The Ann Arbor District Library hosts a snowflake workshop. at's right. Snowflakes. So come, have fun and learn with Thomas Clark how to replicate that white stuff that seems to be absent this winter. 7 p.m. ftMdftmggu LlTS A review of the "Friday" sequel, "Next Friday," the latest Ice Cube opus minus funnyman Chris Tucker. Tuesday January 11, 2000 4 5 Problems hamper 'The Hurricane' Kubrick series plays at Michigan Laura Flyer Daily Arts Writer Conceivably, director Norman Jewison could have pulled it off. *nd he almost did, in his latest film, "The Hurricane." Denzel Washington undoubtedly is an actor with plenty of talent. But why have Denzel do all of the work? Jewison's problem is that what could have been small glitches that needed small tweaking actually were small glitch- es that were somehow magnified, which would require a lot of tweak- 0g. Consisting of a number of flash- backs, "The Hurricane" begins in the middle, at the peak of mid- dleweight boxer Rubin "Hurricane" Carter's (Washington) career in 1963. Three The Hurricane At Showcase years later, Carter is wrong- ly accused and arrested for a triple murder in his hometown of Paterson, New Jersey. This isn't the first time the boxer has been incarcerated - all his life he's been hounded by a Paterson police lieutenant guardians who, having read Carter's autobiography which he wrote in jail, are inspired by his story. They make it their mission to find the missing holes in the unsuccessful handful of trials and appeals aiming for Carter's release. As actors, they should have filled in their own missing holes. The trio were just that - a trio. They didn't seem to have individuality at all - except maybe Lisa (Deborah Kara Unger) who led the pack. With the combination of Terry's (John Hannah) near-neurotic glances and silly smiles, Sam's (Liev Schreiber) stupefied looks, and Lisa's chain- smoking and depressive countenance the three emerged as a bizarre bunch. When they adopted Lesra and educa- tionally-nurtured him according to their homely style of living, they acted like zombies. "The Hurricane" is unconvincing in other respects. First of all, while Rubin's preaching was inspiring and heart-felt, fate and destiny issues were too often forced into scenes, cheapening the idea of Rubin's pas- sion. Lesra's discovery of "The 16th Round," Rubin's story written from his jail cell, at a used book sale begins the entourage of fate mumbo- jumbo. Standing by a cart of books, Lesra eyes his prize from afar, but look out, here comes an elderly man about to snatch his destined book. Thank goodness, the stranger throws the book down with uninterested nonchalance. Staring at the cover, Lesra is transfixed on the image, as though it is his calling to read the 25- cent book, even though he has no idea who the famous boxer on the cover is. Destiny works its way towards a face-to-face encounter between Rubin and Lesra. Jewison won't stop focusing on these two angelic beings who are somehow meant for a father- son relationship. After all, Rubin and Lesra (a.k.a. Lazarus) have biblical Coursety of Universai Pictures The much-talented Denzel Washington plays the boxer Rubin "Hurricane" Carter in the biopic by Norman Jewison. By Aaron With Daily Arts Writer "Heeeeeeeere's Johnny!" Well, here's Stanley, at any rate. In conjunction with the Film and Video program and its "Major Directors" course, the Michigan Theater will begin a weekly series of Stanley Kubrick's 12 feature films tonight with "The Killing" Though the film is in fact the direc- tor's third, it appears first due to the unavailability of his rookie effort "Fear and Desire." Film and Video Prof. Peter Bauland decided to show "Killer's Kiss" - a 67-minute work that comes second chronologically in the Kubrick cannon - at the end of his Kubrick course to emphasize the thematic and visual importance of the short piece, as well as to allow students to observe the direc- tor's "thumbprint" on his films, even in his early days. Bauland appreciates the tireless work of the recently-deceased director. In fact, Kubrick's passing was a large reason to create a course devoted solely to him - not simply a course including his films and works by other directors. "I've taught Kubrick before, but I've never taught him in a whole course. Usually I teach him in conjunction with Orson Welles,"said Bauland. In the past, Bauland would show "half-a-dozen" Kubrick films in one term. "He just died. It's time to have a retro- spective," Bauland said. As the films are shown at the Michigan Theater, all are welcome to attend - not solely students enrolled in the course. Working closely with Prof. Bauland is Russell Collins, the executive director of the Michigan Theater. Collins looks for- ward to enriching the campus and local communities with the great films. "There's a curatorial and pedagogical connection to what's going on" when films are shown to students, Collins said, adding that students tend to bring in their friends and significant others to watch the films. One of the most significant facets of the screenings is the fact that all of the works will be shown in their glorious 35 Kubrick Cinema The Killing 1956 Jan. 11 Paths of Glory 1957 Jan. 18 Spartacus 1960 . Jan. 25' Lolita 1962 Feb. 1 Dr. Strangelove or: Howl Learned to Stop Worrying and Love the Bomb 1964 Feb. 8 2001: A Space Odyssey 1968 Feb. 15 Barry Lyndon 1975 Feb. 22 A Clockwork Orange 1971 Mar. 7 The Shining '1980. Mar..21 Full Metal Jacket 1987 Mar. 28 Eyes Wide Shut s1999 s Apr. 4 Killer's Kiss 1955 Apr. 11 All films begin at 7 p.m. mm formats - true to the original Kubrick cuts. "Kubrick's career is completed, and the studios are re-issuing prints of his films,' Collins said. "It's a serendipitous sequence of events" "Some of the films are more esoteric and don't draw as well," Bauland said. That said, it is a given that titles such as "2001: A Space Odyssey," "A Clockwork Orange," "The Shining" and "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb" will draw large audiences. The opportunity to see the com- plete works of one of the greatest American directors is rare. The advantages of seeing them in a true movie theater instead of a television set are many. Try to catch one, orAll. You just might learn something - or at least be entertained for a couple'of hours by a true artist. - Daily Arts Writer Erin PodolSky contributed to this report. Dan Hedaya) who makes it his life- ng goal to keep Carter behind bars. His motivation mostly stems from racial prejudices, but it didn't make things any more settling for the cop that "Hurricane" turns into a celebrity. Carter spends 19 years of his life in prison serving time for a crime he did not commit, when jus- tice finally comes to terms with his- tory's racial prejudices and police force corruption. Another huge chunk of the film eals with Carter's saviors - teenag- er Lesra Martin (Vicellous Reon Shannon) and his three Canadian connotations, as "Hurricane" describes to Lesra. Together they mean, "son who has risen from the dead." A little too exaggerated and intense for their haphazard joining. Furthermore, Carter must have received plenty of fan mail from peo- ple over the years - his story was a best seller when it was published, as shown by a shot of his books lined up against a store window. Therefore it is not clear as to why Lesra's letter had such a strong effect on him, other than the fact that Lesra is inspired by him. The emotional side that emerges from "Hurricane" Carter's tough exterior makes sense; it's the unbelievability of his meant- to-be relationship with the adoles- cent that turns his bouts of sappiness to hints of wimpiness. "The Hurricane" is also befud- dling once Lesra and his trio take over the trial to help Rubin. Surely in rare situations lawyers would over- look seemingly unimportant evi- dence that turns itself around and proves innocence. Or they would fail to dig deep enough, which would make Lisa, Terry, Sam and Lesra's new role in the case conceivable. After all, they moved to New Jersey to be closer to "Hurricane" and expend all their energies on research for the case. But all they do is talk to all the key witnesses and go through their files - something the lawyers would probably have done. Their efforts looked lame and unnecessari- ly mocked the lawyers, which one wouldn't think would be Jewison's intent of portrayal. Denzel is very close to saving the film. He has a keen ability in dis- playing a range of emotions with an aura of ease. But Jewison should have evened out the responsibility, allowing other parts of the film to shine instead of placing the burden on one man to hide the weak spots. I _______________________________________al You are invited to a Special Advance Screening of 4E R L, ATTEKKV gTEP Sponsored by VarsityBooks. com Wednesday January 12th, 2000 9:00 pm Lorch Auditorium Co-sponsored by M-Flicks Admission is free! Arrive early! Seating is available on a first-come, first-served basis with pass holders admitted first. Look for a student rep on campus for a free pass. WINfIA RYI NTIrEAV gTEP DlER ANGELINA JOLIE I .