Legendary drummer Roy Haynes leads his
trio featuring John PatitucCi and Danil AMONDAY,
Perez this Friday at the Bird of Paradise. JUNE 12, 2000
'60 Seconds' of
silly summer fun
By Christopher Cousino
Daily Arts Writer
60 seconds. The time it takes to
spend 20 bucks filling your gas
tank? The time it takes Nicolas Cage
and company to steal your car? The
time it takes to forget this movie?
Yes, "Gone in 60 Seconds," the lat-
est high-octane, action fueled block-
buster from pro-
Gone in 60 "Con Air,"
is silly summer
Grade: B- fun - low on
at Shwase wit, character
& Quality 16 and story yet
equally high in
Cars, that is.
50 in total. And
the shiny, fine
tuned machines used in this film are
exquisite, from the Porsch 911 turbo
to the 1967 Shelby Mustang GT 500
On the tail of "Eleanor" is Randall
Raines (Cage), ex-car theif-turned-
GO-KARTinstructor. Having left the
business 6 years ago, Raines and the
Shelby go way back; he was never able
to steal the cursed car, this legendary
"unicorn" as the fatherly mechanic
Otto (Robert Duvall) calls it.
Structured in a pseudo-Western
form, the film draws legendary
Raines back into the dark past he
once left to save his brother Kip
(Giovanni Ribisi) from illicit car
exporter and all around bad guy
Raymond Calitri (Christopher
Eccleston). Raines must steal an all-
star list of 50 cars in one night, while
the cops (Delroy Lindo and a very
bland Tim Olyphant) tailgate and a
rival gang tries to cut him off.
Determined to save his little bro,
Raines assembles his usual pit crew
of thieves or, as in every Bruckheimer
film, the "stock" characters. Here, we
have the strong silent type The Sphinx
(Vinnie Jones), the hip, fast talking
African-American Donny (Chi
McBride), the tough, hot chick Sway
(a rather dull Angelina Jolie) and the
wise old man Otto.
Along with Kip and his younger,
more naive group of buddies, the
team scouts locations and vehicles,
tussles with police and fights with
gangs, all the standard action fare in
prep for the big heist. Yet the film
never takes itself too seriously,
which is a good thing, allowing for a
The Raines brothers (Nicolas Cage and Giovanni Ribisi) chill in their ride in
Jerry Bruckheimer's latest, 'Gone in 60 Seconds."
goofy, concious joke here and there
or a funny reference (the police car
scene in "American Graffitti").
At times, the plot gets dull and
predictable as we're forced to see the
action stuff we've seen time and time
again (the everyone-pulls-guns-on-
everyone bit, cars that defy gravity).
The dialogue suffers even more -
many of the jokes don't work or just
fall flat. Jolie and Olvphant have
barely a shred of a character to work
with, and both come across as poor
performances, more due to the script
than the actress or actor per sd.
"Gone in 60 Seconds" is enjoyable
when the film starts having fun,
when people start stealing cars, when
Raines takes a moment to meditate to
the tune of "Low Rider" prior to a
boost. As acting goes, no one seems
to be really working hard or trying to
do much, but there is an overriding
sense of comraderie and fun.
No peripherv character is violently
hurt or killed in this film (I mean, a
police cruiser is slammed through a
brick wall by a wrecking ball and the
movie even takes time to go back to
make sure that the driver is "okay"). At
the opportune time to flash some grat-
ituous Jolie nudity, "Gone in 60
Seconds" opts for a different tact: Well
maybe that's a bad thing, but .
Even the villain Calitri is a laugh-
ing and sneering cartoon, with his
Cockney accent and affinity for
wood furninture. Calitiri is so bad,
vet we never learn why. And it really
doesn't matter either, as long as we
cheer when he gets it in the end.
Overall, "Gone in 60 Seconds" is
probably a very forgettable film. At
the same time, it's a fun, entertaining
ride. When Raines says of his days of
stealing, "I didn't do it for the money.
I did it for the cars," we get a hint of
the type of filmmaking that director
Dominic Sena and Bruckheimer are
aiming toward in this flick.
"Gone in 60 Seconds" was made to
show hot cars in action. At least
Bruckheimer's standard dumbed-down-
to-the-masses formula isn't in full effect,
partially due to the good time the actors
seem to be having. As good suimmer fluff
goes, "Gone in 60 Seconds" knows not
to be too serious or too intense.
By Daa S. Burke
For the Daily
Ready to mesmerize and entertain yet
again is the Ann Arbor Dance Works'
annual spring concert. Celebrating its
sixteenth year, this company of breath-
takingly talented dancers and music*
promises a show like no other.
A collective of eight choreographers
and two musical directors, the AADW
exhibits a freshness in perfomance as
unique as each of the group's constituents.
All of the company's choreographers are
members of the University of Michigan
Department of Dance, including the
department chair, Gay Delanghe. For the
show, Delanghe (accompanied by pi t
and AADW co-Musical Director Chris' n
Matjias) has created new ensemble chore-
ography for J.S. Bach's "energetic and vir-
tuoso" solo keyboard work, The Italian
Concerto in F major, BWV 971.
Diversity best describes the spring con-
cert, as it showcases many highly artistic
pieces. Set to the music of Leos Janacek,
"On the Overgrown Path" is the work of
Corinne Imberski,.University guest artist.
Highly inspired by Janacek, Imberski
hopes to "capture the dynamic contr s
of the music, reasserting [his] belief.t
the path, which leads to the present,
should not be overgrown with forgetful-
ness, but rather with memories."A recon-
struction of a ten year old work, "Ready
from Within," by Associate Professor of
Dance Robin Wilson, calls for much
attention. Created for seven women, this
aesthetic blend of art, history, and social
commentary is inspired by the biogra by
ofcivil-rights activist Septima Clark r
Wilson, "the dance is a celebration of the
strength of women, the human spirit, and
the role ofcommunity in healing"
Having saved the best for last, the con-
cert features "west choreographer
Cristina Gigirey One of Costa Rica'
leading modern dance choreographers
Gigirey presents her signature work, "La
Casa de Bernarda Alba."The piece is cen
tered on dramatist Federico Garci
Lorca's "stark tragedy of the same title
Set to Ravel's Bolero, "La Ca VI
Bernarda Alba is in its twenty-s sc
year of performance. This dramatic wor
will feature Gigirey, her daughter and co
director, Gabrielle Dorries. and an ensem
ble of four other women. The mother an
daughter dance pair are also artists in res
idence this June at the University o
Michigan Dance Department.
With the four aforementioned work
and others, the AADW spring cisr
aspires to not only set an artistic precl
but also to continue a successful history o
bringing'the gift of dance to the Universi,
JIiute 15 ind/16 t 8Par. itttie'Belt
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