J e Iigwx B&iU New Student Edition Thursday, September 8, 1994 LIVIN G AR T S Page 11 By Ted Watts 94 So, here we are, flush in the afterglow of our metaphorical fling with that much-used and often-brutal mistress of flannel and horizontal stripes, the madam of music, the dominatrix of popular taste, that diseased-yet-attractive-smelling consort of the diseased-and-foul- smelling Pery Farrell, Lollapalooza. Here we lay on the floor after this annual cuckolding of our true musical tastes to the devices of that powerful concert force. This year, however, the experience was not as far from our normal good-natured loveLolla prov- g herself not unlike a twin sister to our daily tastes. What, you say you don't under- stand anything I' ve just said? Weren't you there? No? Well, I supposeI' 11just have to review the damn show for you. Arriving between a half- and a full hour beforehand avoided parking problems. Something to keep in mind for future reference. By getting there early, I was able to *e the best band on Lollapalooza, the Boredoms. This noisy Japanese group fronted by Yamatsuaka Eye screamed onto the main stage with their crazy- go-lucky yell-crunch loudness. The most surely different act this year (with the possible exception of the Tibetan monks who periodically end the night on the second stage), the Boredoms are also the most wonderful. They have an album and a single out domestically. Just something to keep in mind. Next up was L7. These veteran heavy-sounding maidens took the main stage with the resounding cry: "De- troit, rock city, come up close and smell our kitty!" The crowd, unfortu- nately, was really dead for them, as it was for the Boredoms. Interestingly, they were able to pick out the dozen or so people who were into it and dancing. The crowd responded best to songs they knew (in other words, "Pretend We're Dead" and the new single "Andres"). It is quite possibly the worst aspect of huge pastiche crowds that they respond only to singles for the most part. They'll spend their time in hell for it. Oh, wait, maybe they were at the Milan Dragway for last year's Lolla. Then they've already been to hell. After L7's last song, a blistering version of "Fast and Frightening," a quick walk took me to the second stage, where I arrived just in time to see Luscious Jackson take the stage. De- scribed at times as sounding like "channel surfing through the AM dial in the '70s," Luscious Jackson made the rather large second stage crowd fall in love with them. It was like a real concert! There was a pit and people were dancing and there were even bodysurfers! Quite a breath of fresh air from the dead calm found over on the knob itself. Speaking of fresh air, over by the second stage were the mist tents. Re- leasing clouds ofvery fine mist that can soak the upper portions of your body while leaving your nether regions bone dry, the mist tents are fine cooling units. Based on a similar idea, the nearby drinking fountains could be used to soak your head and smack other people with your sopping hair. The rest of the so-called "Mindfield" was altogether less impressive. The attractions had long lines and everything else was just food and fashion, basically. But then, it is a concert and you're there to see the bands,right? Next on the second stage was the Verve. A fine outfit, they were less ecstatically welcomed than Luscious Jackson. Nonetheless, they played an admirable show as people left to go see the Breeders. Ah, yes, the Breeders. Having missed Nick Cave and the Bad Seeds and most of Tribe Called Quest, the Breeders were the next main stage band I saw. Still a relatively unmoving (yet much more massive) crowd, they went crazy and burst into song with "Can- nonball." See above for comment on this behavior. These post-Pixies poster children performed phine, and they deserved a bettercrowd. Oh well, most of the bands deserved a better crowd. Running yet again to the second stage, I found the Flaming Lips crunch- ing away at their headlining spot. Bubbles were abounding, floating in a peaceful sort of way against the harsher backdrop of the 'Lips music. They were fairly tight live, and had a plenty concerty crowd, which is more than many of their more famous main stage amigos could say. Running back to the main stage (woo, I must be getting tired), I arrived in time to see a handful of songs by George Clinton. While altogether less than amazing these days on disc, he is still way funky live. Lots of wacky stage costumes for his entourage, too. Git down, Dr. Funkenstein. Now is the time when we enter the Valley of the Shadow of Death. Yes, indeed, the Beastie Boys were up next. Opening with "Sure Shot," the Boys played some mighty fine music. Un- fortunately, their idiot rabid fans suc- cessfully blocked my view. This sur- prised me, as I am around 6 feet (tall). The slam pits were relatively well man- nered, but with that many people (is it 15 or 16 thousand?) problems are im- possible to keep at bay. The Beasties need a smaller crowd to maintain or- der. I beat a tactical retreat relatively early in order to keep my anger at a low ebb. At least I wasn't there for sod fights. Ha ha. At this point, all the possible side things to do went away, except for the pursuits which involved money. So you just had to sit around for a while, awaiting the coming of the Smashing Pumpkins. And they came. The crowd was violent and stupid for the Beasties, but they were mellow and stupid for the Pumpkins. In other words, bruises de- creased while lung cancer increased. When people slam, no one can smoke. This is a good thing. When people take out their lighters for a song, they all too often light other things that are far more annoying (and dangerous) than a guy bouncing off of me. The Pumpkins seemed to play an awfully large amount of singles, as I knew virtually every song they played while I was there. In a very real way, the Pumpkins had the worst crowd of the night, and their skills deserved much more. Oh, well. I left before the Pumpkins' first encore. By getting there early. I was parked real close to the Knob. You can surely understand my not want- ing to get out of the parking lot with several thousand high idiots in front of me. All in all, it was the best Lolla I've been to. Cross your fingers for next year. Lollapalooza 94: top: Beastie Boys left: Eye from the Boredoms bottom right: More guys with mikes, a.k.a. Tribe Called Quest Photos by DOUGLAS KANTER/Daly James and Arnie 'True' to form Director Cameron makes even Tom Arnold likable By MICHAEL THOMPSON A little over a year ago Arndld Schwarzenegger was in trouble. He'd done what many didn't believe could be un e. He'd made a bad movie. And not just a bad movie, t a bomb. So what does the biggest action star in film 'Mask' barely wins by a tongue Carrey and character pull through in FX comedy By MATT CARLSON Love him or hate him, Jim Carrey has an unquestionable knack for the funny face. Some would argue that it's always the same funny face, but lpkiss puts on the mask, and is transformed into everything that he has always wanted to be - confident, witty and mischievous. As The Mask, he has the courage to rob the bank that he works for (the script curiously ig- noring the chance to explore the rea- sons why a superhero-like character would break the law). Thus, The Mask gets to the loot before bad guy Dorian WgTrue Lies Written and Directed by James Cameron; with Arnold Schwarzenegger, Jamie Lee Curtis and Tom Arnold. history do when he'sin trouble? The only thing he can do, return to the man who started it all for him. So Arnold is back with super di- rector James Cameron, and their new film "True Lies" is just like the other two films they made together, simply great. "True Lies" is the not-so-simple tale of a man leading a double life. Harry Tasker is a husband and father sometimes, while making his living as a spy. Problems arise when our hero has to confront the fact that al- though he's a great spy, he's seriously lacking when it comes to being a family man. And even more problems .me up when the two worlds collide. The story of "True Lies" may seem silly and even a little strained, but Cameron injects it full of life. Harry Tasker is not just a great spy, but a great character. After so many films containing old, burned out, partially insane cops, it's a relief to see a character who is relatively stable. Don't worry, Arnold gets to kill a bunch of people, but Directed by C Russell; written b) Werb; with Jim C Peter Greene and Car months after critics slamm Ventura, Pet Detective," an became a box-office sensatio returns to the screen as Th obviously holding some spi ent invisible to the critics. "The Mask," however,4 falter because of Carrey's perf The comical superhero adven fails due to a recycled Hollyw and some rather shoddy dire Charles Russell (whose onlyI director credit was "A Nigh Elm Street III"). Carrey's Jek, like portrayal of The Mask an ego Stanley Ipkiss, as well good gags and excellent speci (created by George Lucas' I Light & Magic) save "The Ma the "wait until video" syndro Carrey first appears as Ipkis harles y Mike After falling flat in last summer's "Last Action Hero," Arnold dresses for success in "True Lies." But Arnold's not the only prize. Jamie Lee Curtis keeps the strong woman theme Cameron has in all of his films. She starts out sort of weak, but gradually takes form and it plays out nicely. The real surprise, however, has to be the performance by Tom Arnold. After watching any of his other roles, it would be almost impossible to believe that Tom Arnold could be any good. He can act. Yes, and he's good. See the movie, you'll agree. Of course almost all the real credit has to go to Cameron who conceived of this over-the-top, completely out-of- mneron Months after critics Diaz. slammed "Ace Ventura, " Carrey ed "Ace returns to the screen d it still n,Carrey as The Mask, e Mask, obviously holding ecial tal- some special talent does not invisible to the ormance. critics. iture film good plot Tyrel (played extremely one- ecting by dimensional by Peter previous Greene of "Judge- tmare on ment Night"), who yl-Hyde- was about to dhisalter rob the as some b a n k al effects himself. ndustrial Tyrel sk" from s w e a r s me. revenge as ss,ameek he later watches win. Ipkiss realizes he doesn't need the mask as he and Tina throw the mask back into the river where he found it. The End. Roll credits. The character of The Mask is what makes the film worthwhile. Green- faced, hairless and with gigantic teeth, Carrey's already rubbery face is high- lighted even more as The Mask. His grin is hilarious as the police chief, while searching The Mask's pockets, finds a picture of his wife with the words, "Call me, lover" written at the bottom. As police surround The Mask, he flees by starting a clever samba dance-break with the officers becom- ing the chorus and dancers in a Broad- way-sized number. "The Mask" is fun to watch, and you don't have to think very much about the film as you watch it. Typical Hollywood schlock that serves as eye candy for the masses. So, while the film may not suffer from "wait until video" syn- drome, it may have a mild case of the "see it at the $1.50 show at Fox Vil- lage" disease. THE MASK is playing at Briarwood and Showcase.