ARTS 73! At the time when the movie occurs (they say the '90's), "space junk," or huge pieces of aged toxic appliances and sewage, fall from the sky into a wasteland of trash, crime and media manipulation. The t.v. set has become the staple of life for these humans - it controls their existence. Stereo speak- ers simulate bird sounds from the trees. There are only five livable cities left on the planet, and this miserable hellhole, Terminal City, is one of them. Alex Stevens (Mark Bennett) can't deal with the corruption anymore. His paperboy routine is tedious. His mother has become one with the t.v., which cooks, organizes and shops for her. He was a hip rock and roll guy, until the psycho-evangelistic mayor Ross Gilmore (Peter Breck) outlawed R&R. So he joins an underground group of artists (because all art is banned) in an effort to change society back from this media mayhem. This movie becomes a bizarre ex- cursion into what our future may be- Gilmore's Social Peace Enforcement Unit, a violent crew of criminals hirede to enforce the rules as police, is over->' seen by Bruce Coddle (Jello Biafra of" the Dead Kennedys). He's abrutal killer'" with no emotions or conscience what=' - soever. Coddle methodically carries out the orders from above and partakes in senseless beatings of innocent people.t.,K "Terminal City Ricochet"is afright-,. ening view of a prospective era. But7 despite the surreal insight on the part of'- the writers, the plot is difficult to keep," track of, and the movie drags. More-'" over, the acting is overdone and ex-" hausting to watch. It makes us consider what may happen to society if we don't; make a conscious effort to change to- day. Under all the weirdo acting hype andcostumes, there really is apoint. B utt prepare yourself for irritation on the' way to revelation. Fudge The Ferocious Rhythm Of Precise Laziness... Caroline Records Much like contemporaries Smash- ing Pumpkins and Walt Mink, Fudge have a happy penchant for dreamy, candyland histrionics. But unlike other bands who use ethereal melodies to hook you in before leveling you with the sonic boom, Fudge have another idea. They seem quite content to ease Dinosaur Jr. Where You Been Warner Bros. Once again, my man J. Mascis has pried his lazy ass up off of the couch long enough to whip up yet another noisy masterpiece. "Where You Been," the follow-up to the (mysteriously) much-maligned and underappreciated "Green Mind," is a gem. Mascis' feed- back-saturated tough love tales have never sounded more confident or stop- on-a-dime focused. Each track seethes with controlled tension and reckless abandon. Mascis' trademark stuck-in-your- head melodies are still intact; but those end of the world, Neil Young would be pgoud guitar solos (conspicuously ab- sent from "Green Mind") are back in full effect (Check the Crazy Horse hom- age m "Out There"). FALL RENTALS EFFICIENCY 1 & 2 BEDROOM APARTMENTS CLOSE TO CAMPUS OPEN DAILY MON.- FRI. 9-5 SAT. 11-2 1001 S. Forest 610 S. Forest 543 Church 905 Church 515 Walnut 848 Tappan 1506 Geddes e i Burnham Associates 543 Church 761-1523 COME SEE US TODAY! you into the stratosphere, riding apass- portof swirling atmospherics and bong tokes. The Ferocious Rhythm of Precise Laziness ... is a sugary sweet collec- tion of confectionery delights that tastes better than anything Mackinac has to offer (had enough of the candy allu- sions yet?). From the daydream stroll of "Peanut Butter," to the sweetheart kiss of "Oreo Dust" (do these guys have theinunchies or what?), Fudge is chock full of recipes for delicious, starry-eyed guitar pop. Jangly open- chords shimmy in a sea of vibrato, while thatlazy rhythm works it'smerry way into your subconscious. Vocalist Tony Ammendolia narrates the whole deal from somewhere deep inside a soothing, Technicolor haze. Other mouth-watering tracks in- clude the gleeful "Drive," while "Way- side" kicks into full-tilt trip mode with a mental dub break (they mess around with this more on the druggy "20-j Nothing Dub"). You're well advised to score an eighth and stock up on chocolate milk and Little Debbie snacks, 'cause this is one seriously fun trek out there. -Scott Sterling FUDGE is well worth putting off Spring Break one more day when they play THE LAB (144 Hill St.) tomorrow night. Doors at 9:00 p.m., bring your own treats. 0 TERMI playing Angell INAL CITY RICOCHET is tonight at 7:30 and 9:15 at Hall Aud A. 'Club' ii. ;1. Just another day at the And despite Mascis' rep as the indie prince of apathy, "Where You Been" is packed with raw, heartfelt emotion. When he shamelessly lets loose with that falsetto howl in the crunchy "Start Choppin'," it's almost enough to give even the most jaded of hearts a sense of hope. By the time he wails "I'd like to see you-ooo-oooou / It's a last ditch" in themaudlin "WhatElse Is New," you're hooked. "Where You Been" continues in the tradition of "Green Mind" by utilizing more elaborate arrangements and unor- thodox instrumentation. The aforemen- tioned "What Else Is New" ends with tympani (played by Mascis himself) anda(gulp!) string section.And itworks. I know it's early kids, but this looks to be one of the year's best. I got it, I'm gone ... -Scott Sterling Mujician The Journey Cuneiform Records Aptly entitled The Journey, Mujician's first recording is an unbro- ken instrumental epic, which leads the listener down the convoluted, topsy- turvy inroads of the musicians' inte- grated dynamic. At times, the furious pace hurls us through Keith Tippet's dizzying augmented jazz comping, while other pathways take us to calmer spaces where the bass and clarinet ex- periment with subtly twisted interplay. Although the idea of an hour-long, continuous free improvisation may seem monotonous to some (one person told me it was as exciting as listening to phone conversations on channel 82), all four musicians demonstrate their re- markable creativity and facility by con- tinually developing and reshaping the music throughout the progression of the piece. The ever-present drone of Tippett's piano (with its seemingly prepared up- per register) subtly phases the mood, while allowing the other musicians to enter and exit the piece as they please. Tony Levin manipulates various reeds, exploring each instruments range of subtle textures, without typically rely- ing on overblowing for effect. Paul Rogers pairs Tippett'smeanderings with warm melody and untraceable zig-zags up and down the neck of his bass. As one continuous piece, this live spontaneous composition cannot justly be reduced to the sum of its component parts. Its force stems from the dynamic created by the swimming together of four musical currents. -Chris Wyrod by John Jones You don't have to be old to appreci- ate "The Cemetery Club," but it cer- tainly wouldn't hurt. Though the film may alienate audiences with its focus on less-than-young people, its integra- tion of humor and tragedy should strike The Cemetery Club Directed by Bill Duke; written by Ivan Menchell (based on his stage play); with Ellen Burstyn, Olympia Dukakis' Diane Ladd and Danny Aiello. a chord with any moviegoer in the mood for a sensitive, human story. Normally, grieving and inevitable loss do not a comedy make. But strong doses of hu- mor and solid, engaging performances by the three leading ladies help the film transcend its otherwise weighty mes- sage that laughter, friendship and ac- ceptance make death bearable. With hints of "Fried Green Toma- toes" and "Steel Magnolias" (and the newly-released "Used People"), "The Cemetery Club" examines a friendship between three older women, each deal- ing differently with the loss of her hus- band. Doris (OlympiaDukakis), cannot release herself from the wrath of re- morse. On the other end of the grief spectrum, Lucille (Diane Ladd) actively seeks the affections of any man without a felony conviction. Caught between her two close friends, Esther (Ellen Burstyn) has to take sides. Instead, she ends up with a new romance with Ben (Danny Aiello). Of course, the characters aren't that old, but a young spectator will surely find watching olderpeople flirting some- what of a thrill - kind of like finding your grandma making out on the sofa with a stranger, not long after gramps The 1993 NorthwesternUniversity College Prep Program is looking for Counselors to work this summer. We're looking for some "Big Sibs" to help guide high school students from around the nation through a summer of has kicked the bucket. The film self- consciously recognizes that voyeuristic pleasure when it shows Esther's grand- daughter catching her with Ben. We get other glimpses into our grandparents' "bedrooms," with some safe-sex scuttle- butt and a few four-letter words. But writer Ivan Menchell's depiction of"ro- mance over 60" treats its characters genuinely, without objectifying their desires as exclusively those of the younger generation. The film positions its oldercharacters amidst younger ones Ivan Menchell adapted the screenplay from his stage play. A likely result of his theatricality is the fact that the film jumps between settings, forgetting that cinema has no closing curtains for transitions. The film has a stagy feel, and natural lighting both complements the film's sincerity ... not for contrast, but to communicate a certain continuity. The "Cemetery Club" doesn't beg for emotion or over-glorify its theme. Director Bill Duke handles the intro- ductions of his all-star cast subtly, with- out fanfare (no turning around into a close-up to greet Ellen Burstyn back to, the big screen). We meet the three main4 characters and their husbands in acaron the way to a friend's wedding (the women sit in back, of course). This character integration contrasts starkly to the more choreographed introduc1" tions in "Steel Magnolias," which intro-' duces each character separately. And while this may detract from the spec-, tacle, the technique instantaneously:; humanizes the film. Above all,- Menchell's comedic timing couldn't be' more ironically apropos. Hilarious one- liners shape the film's rapid emotional fluctuation, supplying comic relief inw tense situations. During one of their regulartrips to thecemetery, the women meet Ben, who visits his wife's grave., Lucille asks of the other two, "Did you., see the way he was undressing me with his eyes?" Ivan Menchell adapted the screen- play from his stage play. A likely result of his theatricality is the fact that the filmjumps between settings, forgetting that cinema has no closing curtains fob transitions. The film has a stagy feel; and natural lighting both complements, the film's sincerity and distracts the; spectator who expects a typically well- lit movie. In many ways, the result is, somewhere between an "arthouse" film, and a big-budget spectacle, with a tilt, toward the arthouse, but no solid stylis. tic identity. THE CEMETERY CLUB is playing at, Ann Arbor 1 &2 and Showcase., 0 Dinosaur Jr. As a Chinese philosopher, Confucious provided social leadership for many generations! As a UAC Executive, you could provide student leadership for the entire University community! Universities should provide social leadership for the rest of society! )NS NOW Create a better ABLE World! 0 create APPLICATIC a better University! AVAI LA Due: March 1st at noon ' ____________ "'-, - ---,- .