The Michigan Daily - Thursday, April 17, 1997 -,A :E ILM 1IST first-run films Chasing Amy Joey Lauren Adams and ,en Affleck star in Kevin Smith's latest comedy as two comic book artists who fall in love despite her lesbianism and his best friend, Jason Lee. At Ann Arbor 1&2: q12:20 (Friday, Saturday, Sunday and Tuesday), 2:35 (Friday, Saturday, Sunday :and Tuesday), 4:50, 7:10, 9:30; at ,Showcase: 11:55, 2:25, 4:50, 7:10, :35, 11:55. 8 Heads In A Duffel Bag Hit man Joe Pesci loses his luggage on a cross-coun- ;try noggin delivery trip. David Spade and -Kristy Swanson help him retrieve the pre- clous cargo in this dark comedy. At Showcase: 12:30, 3:00, 5:25, 7:40, ,9:40, 11:45. films holding McHale's Navy Tom Arnold takes over where Ernest Borgnine left off as a wacky naval officer trying to control his wacky crew of wacky seamen like David Alan Grier, Bruce Campbell and French Stewart. At Briarwood: 12:30, 3:20, 6:40, 9:20; at Showcase: 11:10, 1:45, 4:20, 7:00, 9:30, 11:50. Murder At 1600 In the third White House conspiracy thriller in as many months, Wesley Snipes and Diane Lane team up and open up a can of whoop-ass on Pennsylvania Avenue. At Briarwood: 1:40, 4:20, 7:40, 10:15; at Showcase: 12:00, 2:30, 5:00, 7:30, 9:55, 12:20. Anaconda At Briarwood: 12:20, 2:30, 4:40, 6:50, 9:10; at Showcase: 11:15, 11:45, 1:30, 2:00, 4:15, 4:45, 7:15, 7:45, 9:20, 9:50, 11:40, 12:10. The Devil's Own At Briarwood: 1:15, 3:45, 7:10, 10:00; at Showcase: 11:40, 2:10, 5:20, 7:55, 10:15, 12:30. The English Patient At State: 1:00, 4:00, 7:00. Grosse Pointe Blank At Briarwood: 1:00, 3:30, 7:20, 9:50; at Showcase: 11:35, 2:05, 4:40, 7:35, 10:00, 12:15. Inventing The Abbots At Showcase: 7:50, 10:10, 12:25. Jungle 2 Jungle At Showcase: 11:00, 1:10, 3:20, 5:30. Kolya At Ann Arbor 1&2: 12:40 (Friday, Saturday, Sunday and Tuesday), 3:00 (Friday, Saturday, Sunday and Tuesday), 7:30. Liar Liar At Briarwood: 12:50, 3:00, 5:20, 7:30, 9:40; at Showcase: 11:00, 11:30, 1:00, 1:35, 3:10, 3:40, 5:15, 5:45, 7:25, 8:00, 9:25, 10:05, 12:00. The Saint At Briarwood: 1:30, 4:10, 7:00, 9:30; at Showcase: 11:20, 11:50, 1:55, 2:35, 4:35, 5:05, 7:20, 7:50, 9:45, 10:15, 12:05, 12:35. Scream At Showcase: 9:15, 11:25; at State: 9:45, 11:45 (Friday and Saturday only). Elisabeth Shue says "cheese" in "The Saint," now playing In theaters everywhere. Sling Blade 9:30, 11:45 At State: 1:30, 4:30, (Friday and Saturday 7:OQ, only). That Old Feeling At Showcase: 12:20, 2:40, 4:55, 7:05. Waiting for Guffman At Ann Arbor 1&2* 5:20, 9:50. Phone Numbers: Ann Arbor 1 & 2: 761 9700; Briarwood: 480-4555; Michigan Theater: 668-8397; Showcase: 97-831 and State: 994-4024. Late shows at Ann Arbor 1 & 2 and State are for Friday and Saturday only. Matinees at Ann Arbor 1 & 2 are for Friday, Saturday and Tuesday only; matinees at State are, fr Saturday and Sunday only. het serious with Wesley Snipes, Diane Lane and Daniel Benzali in "Murder At 1600," which opens in theaters this weekend. ..RECORDS Continued from Page 8A Amy Rigby iary of a Mod Housewife Koch Records What, exactly, is a mod housewife? Most simply, mod housewives are con- spicuously hip middle-aged housewives who, in Amy Rigby's own ,words, might be found at the supermarket with their "kid(s) in a rocery cart / Ieadphones blasting Elastica while (they) debate the merits of low-fat granola bars vs. Snackwells." Rigby's debut album documents the desires and anxieties of these od granola- unching women with a heavy shot Amy Rigby poses w of country. Tinged with a country twang, Rigby's voice has a fluttering quality reminiscent of Victoria Williams. The instrumentation, along with Rigby's slight Southern accent, further amplify the country sound. Pedal steel, dobro and an upbeat rhythm join in on many of the tracks. If the word "country" scares you, you still need not worry with this album. When thrown together with Rigby's simple, straightforward lyricism and her delicate voice, the instruments create an odd juxtaposition, capturing the minds of these not-quite-grown-up grown-up women. Although some songs, such as "Beer and Kisses" ("We lived on beer and kisses / All hopped up on love and foam") might turn a few listeners away; those who stay will be rewarded with upbeat country rock on songs like "20 Questions" in which Rigby harangues her hun- gover, dishonest lover. Other songs range from "The Good Girls," detailing the subtle biases women experience today, to the most out- h her guitar. standing song, "Knapsack." On "Knapsack," Rigby's vocals are accompanied only by her guitar. The sparse sound and instrumentation cap- ture Rigby's infatuation and frustration with her inability to speak to a not-so- strange stranger with whom she has only fleeting contact. Every day as she passes through the door of her favorite bookstore, he "takes (her) knapsack and his fingers brush (her) wrist." In spite of her desire, Rigby is never able to speak. Since its release, "Diary of a Mod Housewife" has been met with nothing but critical success. Although the Village Voice recently voted "Diary" to be one of the top 10 albums of the year, she has yet to meet with much popular success. Among the flood of plastic angst and melodrama that's been satu- rating ears lately, "Diary of a Mod Housewife" offers a genuine and refreshing sound. -Ed Jung Longpigs The Sun is Often Out Mother Records 1996 represented the collapse of the "Brit-pop" scene and little (if any at all) output from the top bands in the current British music scene. However, 1997 has already seen fantastic new albums from Blur and Gene and one more band should be added to this list - the Longpigs. The release of their debut album, "The Sun is Often Out;' is marked by a claustrophobic mist between the emotive vocals of Crispin Hunt and their capable sensibilities in the art of songwriting. The Longpigs are yet another British band out for American bucks. Stating the influences of Lou Reed and David Bowie, the Longpigs have not achieved success through unde- served hype from the fickle British press or by jumping on the bandwagon of any contrived scene (ex. Bis, Menswear). Rather, they have been toil- ing around the pubs of London for five years with little success. This is mainly due to their contractual obligation to a fledgling independent record label which eventually went bankrupt. After signing to Mother Records, they released a slew of singles that immedi- ately drew comparisons to that of the London Suede and Radiohead. "The Sun is Often Out" contains six singles dating back to 1995; therefore, the album can be viewed more as a compilation rather than a solitary piece of work. However, these singles and the rest of the album shine through due to the raw energy the band elicits. The first track and their first single, "Lost Myself," features the vocals of Hunt as he screams and yelps in a falsetto amidst the tense guitarwork from Hunt and Richard Hawley. This unsettling feeling continues with the standout track, "All Hype" The verse is built around Hunt's tender whispers and sparse instrumentation and the chorus suddenly builds through a crescendo of distorted guitars as Hunt sings, "And oh for heaven's sake / I needed you tonight / And never having been / To countrysides and seas / I understood the part / But only only one / You've given up the choice / Why don't you dig my voice?" Other notable tracks include "Sally Dances," (an allusion to the Lou Reed song, "Sally Can't Dance") and Hunt's Brett Anders n- like vocals. The final track, "Over Our Bodies" ends the album on a somber note reminiscent of Radiohead's "High and Dry." After listening to "The Sun is Often Out," one can't help but realize that the Longpigs has the potential to reach the levels of Radiohead or Suede. If the tal- ented Hunt and Co. can release materi- al such as this, then they will have no problem achieving success; they already have a great debut album under their belt. - Philip Son ith Take The EasyWay Out Of College. wwl :. ; i y . vt, t l , U' A' ? o. i I i