For
instance, how can you explain the
FBI sending only Poitier, 50 year-
old Poitier, out into the mountains
to pursue a spry killer half his age?
And what about the killer's saying he
needs Alley only until he gets to the
Canadian border, and then holds on
her well after he gets there? And after
spending the whole time building up
the suspense - will our two heroes
get to the killer before he makes it
out of the mountains? - where does
the climax take place? On a boat.
Go figure.
What it boils down to is this:
Shoot to Kill is Poitier's film, and
Poitier returns to screen.
ORIGINAL
DEEP DISI
WITH 2 ITE
*
Voted Best F
* "The Michigan Daily'
MAIN N
CAMPUS CA
665-6005 99
.....- .-.- ........
it marks his return to the screen after
a ten year absence. As always,
See SHOOT, Page 6
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PAGE 12 WEEKEND/FEBRUARY 12, 1988
WEEKEND/ FEBRUARY 12, 1988