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January 22, 2001 - Image 5

Resource type:
The Michigan Daily, 2001-01-22

Disclaimer: Computer generated plain text may have errors. Read more about this.

#oku ad-man s peaks out...
Comedian Richard Lewis reads
from and signs copies of his
book "The Other Great
Depression." Borders. 7 p.m.
michigandaily.com /arts


JANUARY 22, 2001


'Famous' scores amongst snores;
'West Wing,''Sex' win at Globes

'Pretender' fans get
a second chance

By Matthew Barrett and
Christopher Cousino
Dil s W ters
Huah! Last night, all of Hollywood gathered together to pat
themselves on the backs and pass out the 58th annual Golden
Globes which saluted the best in film and television. The
awards show, best known as a precursor to the Academy
Awards, was rather uneventful, dull and at times, bordered on
the ridiculous. Television personality Dick Clark chirped away
throughout the evening, providing unnecessary commentary
that only served to drag out the already lengthy event.
The awards got off to a rolling start with Benicio Del
& picking up the Best Supporting Actor award for his
role as the conflicted cop, Javier Rodriguez Rodriguez,
in "Traffic." The film also won a Best Screenplay trophy
for Stephen Gaghan's script.
Newcomer Kate Hudson beat out the competition
including her "Almost Famous" co-star Frances
McDormand in winning the Best Supporting Actress stat-
uette. The film also scored an award for Best Comedy,

providing one of the few highpoints of the evening.
Tom Hanks took home the Best Actor hardware for
"Cast Away" and trimmed his Robinson Crusoe shag
down to some dirty filth on his upper lip. George
Clooney was also called out for his comedic turn in the
Coen brothers' "O Brother, Where Art Thou?"
Renee Zellweger won for "Nurse Betty" and treated
viewers to a few awkward moments as she was nowhere
to be seen when her name was called. She turned out to be
in the bathroom and eventually made her way to the stage.
Though it was ineligible for Best Dramatic Film (due to
a foreign film technicality), "Crouching Tiger, Hidden
Dragon" came up big. After winning the award for Best
Foreign Language Film, director Ang Lee edged out the
dually nominated Steven Soderbergh ("Erin Brockovich,"
"Traffic") and netted the Best Director award.
The Globes also took time out to salute the career of Al
Pacino, presenting the actor with the Cecil B. DeMille
Lifetime Achievement Award. Pacino was praised by pre-
senter Kevin Spacey with a retrospective of some of the
best moments from a career including "The Godfather,"
"Dog Day Afternoon" and recently "The Insider.".
The low moment of the night came when none other
than the real Erin Brockovich appeared onstage to intro-
duce a clip of "Erin Brockovich." While she had the
stage, Brockovich went on and on about how wonderful
the film was, even hailing Julia Roberts as "the actress of
the millennium." Roberts followed this up by winning a
Best Actress award for her performance in "Brockovich."
In the end, the braun beat out "Brocko" as the blockbuster
epic "Gladiator" took home the top prize for Best Drama, mak-
ing it an early favorite for a Best Picture Oscar nod.
On the television side of things, "The West Wing" and
"Sex and the City" ruled supreme, each picking up two
awards. "The West Wing" won for Best Drama and Martin
Sheen's performance as the President. "Sex and the City"
picked up awards for Best Comedy and its star, Sarah Jessica
Parker. Sela Ward and Kelsey Grammer also received awards
for "Once and Again" and "Fraiser," respectfully.

By Jennifer Fogel
Daily Arts Editor
Who said that television fans have
no voice? After four years on NBC,
"The Pretender" was cancelled by
the ignorant higher-ups at the pea-
cock network without a proper send-

The Pretender
Tonight at 8 p.m.

off. Tonight,
thanks to a mas-
sive fan Internet
campaign and a
very wise TNT,
"The Pretender"
gets a second
chance at life
with the first of
three made-for-
TV movies.
For those of
you who have
never caught an
episode of "The
Pretender" here's

Director Cameron Crowe strikes a pose with wife Nancy Wilson.

Days' a realistic look at Bay of Pigs

what you've missed: Jarod (Michael
T. Weiss), a genius, was stolen from
his parents when he was four, and
taken to an objectionable and treach-
erous think tank called the Centre.
Here he was formed into a Pretender,
someone who has the ability to sim-
ulate any experience from plane
crashes to the Kennedy shooting.
When Jarod is older, he finds that
the Centre has used his simulations
for devious means and escapes into
the real world.
Like a child trapped in a man's
body, Jarod experiences new and
interesting things like Pez and silly
putty, while trying to find his family.
Along his journey Jarod uses his
abilities to impersonate different
professions allowing him to help
people he comes into contact with.
Meanwhile, the Centre has formed a
team, led by Miss Parker (Andrea
Parker) to find Jarod and bring him
back. For four years, Jarod has elud-
ed capture while exposing Centre
secrets from the past.
The movie starts where the series
left off. As the lies of the Centre
come tumbling down, fans learn that
Miss Parker and Jarod share a broth-
cr, Ethan (Tyler Christopher), who
demonstrates a special "inner sense."
Trying to come to terms with the lies

that she grew up with, Miss Parker
tries to expose her own "inner
sense," while searching for her kid-
napped father - the only one with
the answers to all her questions.
All the while, Jarod infiltrates the
National Security Agency and poses
as an agent in order to solve the mur-
der of a fellow Pretender by a terror-
ist called the Chameleon, who
exhibits many Pretender-like quali-
ties. In a game of cat and mouse,
Jarod and Miss Parker must work
together (an unusual task for both) in
order to find the Chameleon.
"The Pretender 2001" presents a
lot of back-story from the series,
which is good for those who have
never watched the show.
Unfortunately, this will seem very
worthless to avid fans. In fact, a
whole new depiction of Jarod's
escape from the Centre is a main part
of the movie.
However, "The Pretender 2001"
will definitely answer old questions.
But true to "Pretender" form, a slew
of new questions emerge, many of
which involve the paternity of cer-
tain characters.
Despite a few lagging scenes,
"The Pretender 2001" is able to keep
a steady and active storyline for the
new two-hour format. Plus, action
sequences are even more elaborate
than ever attempted during the
series' run.
Michael T. Weiss and Andrea
Parker both sizzle on the screen and
take their characters to a new level as
both experience new stages in their
lives. Of course we can't forget
Broots! Jon Gries provides most of
the comedy during the movie bring-
ing his loveable, computer geek to
the forefront. Who could resist him?
The new two-hour film is truly a
gift for fans of "The Pretender,"
reminding them just how great the
show was. Besides, any show that
can keep up with four years of
mythology more complex and con-
fusing than "The X-files" deserves a
If your interest is peaked, check
out "The Pretender" marathon, air-
ing today until the premiere of the
movie tonight at 8 p.m.

By Matthew Barrett
Daily Arts Writer

#hirteen Days" is a sharp and
sophisticated retelling of the two-
week period in October of 1962 when
the United States was in the throes of
the Cuban missile crisis. Despite the
fact that we already know how the
story ends, the
makers pump
enough suspense
into the plot to
Thirteen help the film rise
Days above the many
Grade: B other mediocre
GrShoade political thrillers
At Showcase and into some-
and Quality 16 thing more than
a simple rehash
of events.
The principle
characters in the
film are
President John F.
Kennedy (Bruce Greenwood),
/$rney General Bobby Kennedy
(Steven Culp) and Kenny O'Donnell
(Kevin Costner), a special assistant to
the president.
Other than Costner, there are no
well-known actors in the cast and this
decision enhances the film. Viewers
already know the majority of the key
characters here so it's a better move to
have actors rather than stars play the
ps - it gives the story more of an
opportunity to speak for itself.
Kenny O'Donnell is the most inter-
esting character in the film and the
center of its narrative. We see many
characters in the movie wrestle with
hard decisions and throughout the
action we feel as if O'Donnell is the
voice of reason, thinking before he
speaks And always having something
productive to say.
Although he has the ear and respect
both Kennedys, O'Donnell is
e sentially a third wheel, something
which causes him frustration at cer-
tain spots along the way. In one scene,
the president dismisses O'Donnell so
that he can meet alone with Bobby,
and this stings him to his core.
Director Roger Donaldson peppers
the film with just the right amount of
action scenes to inject periodic bursts
o energy into the story. Daring
s ops by American helicopters to
take photographs of the missile sites
come up every so often and only
serve to raise the stakes and remind
viewers ofjust what the United States
is up against (foreboding shots of the
missiles themselves' are also shown

biggest moments of glory. It's also
hard not to get a rush of adrenaline
when seeing the recreation of a
moment in time when great minds
came together and helped to save the
country from potential destruction.
The film, however, is not without
its faults. Donaldson periodically
shoots the action in black and white
with no apparent rhyme or reason for
doing so. This comes off as very gim-
micky and only distracts us from the
"Thirteen Days" also falters in its

last chapters, losing the momentum
that it had been building for its first
two hours. Things get hokey and
heavy handed, in particular with
Kenny's character, and for the first
time the makers start to resort to
cliches to elicit the desired emotions
from viewers.
This is really a shame, because
"Thirteen Days" had so much going
for it for so long and yet its ending
leaves us with a bad taste in our
mouths and prevents the film from
becoming something truly great.

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