i "The Last Laugh" finds its way to the Michigan Theater. The silent classic by F.W. Murnau details the turmoil of a dejected doorman who faces the trials of the employment world. The film relies on cine- matography to express what only words normally could. The laughs begin at 4:10 p.m. Admission is $5. 4 Monday January 12, 1998 8A Far from a knockout, 'Boxer' packs very little punch By Ryan Posly Daily Arts Writer It's an interesting experiment: taking "Rocky" and transplanting it into the crumbling buildings and lit- tered streets of war-torn Belfast, Northern Ireland. The filmmakers saw it as an opportunity to explore a number of topics: boxing, the IRA, violence, love conquering all. It's too bad that they were barely able to scratch the surface of any of them. "The Boxer" reteams the makers of "in The Name Of The Father," the captivating 1993 film about a man wrongly accused of an IRA bombing, writer- director-producer Jim Sheridan, co-writer Terry George and star Daniel Day-Lewis. While that film focused on an important true story (the trials of the Guildford Four), "The Boxer" tells a smaller, more intimate story about two people fighting for love amidst the local IRA's internal con- flicts. When we meet Danny Flynn (Day-Lewis), he is being released from a 14-year prison sentence ambiguously involving his previous affiliation with the IRA. But he has since rescinded his allegiance with that group, an act that makes him less than wel- come when he returns to his old home in Belfast. He tries to reopen the community gym, as well as kick start his boxing career again, but his peaceful, non- sectarian attitude upsets certain players in the local IRA. On the other side of the story is Maggie (Emily Watson, breathtaking and Oscar-nominated in 1995's "Breaking the Waves"), a so-called "prison- er's wife" who was once in love with Danny. ier memory is all that has kept Danny sane while in prison. Their love is now forbidden, though, because Maggie must remain faithful to the cause, which means staying faithful to her husband in prison. To complicate matters further. Maggie's father (Brian Cox) is the head of the local IRA. Danny's meddling presence is making matters worse still, especially in the midst of delicate peace talks with the British government. The film does a wonderful jobR of highlighting the religious basis of "the troubles," the pro- 1 foundly deep-running animosity between Catholics and Protestants. Rarely do films dealing with the IRA emphasize this conflict. Danny's non-sectarian gym succeeds for a brief moment before the people's ingrained intolerance gets the better of them and they riot in a harrowing scene of senseless violence. The film puts a new spin on the typical us-vs.- them IRA conflict, as well. There is no evil England here; all the violence in the film is instigated by one rogue IRA member who sees no justice in the peace process. The members of the IRA say they're fighting for; peace, but when it seems like it might finally come, they don't know what to do with it. The response is more violence. While the ideas and moderate stance are novel, "The Boxer" suffers from a real lack of substanc Throughout the film, much of the past is shroude in mystery, especially Danny's crime, but the mvs- tery is never resolved. Without a solid sense of who these characters are, we never get a clear insight into who they've become. And whenever they do refer to the past, it's always with such vague, trite N i u W lines as "We're not kids anymore F. L v L. Yr 1I The Boxer Violence erupts at several key intervals, but forward movemer ** is slow. The film thus relic At Showcase heavily on dialogue, but it is not well written. Faced with such obstacles, Watson and Day- Lewis turn in the best performances they can, appearing stoic until they can't contain their emo- tions anymore, and they come flooding out in the film's attempt to drown the violence with love. The film doesn't claim a simple solution to "the troubles," but it does pretend to offer hope through love, a simple assertion for an all-too-simple film,. "Boxer" Danny Flynn (Daniel Day-Lewis) puts the moves on Maggie (Emily Watson). Machines kill holiday blues Satiric 'Wag' gives no great shakes By Gabe Fajuri Daily Arts Writer This was the second year in a row that Detroit's favorite sons, the Suicide Machines, played multiple dates at the same venue during the holiday season in their hometown. Last year, a three- show fiesta was held at the Magic Stick, and this year, festivities were taken to the larger St. Andrew's Hall for two consecutive nights. The Dec. 28 show was, like the pre- vious night, a sold-out event. While the Suicides had been at Clutch Cargo's earlier in 1997 (sometime in the early fall), kids, teens, college students and even some parents were all anxious for another dose of down -home goodness. After two opening acts and a momen- tum-killing racial slur by a drunk, the Suicide Machines took to the stage around 9:45 p.m., to the cheers and chants of the crowd. The boys launched into a set full of oldies (including selec- tions from "Destruction by Definition") sprinkled with new songs that should surface on their second major-label release sometime during the year. The new material ranged in tone from heavily hardcore-influenced to much more danceable and ska-influ- enced sounds - definitely a broader spectrum of sound than the "Destruction" album. For those who didn't make it to the show, the only way to hear this is their next release. Speaking of records, both shows at St. Andrew's were taped for a live record that the Suicide Machines intend to release in this year along with their studio album. Look for some choice comments amidst the music, by bassist Royce Nunley. Lead singer Jay Navarro told us all to Suicide Machines slayed St. Andrew's. ignore the drunk who stormed the stage earlier, and the evening continued as planned. Navarro also told the multi-gen- erational crowd, at evening's end, to say good-bye to Derek (the drummer) as he's going to be leaving the band in the not- so-distant future. Wait a minute, didn't they say that at the Clutch Cargo's gig? The group turned in a good, if not great, performance. Of all the shows I've seen them play, this was certainly one of the best. Their set was loud, tight. fast and enjoyable. And. as usual, any- one who wanted a chance to sing along got one. I By Gerard Cohen-Vrignaud Dailv Arts Writer Satire is probably the hardest film genre to pull off well. Satires have to be bitingly funny while retaining a certain real- ism. "Wag the Dog." the latest film from director Barry Levinson, does neither, often dishing up flaccid com- mentary and ludicrously exaggerated R stereotypes.O Ultimately, the biggest damiper on this movie is the predictability of the jokes. Some of the cracks in "Wag the Dog" will sound very familiar; there is nothing earth- shatteringly innovative about the humor. These same tired political witticisms are recycled in a smug fashion. "Wag the Dog" is a movie that is self-consciously oh- so-clever, full of barbed quips that are more canned than fresh. Robert DeNiro plays Conrad [3rcan. a savvy and confident problem solver of the first rank. The White House recruits his wit to rectify the latest political crisis that has placed the president's future on a rocky path. Information has been leaked to the press that the president engaged in ill- suited behavior with a 15-year-old Firefly girl. Bad timing! With the elec-4 tion only two weeks away, what can the president do to salvage his bid'? Enlisted by the president to fix the} problem, Conrad dishes out absurd' orders to the executive staff, telling them cryptically to say one thing to the press and then another, causing more eyebrow raising thdn support. His associate in the White House is presidential aide Win i fred Ames (Anne Heche). She plays the naive Washington acolyte, a woman not fully aware of the chicaneries of politics. Conrad molds Winifred into a hardened cynic. Winifred often looks at Conrad in a "gosh darn it, lhe's so smart" manner, despite her hesitatingz conscience. Conrad willingly lives ulp to Winifired's admiring glances by delivering many glib pronouncements onl the public's stu- pIdIty. From Washington, the duo moves on to Hollywood. There, Conrad hires Robert DeNiro and Ann Stanley Mlotss (Dustin I-ofian), a spin on satire in "Wag IiC i V I E W told. Although most of the jokes are stale and lag the Dog predictable, there were many deliciously ironic moments. At one point, the presidential staff At Showcase watches a tape featuring a commercial that will run after the scandal in the White House is exposed. The tape features a shot that zooms in on one of the White House windows while a baritone voice-over con- demns the president to the tune of "Thank Heaven for Littlg Girls." Another conei Campus x,4~ film producer who needs a challenge. His task is to produce a war that will distract Americans from the president's philander- ing ways. In short shrift, Stanley maximizes his artistic talents to pro- duce a war with Albania. "Why Albania?" you may ask. As Conrad so mirthlessly states, the public knows nothing about Albania and will believe whatever they are dic touch comes with the musical numbers in ag the Dog" No war is complete without a triotic jingle. Willie Nelson plays Johnny reen, the country-western songster who creates a "We-Are-The-World"- type number to unite the hearts of Americans every- << >_where. "Wag the Dog" goes too far in its caricature of politics and Hollywood- There is no subtlety to this satir4 Either the characters are wholly cyni, cal, completely naive or maddeningly 4 s:enraptured by the production of this phony war. We are neant to identify with Heche her naivete with the ways of the world is supposed to reflect our own delusion. Yet, no one in the real s world is quite as politically gullible as Heche's character. DeNiro is irritatiiig as a kniow-it-all and Hoffhian is equally obnoxious as@4 producer looking for something to dispel Woody Harrelsoii puts iii a greatcameo as a crazed war hero left behind the lines - a perfect hero who turns out to be a per- fect, nuii-rapiiig psycho. "Wag the Dog" fails to produce laughter because it goes over the top, losiiig itself in improbability and iiiplausibility. The film ris very slick and well shot, but lacks th spontaneity needed to cariy the satire genre ........... ....... .... .... .. . .... .. .. .. . .............. ... ........... . .... V.: ........... ................. .. ........... ............. ..... ... .......... ...................... ......... ........... ............. .......... .......... ... ......................... ................... ...... ....... ......................... ............... ................... ... ............. ...................... .............. .... .. .................... ................ ....... ................... ... .......... ................. ... .............................. ......... 0o Nc 'i- La ne Heche put a new the Dog." p . - _______I C 0 G-. 0 Over 75 accredited courses * French Immersion Program 0 Fine Arts Program * Advanced Photography and Web Design Programs 0 Cultural Excursions For more information, call or write: The American University of Paris Summer Programs, Box S-2000 102 rue St. Dominique 75007 Paris, France Tel. (33/1) 40 62 06 14 Fax (33/1) 40 62 07 17 New York office: Tel. 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