J{thin by the end of the film. It feels more like a short film grown long, which is death to a comedy. And why, oh why, does an anarchic spirit like Harold Ramis (who was once a resident anarchist at Second City) feel obligated to provide a sweet little moral at the end of this fable? Why not run wild and see what happens? COPYRIGHT 1996 THE EBERT CO. LTD. ODirector: Harold Ramis Starring: Michael Keaton, Andie MacDowel, Zack Duhame, Katie Schlossberg, HHBAM2016AUG95HPro 3.0, Ann Cusack A5MULTIPLICITY Director: Harold Ramis. Starring: Michael Keaton, Andie MacDowel, Zack Duhame, Katie Schlossberg, Harris Yulin, Richard Masur, Eugene Levy, Ann Cusack. Photo credit: Stephen Vaughan. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. Columbia5@A*   *R Hblished, the movie drifts into predictable waters. Discovery of the scheme will be narrowly averted. Laura will somehow remain oblivious to most of the bizarre and inexplicable things happening around her. One will wear himself out trying to keep Two, Three and Four in line ("No sex with my wife!"). And there will be a lesson in life at the end, although I am not sure this material has earned such profundity. Watching the film, I enjoyed a lot of it, especially Keaton's peIrmutations on the theme of himself. But I wondered why the possibilities weren't taken to greater comic extremes. How about a gay Doug? A mean one? A blackmailing Doug who threatens to go public? How about Laura finding out what's going on (which she doesn't do during a long, long night with the clones)? How about elevating the material to true screwball, instead of staying at the level of sitcom and human comedy? 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ANY MODIFICATIONS CAN BE INCLUDED NOW REGARDS DUNCAN @BGABG[AB ASport and Leisure BART,ART :Art,entertainment CEmmaH28/8/96K0107UY J $ ,.YesNo/,  , : am pmO Q V W X [ ^  ,.YesNo/,  , : am pmb  ,.YesNo/,  , : am pmc  ,.YesNo/,  , : am pmi  ,.YesNo/,  , : am pmXZ j  ,.YesNo/,  , : am pmA-s 3)s)1;s;PMsYSksl-~s-s-s"#"&)Y[ B~ ~),~;>~Y\~k' m'  ~'`2 "o~*~C AAAA AO ARCHIVE #QDATEVTITLEW ITPC CODEXCATEGORY[PICTURE CAPTION KEYWORDSA"A#A)A @B@_٧pB@_٧pA( (B@_٧p    ZW <  Y bdG ASport and Leisure BART,ART :Art,entertainment C StripteaseH28/8/96K0112ASTRIPTEASE by Roger Ebert * * Erin Grant ............. Demi Moore David Dilbeck .......... Burt Reynolds Al Garcia .............. Armand Assante Shad ................... Ving Rhames Darrell Grant .......... Robert Patrick Jerry Killian .......... William Hill Malcolm Moldovsky ...... Paul Guilfoyle Orly ................... Jerry Grayson Angela ................. Rumer Willis Castle Rock presents a film directed and written by Andrew Bergman. Produced by Mike Lobell. Based on tW^ AEMMA by Roger Ebert * * * Emma Woodhouse ....... Gwyneth Paltrow Mr. Knightly ......... Jeremy Northam Harriet Smith ........ Toni Collette Mrs. Weston .......... Greta Scacchi Reverend Elton ....... Alan Cumming Mrs. Elton ........... Juliet Stevenson Frank Churchill ...... Ewan McGregor Jane Fairfax ......... Polly Walker Miss Bates ........... Sophie Thompson Mrs. Bates ........... Phyllida Law Miramax presents a film written and directed by Douglas McGrath, based on the novel Bby Jane Austen. Produced by Patrick Cassavetti and Steven Haft. Photographed by Ian Wilson. Edited by Lesley Walker. Music by Rachel Portman. Running time: 121 minutes. Classified: PG (for brief mild language). The British read the novels of Trollope during the London blitz because his stories of Victorian life distracted them from the V-2 rockets. Maybe that helps explain the current popularity of movies based on the novels of Jane Austen: In an impolite age, we escape to ]_ Cthe movies to see good manners. "Emma" is the fourth recent version of an Austen novel, after "Persuasion," "Sense and Sensibility" and the TV adaptation of "Pride and Prejudice." (As a bonus, the Beverly Hills comedy "Clueless" was based on the same story.) It is not about very much -- about the romantic intrigues of a small group of people who will all more or less have to marry one another sooner or later, if they haven't already. Either you are in sympathy with Dthis material or you are not. I had to smile at an undergraduate's review of the movie posted on the Internet, which complains that "a parade of 15 or 20 or 8 billion supporting characters waltzes through the scenes. Each is called Mister or Miss or Mrs. Something, and each of them looks and acts exactly the same (obnoxious)." I am not sure you can look obnoxious, but never mind. It may be that young people in a permissive age do not have sympathy for a movie in which a bus^` Eybody matchmaker spends her days trying to pair off unwilling candidates for matrimony. Yet in its high spirits and wicked good humor, "Emma" is a delightful film -- second only to "Persuasion" among the modern Austen movies, and funnier, if not so insightful. Gwyneth Paltrow sparkles in the title role, as young Miss Woodhouse, who wants to play God in her own little patch of England. You can see her eyes working the room, speculating on whose lives she can improve. She takFes as a project Harriet Smith (Toni Collette), a respectable young woman of imperfect pedigree, insisting that she marry the Reverend Elton (Alan Cumming). Miss Smith would much sooner marry a local farmer, but Emma won't hear of it. When the poor farmer sends Miss Smith a letter of proposal, she shows it to Emma, who sniffs, "It is a good letter. One of his sisters must have helped him." Miss Smith is so uncertain of herself that she turns down the farmer, only to discover_a G that the reverend doesn't love her -- he loves Miss Woodhouse ("I have never cared for Miss Smith," he tells Emma, "except as your friend"). This should be a lesson for Emma, but she'll need more than one. Stories like this are about manners, nuance, and the way that one's natural character tugs against the strict laws of society. In a time when most people traveled little and diversion was largely limited to local parties, three-volume novels and church services, gossip waHs the great pastime. Local characters were prized because they gave you someone to talk about, and "Emma" has its share, most delightfully Mrs. Elton (Juliet Stevenson), who praises herself incessantly by quoting others (of her musical talent, she says, "I myself don't call it great. I only know that my friends call it so"). Other local color is provided by Miss Bates and her deaf mother, Mrs. Bates. (They are played by Sophie Thompson and Phyllida Law, who are Emma Thompso`b] In's sister and mother.) Miss Bates says everything three times and Mrs. Bates never hears it, and when Emma is unforgivably rude to poor Miss Bates it is the upright Mr. Knightly (Jeremy Northam), her brother-in-law, who dresses her down, giving her a stern lecture on her responsibilities under the class system. Emma thinks of Knightly as a brother. She is interested in the reverend not at all. There is a dashing young bachelor in the neighborhood named Frank Churchill (EwanJX McGregor) who seems cast as her beau (he rescues her when her carriage gets mired in the river, and again when she is threatened by gypsies). But he has other plans, too, and in the fullness of time Austen sees that everyone gets what they deserve, or in Emma's case perhaps rather more. COPYRIGHT 1996 THE EBERT CO. LTD.a\' ODirector: Douglas McGrath Starring: Gwyneth Paltrow, Jeremy Northam, Toni Collette, Greta Scacchi, Alan Cumming, Juliet Stevenson, Ewan McGregor, Polly Walker, Sophie Thompson, Phyllida LawAQEMMA Director: Douglas McGrath Starring: Gwyneth Paltrow, Jeremy Northam, Toni Collette, Greta Scacchi, Alan Cumming, Juliet Stevenson, Ewan McGregor, Polly Walker, Sophie Thompson, Phyllida Law Photo credit: David Appleby. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. MiramaxQ@A*    *RSDirector: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXV*WGNK jlG ASport and Leisure BART,ART :Art,entertainment C StripteaseH28/8/96K0113ASTRIPTEASE by Roger Ebert * * Erin Grant ............. Demi Moore David Dilbeck .......... Burt Reynolds Al Garcia .............. Armand Assante Shad ................... Ving Rhames Darrell Grant .......... Robert Patrick Jerry Killian .......... William Hill Malcolm Moldovsky ...... Paul Guilfoyle Orly ................... Jerry Grayson Angela ................. Rumer Willis Castle Rock presents a film directed and written by Andrew Bergman. Produced by Mike Lobell. Based on t\e Bhe book by Carl Hiaasen. Photographed by Stephen Goldblatt. Edited by Anne V. Coates. Music by Howard Shore. Running time: 115 minutes. Classified: R (for nudity, erotic dancing and language). Carl Hiaasen's "Striptease" was a novel that thought all of its characters were hilarious. Now here is the Demi Moore movie version, in which all of the characters are hilarious except for Demi Moore's. Her character, named Erin Grant, is a woman who has lost her children in a crookedC custody battle and goes to work in a strip club to earn enough to win her children back. The woman is brave, heroic and stacked, but she's not funny. The movie's fatal flaw is to treat her like a plucky Sally Field heroine. That throws a wet blanket over the rest of the party. The point of the Hiaasen story was that everyone was funny: He cast a dubious eye on the strippers, the bar management, the customers, the sex-mad congressman, the sneaky sugar baron, Erin's ex-husbadf Dnd -- on everyone. They were all part of the same comic world. When you extract one of those characters from the mix and treat her seriously, it throws off the timing and it undermines the rationale of the whole undertaking. My guess is that when Demi Moore and the writers started musing about how Erin Grant would "really feel" in a situation, or how the audience would be able to "identify" with her mother's urge to win her children back, someone should have stepped in to Egently say: It's a comedy, honey, and when it's not a comedy, it's a satire. Everything in this movie should be for laughs, including the ex-husband, the kids and the brave Erin Grant. As "Striptease" opens, custody of Erin's children is being given over to her worthless husband (Robert Patrick), who may be a convicted criminal but was, as the Florida judge recalls fondly, "a great tailback." Erin needs work, and starts stripping at the Eager Beaver, a "gentleman's club" -- eg F so called because most of its customers are never called one anywhere else. We meet the fellow strippers, including the buxom Urbana Sprawl (Pandora Peaks), who is named after my hometown and so, of course, deserves a mention here. The bouncer is Shad, played by Ving Rhames, who was Marcellus Wallace in "Pulp Fiction" and this time provides a strong shoulder for a vulnerable girl to cry on. The club customers include the Erin-worshipping Jerry Killian (William Hill), who thGinks he may know how to help Erin win her children back, and the perpetually drunk and randy Congressman David Dilbeck (Burt Reynolds), who is capable of leaping onto the stage in mid-grind to protect one of the dancers from an annoying customer. Among the other threats to the dancers are boa constrictors that wrap themselves around their necks, and a management that is always thinking up bright new ideas. One stripper protests against the latest proposal, which is corn-wrestling: fh H"No chance I'm gonna roll around in creamed corn with a bunch of yahoos trying to push Niblets up my hoo-hah." There is in that dialogue a suggestion of the direction "Striptease" might have taken. Certainly the director, Andrew Bergman, is capable of making a satirical laughfest; his credits include "Honeymoon in Vegas" and "The Freshman." But the problem is with Erin Grant, who interrupts the comic rhythm with her underlying seriousness. When she's not on the screen, the Icharacters are free to float into satire, and Burt Reynolds has some splendid scenes as the tool of the local sugar cartel. But when Erin returns, the other actors have to match her more somber energy level, and there goes the comedy. The sex business is certainly ripe for satirical treatment. But not here. That leaves the movie's much- advertised nudity and eroticism, which for me were disappointing. The stripteases are choreographed to present the strippers as seasoned progi Js, indifferent to their nudity and disdainful of their customers. To be erotic, a striptease must seem to mean something to the person disrobing: There must be the illusion that nudity is a meaningful decision, which the stripper is taking reluctantly. Most striptease gimmicks and props are therefore counterproductive. A stripper who needs to perform with a snake, or demonstrate dexterity in making tassels twirl in opposite directions, is essentially saying that she realizes her unKclothed body is of no interest unless she also does parlor tricks. The strippers in "Striptease" are at pains to show that stripping in public is without psychic risk to them. This is true even of the Erin Grant character, who claims at one point she gets nauseous before she goes on stage, but is a pro the moment the spotlight hits her. The attitude she projects in the TV ads is the same one that carries through the movie: I'm doing this so brazenly that you'll never know hhj Low I really feel about it. The greatest stripper of all time was probably Tempest Storm, who is, I gather, still active in her 60s. Perhaps no one alive has taken it off more often. Yet on the two or three occasions when I saw her (including once in a sleazy Times Square theater) she was able to create the illusion that she was reluctant -- all but a blushing novice -- and there was a certain sweet delight in the way she finally disrobed. The strippers in "Striptease" wouldM possibly find her act too revealing; their impersonality is a shield protecting them from the suckers. Hiaasen is a very funny writer, whose work needs to be respected if it is to work on the screen. Like Elmore Leonard, who Hollywood finally got right in "Get Shorty," Hiaasen is not a writer whose books you film for the plot. You film him for the dialogue and the attitude. Forget that, and why bother? COPYRIGHT 1996 THE EBERT CO. LTD.ic ODirector: Andrew Bergman Starring: Demi Moore, Burt Reynolds, Armand Assante, Ving Rhames, Robert Patrick, William Hill, Paul Guilfoyle, Jerry Grayson, Rumer WillisAASTRIPTEASE Director: Andrew Bergman. Starring: Demi Moore, Burt Reynolds, Armand Assante, Ving Rhames, Robert Patrick, William Hill, Paul Guilfoyle, Jerry Grayson, Rumer Willis. Photo credit: Kerry Hayes. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. Castle RockA@A*   *RSDirector: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXV*WGNK rtGASport and Leisure BART,ART :Art,entertainment C StripteaseH28/8/96K0114ASTRIPTEASE by Roger Ebert * * Erin Grant ............. Demi Moore David Dilbeck .......... Burt Reynolds Al Garcia .............. Armand Assante Shad ................... Ving Rhames Darrell Grant .......... Robert Patrick Jerry Killian .......... William Hill Malcolm Moldovsky ...... Paul Guilfoyle Orly ................... Jerry Grayson Angela ................. Rumer Willis Castle Rock presents a film directed and written by Andrew Bergman. Produced by Mike Lobell. Based on tcmBhe book by Carl Hiaasen. Photographed by Stephen Goldblatt. Edited by Anne V. Coates. Music by Howard Shore. Running time: 115 minutes. Classified: R (for nudity, erotic dancing and language). Carl Hiaasen's "Striptease" was a novel that thought all of its characters were hilarious. Now here is the Demi Moore movie version, in which all of the characters are hilarious except for Demi Moore's. Her character, named Erin Grant, is a woman who has lost her children in a crookedC custody battle and goes to work in a strip club to earn enough to win her children back. The woman is brave, heroic and stacked, but she's not funny. The movie's fatal flaw is to treat her like a plucky Sally Field heroine. That throws a wet blanket over the rest of the party. The point of the Hiaasen story was that everyone was funny: He cast a dubious eye on the strippers, the bar management, the customers, the sex-mad congressman, the sneaky sugar baron, Erin's ex-husbalnDnd -- on everyone. They were all part of the same comic world. When you extract one of those characters from the mix and treat her seriously, it throws off the timing and it undermines the rationale of the whole undertaking. My guess is that when Demi Moore and the writers started musing about how Erin Grant would "really feel" in a situation, or how the audience would be able to "identify" with her mother's urge to win her children back, someone should have stepped in to Egently say: It's a comedy, honey, and when it's not a comedy, it's a satire. Everything in this movie should be for laughs, including the ex-husband, the kids and the brave Erin Grant. As "Striptease" opens, custody of Erin's children is being given over to her worthless husband (Robert Patrick), who may be a convicted criminal but was, as the Florida judge recalls fondly, "a great tailback." Erin needs work, and starts stripping at the Eager Beaver, a "gentleman's club" -- moF so called because most of its customers are never called one anywhere else. We meet the fellow strippers, including the buxom Urbana Sprawl (Pandora Peaks), who is named after my hometown and so, of course, deserves a mention here. The bouncer is Shad, played by Ving Rhames, who was Marcellus Wallace in "Pulp Fiction" and this time provides a strong shoulder for a vulnerable girl to cry on. The club customers include the Erin-worshipping Jerry Killian (William Hill), who thGinks he may know how to help Erin win her children back, and the perpetually drunk and randy Congressman David Dilbeck (Burt Reynolds), who is capable of leaping onto the stage in mid-grind to protect one of the dancers from an annoying customer. Among the other threats to the dancers are boa constrictors that wrap themselves around their necks, and a management that is always thinking up bright new ideas. One stripper protests against the latest proposal, which is corn-wrestling: npH"No chance I'm gonna roll around in creamed corn with a bunch of yahoos trying to push Niblets up my hoo-hah." There is in that dialogue a suggestion of the direction "Striptease" might have taken. Certainly the director, Andrew Bergman, is capable of making a satirical laughfest; his credits include "Honeymoon in Vegas" and "The Freshman." But the problem is with Erin Grant, who interrupts the comic rhythm with her underlying seriousness. When she's not on the screen, the Icharacters are free to float into satire, and Burt Reynolds has some splendid scenes as the tool of the local sugar cartel. But when Erin returns, the other actors have to match her more somber energy level, and there goes the comedy. The sex business is certainly ripe for satirical treatment. But not here. That leaves the movie's much- advertised nudity and eroticism, which for me were disappointing. The stripteases are choreographed to present the strippers as seasoned prooqJs, indifferent to their nudity and disdainful of their customers. To be erotic, a striptease must seem to mean something to the person disrobing: There must be the illusion that nudity is a meaningful decision, which the stripper is taking reluctantly. Most striptease gimmicks and props are therefore counterproductive. A stripper who needs to perform with a snake, or demonstrate dexterity in making tassels twirl in opposite directions, is essentially saying that she realizes her unKclothed body is of no interest unless she also does parlor tricks. The strippers in "Striptease" are at pains to show that stripping in public is without psychic risk to them. This is true even of the Erin Grant character, who claims at one point she gets nauseous before she goes on stage, but is a pro the moment the spotlight hits her. The attitude she projects in the TV ads is the same one that carries through the movie: I'm doing this so brazenly that you'll never know hprLow I really feel about it. The greatest stripper of all time was probably Tempest Storm, who is, I gather, still active in her 60s. Perhaps no one alive has taken it off more often. Yet on the two or three occasions when I saw her (including once in a sleazy Times Square theater) she was able to create the illusion that she was reluctant -- all but a blushing novice -- and there was a certain sweet delight in the way she finally disrobed. The strippers in "Striptease" wouldM possibly find her act too revealing; their impersonality is a shield protecting them from the suckers. Hiaasen is a very funny writer, whose work needs to be respected if it is to work on the screen. Like Elmore Leonard, who Hollywood finally got right in "Get Shorty," Hiaasen is not a writer whose books you film for the plot. You film him for the dialogue and the attitude. Forget that, and why bother? COPYRIGHT 1996 THE EBERT CO. LTD.qkODirector: Andrew Bergman Starring: Demi Moore, Burt Reynolds, Armand Assante, Ving Rhames, Robert Patrick, William Hill, Paul Guilfoyle, Jerry Grayson, Rumer WillisAASTRIPTEASE Director: Andrew Bergman. Starring: Demi Moore, Burt Reynolds, Armand Assante, Ving Rhames, Robert Patrick, William Hill, Paul Guilfoyle, Jerry Grayson, Rumer Willis. Photo credit: Kerry Hayes. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. Castle RockA@A*   *RSDirector: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXWGNK z|KASport and Leisure BART,ART :Art,entertainment CA Time to KillH28/8/96K0115AA TIME TO KILL by Roger Ebert * * * Ellen Roark ........... Sandra Bullock Carl Lee Hailey ....... Samuel L. Jackson Jake Brigance ......... Matthew McConaughey Rufus Buckley ......... Kevin Spacey Ethel Twitty .......... Brenda Fricker Carla Brigance ........ Ashley Judd Lucien Wilbanks ....... Donald Sutherland Freddie Cobb .......... Kiefer Sutherland Warner Bros. presents a film directed by Joel Schumacher. Produced by Arnon Milchan, Michael Nathanson, Hunt Lowry and JohkuBhe book by Carl Hiaasen. Photographed by Stephen Goldblatt. Edited by Anne V. Coates. Music by Howard Shore. Running time: 115 minutes. Classified: R (for nudity, erotic dancing and language). Carl Hiaasen's "Striptease" was a novel that thought all of its characters were hilarious. Now here is the Demi Moore movie version, in which all of the characters are hilarious except for Demi Moore's. Her character, named Erin Grant, is a woman who has lost her children in a crookedC custody battle and goes to work in a strip club to earn enough to win her children back. The woman is brave, heroic and stacked, but she's not funny. The movie's fatal flaw is to treat her like a plucky Sally Field heroine. That throws a wet blanket over the rest of the party. The point of the Hiaasen story was that everyone was funny: He cast a dubious eye on the strippers, the bar management, the customers, the sex-mad congressman, the sneaky sugar baron, Erin's ex-husbatvDnd -- on everyone. They were all part of the same comic world. When you extract one of those characters from the mix and treat her seriously, it throws off the timing and it undermines the rationale of the whole undertaking. My guess is that when Demi Moore and the writers started musing about how Erin Grant would "really feel" in a situation, or how the audience would be able to "identify" with her mother's urge to win her children back, someone should have stepped in to Egently say: It's a comedy, honey, and when it's not a comedy, it's a satire. Everything in this movie should be for laughs, including the ex-husband, the kids and the brave Erin Grant. As "Striptease" opens, custody of Erin's children is being given over to her worthless husband (Robert Patrick), who may be a convicted criminal but was, as the Florida judge recalls fondly, "a great tailback." Erin needs work, and starts stripping at the Eager Beaver, a "gentleman's club" -- uwF so called because most of its customers are never called one anywhere else. We meet the fellow strippers, including the buxom Urbana Sprawl (Pandora Peaks), who is named after my hometown and so, of course, deserves a mention here. The bouncer is Shad, played by Ving Rhames, who was Marcellus Wallace in "Pulp Fiction" and this time provides a strong shoulder for a vulnerable girl to cry on. The club customers include the Erin-worshipping Jerry Killian (William Hill), who thGinks he may know how to help Erin win her children back, and the perpetually drunk and randy Congressman David Dilbeck (Burt Reynolds), who is capable of leaping onto the stage in mid-grind to protect one of the dancers from an annoying customer. Among the other threats to the dancers are boa constrictors that wrap themselves around their necks, and a management that is always thinking up bright new ideas. One stripper protests against the latest proposal, which is corn-wrestling: vxH"No chance I'm gonna roll around in creamed corn with a bunch of yahoos trying to push Niblets up my hoo-hah." There is in that dialogue a suggestion of the direction "Striptease" might have taken. Certainly the director, Andrew Bergman, is capable of making a satirical laughfest; his credits include "Honeymoon in Vegas" and "The Freshman." But the problem is with Erin Grant, who interrupts the comic rhythm with her underlying seriousness. When she's not on the screen, the Icharacters are free to float into satire, and Burt Reynolds has some splendid scenes as the tool of the local sugar cartel. But when Erin returns, the other actors have to match her more somber energy level, and there goes the comedy. The sex business is certainly ripe for satirical treatment. But not here. That leaves the movie's much- advertised nudity and eroticism, which for me were disappointing. The stripteases are choreographed to present the strippers as seasoned prowyJs, indifferent to their nudity and disdainful of their customers. To be erotic, a striptease must seem to mean something to the person disrobing: There must be the illusion that nudity is a meaningful decision, which the stripper is taking reluctantly. Most striptease gimmicks and props are therefore counterproductive. A stripper who needs to perform with a snake, or demonstrate dexterity in making tassels twirl in opposite directions, is essentially saying that she realizes her unKclothed body is of no interest unless she also does parlor tricks. The strippers in "Striptease" are at pains to show that stripping in public is without psychic risk to them. This is true even of the Erin Grant character, who claims at one point she gets nauseous before she goes on stage, but is a pro the moment the spotlight hits her. The attitude she projects in the TV ads is the same one that carries through the movie: I'm doing this so brazenly that you'll never know hxzLow I really feel about it. The greatest stripper of all time was probably Tempest Storm, who is, I gather, still active in her 60s. Perhaps no one alive has taken it off more often. Yet on the two or three occasions when I saw her (including once in a sleazy Times Square theater) she was able to create the illusion that she was reluctant -- all but a blushing novice -- and there was a certain sweet delight in the way she finally disrobed. The strippers in "Striptease" wouldM possibly find her act too revealing; their impersonality is a shield protecting them from the suckers. Hiaasen is a very funny writer, whose work needs to be respected if it is to work on the screen. Like Elmore Leonard, who Hollywood finally got right in "Get Shorty," Hiaasen is not a writer whose books you film for the plot. You film him for the dialogue and the attitude. Forget that, and why bother? COPYRIGHT 1996 THE EBERT CO. LTD.ysODirector: Andrew Bergman Starring: Demi Moore, Burt Reynolds, Armand Assante, Ving Rhames, Robert Patrick, William Hill, Paul Guilfoyle, Jerry Grayson, Rumer WillisAASTRIPTEASE Director: Andrew Bergman. Starring: Demi Moore, Burt Reynolds, Armand Assante, Ving Rhames, Robert Patrick, William Hill, Paul Guilfoyle, Jerry Grayson, Rumer Willis. Photo credit: Kerry Hayes. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. Castle RockA@A*   *RSDirector: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXWGNK KASport and Leisure BART,ART :Art,entertainment CA Time to KillH28/8/96K0116AA TIME TO KILL by Roger Ebert * * * Ellen Roark ........... Sandra Bullock Carl Lee Hailey ....... Samuel L. Jackson Jake Brigance ......... Matthew McConaughey Rufus Buckley ......... Kevin Spacey Ethel Twitty .......... Brenda Fricker Carla Brigance ........ Ashley Judd Lucien Wilbanks ....... Donald Sutherland Freddie Cobb .......... Kiefer Sutherland Warner Bros. presents a film directed by Joel Schumacher. Produced by Arnon Milchan, Michael Nathanson, Hunt Lowry and Johs}Bn Grisham. Written by Akiva Goldsman. Based on the novel by Grisham. Photographed by Peter Menzies Jr. Edited by William Steinkamp. Music by Elliot Goldenthal. Running time: 145 minutes. Classified: R (for a scene of brute sexuality, and for occasional strong language). "A Time to Kill," based on the first novel by John Grisham, is a skillfully constructed morality play that pushes all the right buttons and arrives at all the right conclusions. It begins with the brutal rapeC of a 10-year-old black girl by two rednecks in a pickup truck. The girl's father kills the rapists in cold blood on their way to a court hearing, and cripples a deputy in the process. The local white liberal lawyer agrees to defend him. The local Klan plots to gain revenge. Good of course triumphs -- but we'll get back to that in a moment. I was absorbed by "A Time to Kill," and found the performances strong and convincing, especially the work by Samuel L. Jackson as Carl |~DLee Hailey, the avenging father, and Matthew McConaughey as Jake Brigance, the lawyer. This is the best of the film versions of Grisham novels, I think, and it has been directed with skill by Joel Schumacher. But as I watched the film, other thoughts intruded. Grisham recently attacked the director Oliver Stone, alleging that Stone's "Natural Born Killers" inspired drugged-out creeps to murder a friend of Grisham's. Stone should be sued by the victim's family, Grisham said, oEffering the unique theory that "NBK" was to blame under product-liability laws. Well, Grisham is a lawyer, and lawyers exist to file suits. But one might reasonably ask whether the creeps would have committed the murder without taking the drugs. One might also ask if Grisham forfeits his right to moral superiority by including a subplot in "A Time to Kill" that gives the Ku Klux Klan prominence and a certain degenerate glamour. Yes, Klan members are the villains. But to a tw}Fisted mind, their secret meetings and cornpone rituals might be appealing. On the other hand, if you leave out everything that might inspire a nut, you don't have a movie left -- or a free society, either. Artists cannot hold themselves hostage to the possibility that defectives might misuse their work. Grisham should simply be honest enough to recognize that he does the same things he says Stone shouldn't do. As a story, "A Time to Kill" works effectively. (I will G have to discuss certain plot points, so be warned.) Everyone in the county knows Carl Lee Hailey killed the two men who raped his daughter, and many of them share his feelings. (Even the crippled deputy blurts out, under oath, that he would have done the same thing.) But can a black man get a fair trial after murdering two white men, even in the "new" South? The movie milks this question for all it's worth, which isn't much, unless the average audience thinks Hollywood wil~Hl allow Klan thugs to prevail over the hero. "You're my secret weapon," the black man tells his white lawyer. "You see me the way the jury will see me. What would it take, if you were on the jury, to set me free?" As Brigance prepares his case, crosses are burned on lawns, anonymous phone calls are made, and his wife (Ashley Judd) moves their family to safety. That's well-timed to clear space for another character, the young lawyer Ellen Roark (Sandra Bullock), a rich NorthIerner who studied law at Old Miss and wants to be Brigance's unpaid aide. He discourages her, but she turns up with useful leads, and he needs someone to help him counter the expert local district attorney (Kevin Spacey). The movie climaxes with the obligatory courtroom scenes. Brigance's summation is well-delivered by McConaughey, but his tactics left me feeling uneasy. He describes the sadistic acts against Hailey's daughter in almost pornographic detail, and then asks theJ jury, "Now imagine she's white." That's an odd statement, implying that the white jury wouldn't be offended by the crimes if the victim was black. Yet the movie itself has trouble imagining its black characters. The subplots involve mostly Brigance's white friends and associates: his alcoholic old mentor (Donald Sutherland), his alcoholic young mentor (Oliver Platt), his alcoholic expert witness (M. Emmet Walsh), his secretary (Brenda Fricker), his wife (Judd) and his unpKaid assistant (Bullock). Another strand involves the plotting of the Klan, led by the vicious Cobb (Kiefer Sutherland). There are a few scenes involving the NAACP's legal defense people, who convince the local pastor to hold a fund-raiser for Hailey's legal defense -- but insist the money be used for a black lawyer. Hailey turns them down, in an awkward sequence intended, I think, to equate the NAACP lawyers with figures like Rev. Al Sharpton. One wonders why more screen tLime wasn't found for black characters like Hailey's wife. Maybe the answer is that the movie is interested in the white characters as people and the black characters (apart from Carl Lee Hailey) as atmosphere. My advice to the filmmakers about the black people in town: Try imagining they're white. The ending left me a little confused. (Again, be warned I'll discuss plot points.) A child bursts from the courtroom and tells the waiting crowd that Hailey is "innocent." A cheerM goes up. There is joy and reconciliation. But hold on. Hailey's own defense admits he killed those men. The jury probably found him not guilty by reason of temporary insanity. But "innocent"? Maybe the device of the shouting child was used to avoid such technicalities and hasten the happy ending. This review doesn't sound much like praise. Yet I recommend the film. What we have here is an interesting example of the way the movies work. "A Time to Kill" raises a lot of quesNtions, but they don't occur while you're watching the film. The acting is so persuasive and the direction is so fluid that the material seems convincing while it's happening. I was moved by McConaughey's speech to the jury, and even more moved by an earlier speech by Jackson to McConaughey. I cared about the characters. And then I walked out and got to thinking about the movie's choices and buried strategies. And I read about Grisham's attack on Stone. And I thought, let he who is OAwithout sin ... COPYRIGHT 1996 THE EBERT CO. LTD.EODirector: Joel Schumacher. Sarring: Sandra Bullock, Samuel L. Jackson, Matthew McConaughey, Kevin Spacey, Brenda Fricker, Ashley Judd, Donald Sutherland, Kiefer Sutherland{iASA TIME TO KILL Director: Joel Schumacher. Starring: Sandra Bullock, Samuel L. Jackson, Matthew McConaughey, Kevin Spacey, Brenda Fricker, Ashley Judd, Donald Sutherland, Kiefer Sutherland. Photo credit: Christine Loss. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. Warner Bros.S@A*    *RSDirector: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXV*WGNKKASport and Leisure BART,ART :Art,entertainment CA Time to KillH28/8/96K0117AA TIME TO KILL by Roger Ebert * * * Ellen Roark ........... Sandra Bullock Carl Lee Hailey ....... Samuel L. Jackson Jake Brigance ......... Matthew McConaughey Rufus Buckley ......... Kevin Spacey Ethel Twitty .......... Brenda Fricker Carla Brigance ........ Ashley Judd Lucien Wilbanks ....... Donald Sutherland Freddie Cobb .......... Kiefer Sutherland Warner Bros. presents a film directed by Joel Schumacher. Produced by Arnon Milchan, Michael Nathanson, Hunt Lowry and Joh{Bn Grisham. Written by Akiva Goldsman. Based on the novel by Grisham. Photographed by Peter Menzies Jr. Edited by William Steinkamp. Music by Elliot Goldenthal. Running time: 145 minutes. Classified: R (for a scene of brute sexuality, and for occasional strong language). "A Time to Kill," based on the first novel by John Grisham, is a skillfully constructed morality play that pushes all the right buttons and arrives at all the right conclusions. It begins with the brutal rapeC of a 10-year-old black girl by two rednecks in a pickup truck. The girl's father kills the rapists in cold blood on their way to a court hearing, and cripples a deputy in the process. The local white liberal lawyer agrees to defend him. The local Klan plots to gain revenge. Good of course triumphs -- but we'll get back to that in a moment. I was absorbed by "A Time to Kill," and found the performances strong and convincing, especially the work by Samuel L. Jackson as Carl DLee Hailey, the avenging father, and Matthew McConaughey as Jake Brigance, the lawyer. This is the best of the film versions of Grisham novels, I think, and it has been directed with skill by Joel Schumacher. But as I watched the film, other thoughts intruded. Grisham recently attacked the director Oliver Stone, alleging that Stone's "Natural Born Killers" inspired drugged-out creeps to murder a friend of Grisham's. Stone should be sued by the victim's family, Grisham said, oEffering the unique theory that "NBK" was to blame under product-liability laws. Well, Grisham is a lawyer, and lawyers exist to file suits. But one might reasonably ask whether the creeps would have committed the murder without taking the drugs. One might also ask if Grisham forfeits his right to moral superiority by including a subplot in "A Time to Kill" that gives the Ku Klux Klan prominence and a certain degenerate glamour. Yes, Klan members are the villains. But to a twFisted mind, their secret meetings and cornpone rituals might be appealing. On the other hand, if you leave out everything that might inspire a nut, you don't have a movie left -- or a free society, either. Artists cannot hold themselves hostage to the possibility that defectives might misuse their work. Grisham should simply be honest enough to recognize that he does the same things he says Stone shouldn't do. As a story, "A Time to Kill" works effectively. (I will G have to discuss certain plot points, so be warned.) Everyone in the county knows Carl Lee Hailey killed the two men who raped his daughter, and many of them share his feelings. (Even the crippled deputy blurts out, under oath, that he would have done the same thing.) But can a black man get a fair trial after murdering two white men, even in the "new" South? The movie milks this question for all it's worth, which isn't much, unless the average audience thinks Hollywood wilHl allow Klan thugs to prevail over the hero. "You're my secret weapon," the black man tells his white lawyer. "You see me the way the jury will see me. What would it take, if you were on the jury, to set me free?" As Brigance prepares his case, crosses are burned on lawns, anonymous phone calls are made, and his wife (Ashley Judd) moves their family to safety. That's well-timed to clear space for another character, the young lawyer Ellen Roark (Sandra Bullock), a rich NorthIerner who studied law at Old Miss and wants to be Brigance's unpaid aide. He discourages her, but she turns up with useful leads, and he needs someone to help him counter the expert local district attorney (Kevin Spacey). The movie climaxes with the obligatory courtroom scenes. Brigance's summation is well-delivered by McConaughey, but his tactics left me feeling uneasy. He describes the sadistic acts against Hailey's daughter in almost pornographic detail, and then asks theJ jury, "Now imagine she's white." That's an odd statement, implying that the white jury wouldn't be offended by the crimes if the victim was black. Yet the movie itself has trouble imagining its black characters. The subplots involve mostly Brigance's white friends and associates: his alcoholic old mentor (Donald Sutherland), his alcoholic young mentor (Oliver Platt), his alcoholic expert witness (M. Emmet Walsh), his secretary (Brenda Fricker), his wife (Judd) and his unpKaid assistant (Bullock). Another strand involves the plotting of the Klan, led by the vicious Cobb (Kiefer Sutherland). There are a few scenes involving the NAACP's legal defense people, who convince the local pastor to hold a fund-raiser for Hailey's legal defense -- but insist the money be used for a black lawyer. Hailey turns them down, in an awkward sequence intended, I think, to equate the NAACP lawyers with figures like Rev. Al Sharpton. One wonders why more screen tLime wasn't found for black characters like Hailey's wife. Maybe the answer is that the movie is interested in the white characters as people and the black characters (apart from Carl Lee Hailey) as atmosphere. My advice to the filmmakers about the black people in town: Try imagining they're white. The ending left me a little confused. (Again, be warned I'll discuss plot points.) A child bursts from the courtroom and tells the waiting crowd that Hailey is "innocent." A cheerM goes up. There is joy and reconciliation. But hold on. Hailey's own defense admits he killed those men. The jury probably found him not guilty by reason of temporary insanity. But "innocent"? Maybe the device of the shouting child was used to avoid such technicalities and hasten the happy ending. This review doesn't sound much like praise. Yet I recommend the film. What we have here is an interesting example of the way the movies work. "A Time to Kill" raises a lot of quesNtions, but they don't occur while you're watching the film. The acting is so persuasive and the direction is so fluid that the material seems convincing while it's happening. I was moved by McConaughey's speech to the jury, and even more moved by an earlier speech by Jackson to McConaughey. I cared about the characters. And then I walked out and got to thinking about the movie's choices and buried strategies. And I read about Grisham's attack on Stone. And I thought, let he who is OAwithout sin ... COPYRIGHT 1996 THE EBERT CO. LTD.EODirector: Joel Schumacher. Sarring: Sandra Bullock, Samuel L. Jackson, Matthew McConaughey, Kevin Spacey, Brenda Fricker, Ashley Judd, Donald Sutherland, Kiefer SutherlandfASA TIME TO KILL Director: Joel Schumacher. Starring: Sandra Bullock, Samuel L. Jackson, Matthew McConaughey, Kevin Spacey, Brenda Fricker, Ashley Judd, Donald Sutherland, Kiefer Sutherland. Photo credit: Christine Loss. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. Warner Bros.S@A*    *RSDirector: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXWGNK KASport and Leisure BART,ART :Art,entertainment CA Time to KillH28/8/96K0118AA TIME TO KILL by Roger Ebert * * * Ellen Roark ........... Sandra Bullock Carl Lee Hailey ....... Samuel L. Jackson Jake Brigance ......... Matthew McConaughey Rufus Buckley ......... Kevin Spacey Ethel Twitty .......... Brenda Fricker Carla Brigance ........ Ashley Judd Lucien Wilbanks ....... Donald Sutherland Freddie Cobb .......... Kiefer Sutherland Warner Bros. presents a film directed by Joel Schumacher. Produced by Arnon Milchan, Michael Nathanson, Hunt Lowry and JohBn Grisham. Written by Akiva Goldsman. Based on the novel by Grisham. Photographed by Peter Menzies Jr. Edited by William Steinkamp. Music by Elliot Goldenthal. Running time: 145 minutes. Classified: R (for a scene of brute sexuality, and for occasional strong language). "A Time to Kill," based on the first novel by John Grisham, is a skillfully constructed morality play that pushes all the right buttons and arrives at all the right conclusions. It begins with the brutal rapeC of a 10-year-old black girl by two rednecks in a pickup truck. The girl's father kills the rapists in cold blood on their way to a court hearing, and cripples a deputy in the process. The local white liberal lawyer agrees to defend him. The local Klan plots to gain revenge. Good of course triumphs -- but we'll get back to that in a moment. I was absorbed by "A Time to Kill," and found the performances strong and convincing, especially the work by Samuel L. Jackson as Carl DLee Hailey, the avenging father, and Matthew McConaughey as Jake Brigance, the lawyer. This is the best of the film versions of Grisham novels, I think, and it has been directed with skill by Joel Schumacher. But as I watched the film, other thoughts intruded. Grisham recently attacked the director Oliver Stone, alleging that Stone's "Natural Born Killers" inspired drugged-out creeps to murder a friend of Grisham's. Stone should be sued by the victim's family, Grisham said, oEffering the unique theory that "NBK" was to blame under product-liability laws. Well, Grisham is a lawyer, and lawyers exist to file suits. But one might reasonably ask whether the creeps would have committed the murder without taking the drugs. One might also ask if Grisham forfeits his right to moral superiority by including a subplot in "A Time to Kill" that gives the Ku Klux Klan prominence and a certain degenerate glamour. Yes, Klan members are the villains. But to a twFisted mind, their secret meetings and cornpone rituals might be appealing. On the other hand, if you leave out everything that might inspire a nut, you don't have a movie left -- or a free society, either. Artists cannot hold themselves hostage to the possibility that defectives might misuse their work. Grisham should simply be honest enough to recognize that he does the same things he says Stone shouldn't do. As a story, "A Time to Kill" works effectively. (I will G have to discuss certain plot points, so be warned.) Everyone in the county knows Carl Lee Hailey killed the two men who raped his daughter, and many of them share his feelings. (Even the crippled deputy blurts out, under oath, that he would have done the same thing.) But can a black man get a fair trial after murdering two white men, even in the "new" South? The movie milks this question for all it's worth, which isn't much, unless the average audience thinks Hollywood wilHl allow Klan thugs to prevail over the hero. "You're my secret weapon," the black man tells his white lawyer. "You see me the way the jury will see me. What would it take, if you were on the jury, to set me free?" As Brigance prepares his case, crosses are burned on lawns, anonymous phone calls are made, and his wife (Ashley Judd) moves their family to safety. That's well-timed to clear space for another character, the young lawyer Ellen Roark (Sandra Bullock), a rich NorthIerner who studied law at Old Miss and wants to be Brigance's unpaid aide. He discourages her, but she turns up with useful leads, and he needs someone to help him counter the expert local district attorney (Kevin Spacey). The movie climaxes with the obligatory courtroom scenes. Brigance's summation is well-delivered by McConaughey, but his tactics left me feeling uneasy. He describes the sadistic acts against Hailey's daughter in almost pornographic detail, and then asks theJ jury, "Now imagine she's white." That's an odd statement, implying that the white jury wouldn't be offended by the crimes if the victim was black. Yet the movie itself has trouble imagining its black characters. The subplots involve mostly Brigance's white friends and associates: his alcoholic old mentor (Donald Sutherland), his alcoholic young mentor (Oliver Platt), his alcoholic expert witness (M. Emmet Walsh), his secretary (Brenda Fricker), his wife (Judd) and his unpKaid assistant (Bullock). Another strand involves the plotting of the Klan, led by the vicious Cobb (Kiefer Sutherland). There are a few scenes involving the NAACP's legal defense people, who convince the local pastor to hold a fund-raiser for Hailey's legal defense -- but insist the money be used for a black lawyer. Hailey turns them down, in an awkward sequence intended, I think, to equate the NAACP lawyers with figures like Rev. Al Sharpton. One wonders why more screen tLime wasn't found for black characters like Hailey's wife. Maybe the answer is that the movie is interested in the white characters as people and the black characters (apart from Carl Lee Hailey) as atmosphere. My advice to the filmmakers about the black people in town: Try imagining they're white. The ending left me a little confused. (Again, be warned I'll discuss plot points.) A child bursts from the courtroom and tells the waiting crowd that Hailey is "innocent." A cheerM goes up. There is joy and reconciliation. But hold on. Hailey's own defense admits he killed those men. The jury probably found him not guilty by reason of temporary insanity. But "innocent"? Maybe the device of the shouting child was used to avoid such technicalities and hasten the happy ending. This review doesn't sound much like praise. Yet I recommend the film. What we have here is an interesting example of the way the movies work. "A Time to Kill" raises a lot of quesNtions, but they don't occur while you're watching the film. The acting is so persuasive and the direction is so fluid that the material seems convincing while it's happening. I was moved by McConaughey's speech to the jury, and even more moved by an earlier speech by Jackson to McConaughey. I cared about the characters. And then I walked out and got to thinking about the movie's choices and buried strategies. And I read about Grisham's attack on Stone. And I thought, let he who is OAwithout sin ... COPYRIGHT 1996 THE EBERT CO. LTD.EODirector: Joel Schumacher. Sarring: Sandra Bullock, Samuel L. Jackson, Matthew McConaughey, Kevin Spacey, Brenda Fricker, Ashley Judd, Donald Sutherland, Kiefer SutherlandfASA TIME TO KILL Director: Joel Schumacher. Starring: Sandra Bullock, Samuel L. Jackson, Matthew McConaughey, Kevin Spacey, Brenda Fricker, Ashley Judd, Donald Sutherland, Kiefer Sutherland. Photo credit: Christine Loss. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. Warner Bros.S@A*    *RSDirector: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXWGNK KASport and Leisure BART,ART :Art,entertainment CA Time to KillH28/8/96K0119AA TIME TO KILL by Roger Ebert * * * Ellen Roark ........... Sandra Bullock Carl Lee Hailey ....... Samuel L. Jackson Jake Brigance ......... Matthew McConaughey Rufus Buckley ......... Kevin Spacey Ethel Twitty .......... Brenda Fricker Carla Brigance ........ Ashley Judd Lucien Wilbanks ....... Donald Sutherland Freddie Cobb .......... Kiefer Sutherland Warner Bros. presents a film directed by Joel Schumacher. Produced by Arnon Milchan, Michael Nathanson, Hunt Lowry and JohBn Grisham. Written by Akiva Goldsman. Based on the novel by Grisham. Photographed by Peter Menzies Jr. Edited by William Steinkamp. Music by Elliot Goldenthal. Running time: 145 minutes. Classified: R (for a scene of brute sexuality, and for occasional strong language). "A Time to Kill," based on the first novel by John Grisham, is a skillfully constructed morality play that pushes all the right buttons and arrives at all the right conclusions. It begins with the brutal rapeC of a 10-year-old black girl by two rednecks in a pickup truck. The girl's father kills the rapists in cold blood on their way to a court hearing, and cripples a deputy in the process. The local white liberal lawyer agrees to defend him. The local Klan plots to gain revenge. Good of course triumphs -- but we'll get back to that in a moment. I was absorbed by "A Time to Kill," and found the performances strong and convincing, especially the work by Samuel L. Jackson as Carl DLee Hailey, the avenging father, and Matthew McConaughey as Jake Brigance, the lawyer. This is the best of the film versions of Grisham novels, I think, and it has been directed with skill by Joel Schumacher. But as I watched the film, other thoughts intruded. Grisham recently attacked the director Oliver Stone, alleging that Stone's "Natural Born Killers" inspired drugged-out creeps to murder a friend of Grisham's. Stone should be sued by the victim's family, Grisham said, oEffering the unique theory that "NBK" was to blame under product-liability laws. Well, Grisham is a lawyer, and lawyers exist to file suits. But one might reasonably ask whether the creeps would have committed the murder without taking the drugs. One might also ask if Grisham forfeits his right to moral superiority by including a subplot in "A Time to Kill" that gives the Ku Klux Klan prominence and a certain degenerate glamour. Yes, Klan members are the villains. But to a twFisted mind, their secret meetings and cornpone rituals might be appealing. On the other hand, if you leave out everything that might inspire a nut, you don't have a movie left -- or a free society, either. Artists cannot hold themselves hostage to the possibility that defectives might misuse their work. Grisham should simply be honest enough to recognize that he does the same things he says Stone shouldn't do. As a story, "A Time to Kill" works effectively. (I will G have to discuss certain plot points, so be warned.) Everyone in the county knows Carl Lee Hailey killed the two men who raped his daughter, and many of them share his feelings. (Even the crippled deputy blurts out, under oath, that he would have done the same thing.) But can a black man get a fair trial after murdering two white men, even in the "new" South? The movie milks this question for all it's worth, which isn't much, unless the average audience thinks Hollywood wilHl allow Klan thugs to prevail over the hero. "You're my secret weapon," the black man tells his white lawyer. "You see me the way the jury will see me. What would it take, if you were on the jury, to set me free?" As Brigance prepares his case, crosses are burned on lawns, anonymous phone calls are made, and his wife (Ashley Judd) moves their family to safety. That's well-timed to clear space for another character, the young lawyer Ellen Roark (Sandra Bullock), a rich NorthIerner who studied law at Old Miss and wants to be Brigance's unpaid aide. He discourages her, but she turns up with useful leads, and he needs someone to help him counter the expert local district attorney (Kevin Spacey). The movie climaxes with the obligatory courtroom scenes. Brigance's summation is well-delivered by McConaughey, but his tactics left me feeling uneasy. He describes the sadistic acts against Hailey's daughter in almost pornographic detail, and then asks theJ jury, "Now imagine she's white." That's an odd statement, implying that the white jury wouldn't be offended by the crimes if the victim was black. Yet the movie itself has trouble imagining its black characters. The subplots involve mostly Brigance's white friends and associates: his alcoholic old mentor (Donald Sutherland), his alcoholic young mentor (Oliver Platt), his alcoholic expert witness (M. Emmet Walsh), his secretary (Brenda Fricker), his wife (Judd) and his unpKaid assistant (Bullock). Another strand involves the plotting of the Klan, led by the vicious Cobb (Kiefer Sutherland). There are a few scenes involving the NAACP's legal defense people, who convince the local pastor to hold a fund-raiser for Hailey's legal defense -- but insist the money be used for a black lawyer. Hailey turns them down, in an awkward sequence intended, I think, to equate the NAACP lawyers with figures like Rev. Al Sharpton. One wonders why more screen tLime wasn't found for black characters like Hailey's wife. Maybe the answer is that the movie is interested in the white characters as people and the black characters (apart from Carl Lee Hailey) as atmosphere. My advice to the filmmakers about the black people in town: Try imagining they're white. The ending left me a little confused. (Again, be warned I'll discuss plot points.) A child bursts from the courtroom and tells the waiting crowd that Hailey is "innocent." A cheerM goes up. There is joy and reconciliation. But hold on. Hailey's own defense admits he killed those men. The jury probably found him not guilty by reason of temporary insanity. But "innocent"? Maybe the device of the shouting child was used to avoid such technicalities and hasten the happy ending. This review doesn't sound much like praise. Yet I recommend the film. What we have here is an interesting example of the way the movies work. "A Time to Kill" raises a lot of quesNtions, but they don't occur while you're watching the film. The acting is so persuasive and the direction is so fluid that the material seems convincing while it's happening. I was moved by McConaughey's speech to the jury, and even more moved by an earlier speech by Jackson to McConaughey. I cared about the characters. And then I walked out and got to thinking about the movie's choices and buried strategies. And I read about Grisham's attack on Stone. And I thought, let he who is OAwithout sin ... COPYRIGHT 1996 THE EBERT CO. LTD.EODirector: Joel Schumacher. Sarring: Sandra Bullock, Samuel L. Jackson, Matthew McConaughey, Kevin Spacey, Brenda Fricker, Ashley Judd, Donald Sutherland, Kiefer SutherlandfASA TIME TO KILL Director: Joel Schumacher. Starring: Sandra Bullock, Samuel L. Jackson, Matthew McConaughey, Kevin Spacey, Brenda Fricker, Ashley Judd, Donald Sutherland, Kiefer Sutherland. Photo credit: Christine Loss. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. Warner Bros.S@A*    *RSDirector: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXWGNK TASport and Leisure BART,ART :Art,entertainment CSteal Big, Steal LittleH28/8/96K0120ASTEAL BIG, STEAL LITTLE by Roger Ebert * 1/2 Ruben Martinez Andy Garcia Robert Martin ........... Andy Garcia Lou Perilli ............. Alan Arkin Laura Martinez .......... Rachel Ticotin Eddie Agopian ........... Joe Pantoliano Mona Rowland-Downey ..... Holland Taylor Bonnie Martin ........... Ally Walker Judge Winton Myers ...... David Ogden Stiers Savoy presents a film directed by Andrew Davis. Produced by Davis and Fred Caruso. Written by Davis, Lee Blessing, Jeanne Bn Grisham. Written by Akiva Goldsman. Based on the novel by Grisham. Photographed by Peter Menzies Jr. Edited by William Steinkamp. Music by Elliot Goldenthal. Running time: 145 minutes. Classified: R (for a scene of brute sexuality, and for occasional strong language). "A Time to Kill," based on the first novel by John Grisham, is a skillfully constructed morality play that pushes all the right buttons and arrives at all the right conclusions. It begins with the brutal rapeC of a 10-year-old black girl by two rednecks in a pickup truck. The girl's father kills the rapists in cold blood on their way to a court hearing, and cripples a deputy in the process. The local white liberal lawyer agrees to defend him. The local Klan plots to gain revenge. Good of course triumphs -- but we'll get back to that in a moment. I was absorbed by "A Time to Kill," and found the performances strong and convincing, especially the work by Samuel L. Jackson as Carl DLee Hailey, the avenging father, and Matthew McConaughey as Jake Brigance, the lawyer. This is the best of the film versions of Grisham novels, I think, and it has been directed with skill by Joel Schumacher. But as I watched the film, other thoughts intruded. Grisham recently attacked the director Oliver Stone, alleging that Stone's "Natural Born Killers" inspired drugged-out creeps to murder a friend of Grisham's. Stone should be sued by the victim's family, Grisham said, oEffering the unique theory that "NBK" was to blame under product-liability laws. Well, Grisham is a lawyer, and lawyers exist to file suits. But one might reasonably ask whether the creeps would have committed the murder without taking the drugs. One might also ask if Grisham forfeits his right to moral superiority by including a subplot in "A Time to Kill" that gives the Ku Klux Klan prominence and a certain degenerate glamour. Yes, Klan members are the villains. But to a twFisted mind, their secret meetings and cornpone rituals might be appealing. On the other hand, if you leave out everything that might inspire a nut, you don't have a movie left -- or a free society, either. Artists cannot hold themselves hostage to the possibility that defectives might misuse their work. Grisham should simply be honest enough to recognize that he does the same things he says Stone shouldn't do. As a story, "A Time to Kill" works effectively. (I will G have to discuss certain plot points, so be warned.) Everyone in the county knows Carl Lee Hailey killed the two men who raped his daughter, and many of them share his feelings. (Even the crippled deputy blurts out, under oath, that he would have done the same thing.) But can a black man get a fair trial after murdering two white men, even in the "new" South? The movie milks this question for all it's worth, which isn't much, unless the average audience thinks Hollywood wilHl allow Klan thugs to prevail over the hero. "You're my secret weapon," the black man tells his white lawyer. "You see me the way the jury will see me. What would it take, if you were on the jury, to set me free?" As Brigance prepares his case, crosses are burned on lawns, anonymous phone calls are made, and his wife (Ashley Judd) moves their family to safety. That's well-timed to clear space for another character, the young lawyer Ellen Roark (Sandra Bullock), a rich NorthIerner who studied law at Old Miss and wants to be Brigance's unpaid aide. He discourages her, but she turns up with useful leads, and he needs someone to help him counter the expert local district attorney (Kevin Spacey). The movie climaxes with the obligatory courtroom scenes. Brigance's summation is well-delivered by McConaughey, but his tactics left me feeling uneasy. He describes the sadistic acts against Hailey's daughter in almost pornographic detail, and then asks theJ jury, "Now imagine she's white." That's an odd statement, implying that the white jury wouldn't be offended by the crimes if the victim was black. Yet the movie itself has trouble imagining its black characters. The subplots involve mostly Brigance's white friends and associates: his alcoholic old mentor (Donald Sutherland), his alcoholic young mentor (Oliver Platt), his alcoholic expert witness (M. Emmet Walsh), his secretary (Brenda Fricker), his wife (Judd) and his unpKaid assistant (Bullock). Another strand involves the plotting of the Klan, led by the vicious Cobb (Kiefer Sutherland). There are a few scenes involving the NAACP's legal defense people, who convince the local pastor to hold a fund-raiser for Hailey's legal defense -- but insist the money be used for a black lawyer. Hailey turns them down, in an awkward sequence intended, I think, to equate the NAACP lawyers with figures like Rev. Al Sharpton. One wonders why more screen tLime wasn't found for black characters like Hailey's wife. Maybe the answer is that the movie is interested in the white characters as people and the black characters (apart from Carl Lee Hailey) as atmosphere. My advice to the filmmakers about the black people in town: Try imagining they're white. The ending left me a little confused. (Again, be warned I'll discuss plot points.) A child bursts from the courtroom and tells the waiting crowd that Hailey is "innocent." A cheerM goes up. There is joy and reconciliation. But hold on. Hailey's own defense admits he killed those men. The jury probably found him not guilty by reason of temporary insanity. But "innocent"? Maybe the device of the shouting child was used to avoid such technicalities and hasten the happy ending. This review doesn't sound much like praise. Yet I recommend the film. What we have here is an interesting example of the way the movies work. "A Time to Kill" raises a lot of quesNtions, but they don't occur while you're watching the film. The acting is so persuasive and the direction is so fluid that the material seems convincing while it's happening. I was moved by McConaughey's speech to the jury, and even more moved by an earlier speech by Jackson to McConaughey. I cared about the characters. And then I walked out and got to thinking about the movie's choices and buried strategies. And I read about Grisham's attack on Stone. And I thought, let he who is OAwithout sin ... COPYRIGHT 1996 THE EBERT CO. LTD.EODirector: Joel Schumacher. Sarring: Sandra Bullock, Samuel L. Jackson, Matthew McConaughey, Kevin Spacey, Brenda Fricker, Ashley Judd, Donald Sutherland, Kiefer SutherlandfASA TIME TO KILL Director: Joel Schumacher. Starring: Sandra Bullock, Samuel L. Jackson, Matthew McConaughey, Kevin Spacey, Brenda Fricker, Ashley Judd, Donald Sutherland, Kiefer Sutherland. Photo credit: Christine Loss. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. Warner Bros.S@A*    *RSDirector: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXWGNK TASport and Leisure BART,ART :Art,entertainment CSteal Big, Steal LittleH28/8/96K0121ASTEAL BIG, STEAL LITTLE by Roger Ebert * 1/2 Ruben Martinez Andy Garcia Robert Martin ........... Andy Garcia Lou Perilli ............. Alan Arkin Laura Martinez .......... Rachel Ticotin Eddie Agopian ........... Joe Pantoliano Mona Rowland-Downey ..... Holland Taylor Bonnie Martin ........... Ally Walker Judge Winton Myers ...... David Ogden Stiers Savoy presents a film directed by Andrew Davis. Produced by Davis and Fred Caruso. Written by Davis, Lee Blessing, Jeanne BBlake and Terry Kahn. Photographed by Frank Tidy. Edited by Don Brochu and Tina Hirsch. Music by William Olvis. Running time: 134 minutes. Classified: PG-13 (for a scene of marijuana use). Remember those supermarket contests where the teams raced down the aisles, trying to pile as much stuff as possible into a shopping cart? "Steal Big, Steal Little" reads like the screenplay was assembled the same way, with the filmmakers racing through the Used Movie Parts Store, grabbing everythCing off the shelves and piling it into the movie. Here is a film that is seriously overloaded. The plot: A rich ballerina owns a 40,000-acre ranch near Santa Barbara, and adopts identical twins found in a ditch, only to disown one twin and leave the ranch to the other, after which the good twin reconciles with his wife, who has fled to Chicago to be cared for by a car dealer who returns to Santa Barbara with her, because he is being pursued by a Mafia loan collector. Pause Dhere for a deep breath and a sip of a chilled beverage. Then the evil brother, estranged from his wife, enlists a faithless attorney to set up a scam to steal the ranch, but meanwhile the car dealer becomes the good brother's adviser, and the mob guy arrives on the scene and decides there might be more money for everyone if he plays along. Meanwhile the INS raids the lemon groves and the IRS is after the good brother, and the bank forecloses on the loan, and evil property developerEs congregate, while fast cars, luxury boats and hot-air balloons also play crucial roles. Sip. And of course there is a scene where one brother impersonates the other brother, in order to prove that the other brother has impersonated him, and there is a comedy of errors of Shakespearean proportions, leading one of the women to discover she has had an affair with her own husband. There is more, but I think that fairly sets the scene. The twins are played by Andy GarcFia. One combs his hair forward and dresses out of the L.L. Bean catalog. The other slicks his hair back and dresses out of the J. Peterman catalog. Movie special effects are so sophisticated these days that it's nothing to see two actors combined into the same scene by a computer. But there's a virtuoso scene in "Steal Big, Steal Little" where the two Garcias are not only onscreen together, but reflected in many different mirrors. Now that's a neat trick. The movie is undone not onGly by its labyrinthine plot, but also by the way it's told. We begin with a guy who is making a video documentary of the story, and as various witnesses testify, we flash back to fragments of the history they're recalling. This is confusing. And additional characters keep turning up; the film may have more important speaking roles than anything since "A Bridge Too Far." Some of the performances are actually quite well done. I was impressed by the warmth and beauty of Rachel TicotinH, as the good brother's estranged wife. And by Alan Arkin, quite effective as the quick-thinking car dealer who appoints himself instant expert on the case. And by Garcia, who labors mostly successfully to make us believe in two different brothers. But the movie was a lost cause at the screenplay stage. It was directed and co-written by Andrew Davis, usually a master of plot construction (his previous film was "The Fugitive"). This time, he needed to dial down, way down. He lives iIn the Santa Barbara area, and maybe his story is inspired by assorted local cases and legends. In that event, it's perhaps a case of knowing too much. The movie might have benefited from a locale Davis was completely unfamiliar with. And it could have used a producer to say, "Hey, guys - - we can't afford at least half of these actors." COPYRIGHT 1995 THE EBERT CO. LTD.ODirector: Andrew Davis Starring: Andy Garcia, Alan Arkin, Rachel Ticotin, Joe Pantoliano, Holland Taylor, Ally Walker, David Ogden StiersA;STEAL BIG, STEAL LITTLE Director: Andrew Davis. Starring: Andy Garcia, Alan Arkin, Rachel Ticotin, Joe Pantoliano, Holland Taylor, Ally Walker, David Ogden Stiers. Photo credit: Richard Foreman. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. Savoy Pictures;@A*    *R SDirector: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXV*WGNK TASport and Leisure BART,ART :Art,entertainment CSteal Big, Steal LittleH28/8/96K0122ASTEAL BIG, STEAL LITTLE by Roger Ebert * 1/2 Ruben Martinez Andy Garcia Robert Martin ........... Andy Garcia Lou Perilli ............. Alan Arkin Laura Martinez .......... Rachel Ticotin Eddie Agopian ........... Joe Pantoliano Mona Rowland-Downey ..... Holland Taylor Bonnie Martin ........... Ally Walker Judge Winton Myers ...... David Ogden Stiers Savoy presents a film directed by Andrew Davis. Produced by Davis and Fred Caruso. Written by Davis, Lee Blessing, Jeanne BBlake and Terry Kahn. Photographed by Frank Tidy. Edited by Don Brochu and Tina Hirsch. Music by William Olvis. Running time: 134 minutes. Classified: PG-13 (for a scene of marijuana use). Remember those supermarket contests where the teams raced down the aisles, trying to pile as much stuff as possible into a shopping cart? "Steal Big, Steal Little" reads like the screenplay was assembled the same way, with the filmmakers racing through the Used Movie Parts Store, grabbing everythCing off the shelves and piling it into the movie. Here is a film that is seriously overloaded. The plot: A rich ballerina owns a 40,000-acre ranch near Santa Barbara, and adopts identical twins found in a ditch, only to disown one twin and leave the ranch to the other, after which the good twin reconciles with his wife, who has fled to Chicago to be cared for by a car dealer who returns to Santa Barbara with her, because he is being pursued by a Mafia loan collector. Pause Dhere for a deep breath and a sip of a chilled beverage. Then the evil brother, estranged from his wife, enlists a faithless attorney to set up a scam to steal the ranch, but meanwhile the car dealer becomes the good brother's adviser, and the mob guy arrives on the scene and decides there might be more money for everyone if he plays along. Meanwhile the INS raids the lemon groves and the IRS is after the good brother, and the bank forecloses on the loan, and evil property developerEs congregate, while fast cars, luxury boats and hot-air balloons also play crucial roles. Sip. And of course there is a scene where one brother impersonates the other brother, in order to prove that the other brother has impersonated him, and there is a comedy of errors of Shakespearean proportions, leading one of the women to discover she has had an affair with her own husband. There is more, but I think that fairly sets the scene. The twins are played by Andy GarcFia. One combs his hair forward and dresses out of the L.L. Bean catalog. The other slicks his hair back and dresses out of the J. Peterman catalog. Movie special effects are so sophisticated these days that it's nothing to see two actors combined into the same scene by a computer. But there's a virtuoso scene in "Steal Big, Steal Little" where the two Garcias are not only onscreen together, but reflected in many different mirrors. Now that's a neat trick. The movie is undone not onGly by its labyrinthine plot, but also by the way it's told. We begin with a guy who is making a video documentary of the story, and as various witnesses testify, we flash back to fragments of the history they're recalling. This is confusing. And additional characters keep turning up; the film may have more important speaking roles than anything since "A Bridge Too Far." Some of the performances are actually quite well done. I was impressed by the warmth and beauty of Rachel TicotinH, as the good brother's estranged wife. And by Alan Arkin, quite effective as the quick-thinking car dealer who appoints himself instant expert on the case. And by Garcia, who labors mostly successfully to make us believe in two different brothers. But the movie was a lost cause at the screenplay stage. It was directed and co-written by Andrew Davis, usually a master of plot construction (his previous film was "The Fugitive"). This time, he needed to dial down, way down. He lives iIn the Santa Barbara area, and maybe his story is inspired by assorted local cases and legends. In that event, it's perhaps a case of knowing too much. The movie might have benefited from a locale Davis was completely unfamiliar with. And it could have used a producer to say, "Hey, guys - - we can't afford at least half of these actors." COPYRIGHT 1995 THE EBERT CO. LTD.ODirector: Andrew Davis Starring: Andy Garcia, Alan Arkin, Rachel Ticotin, Joe Pantoliano, Holland Taylor, Ally Walker, David Ogden StiersA;STEAL BIG, STEAL LITTLE Director: Andrew Davis. Starring: Andy Garcia, Alan Arkin, Rachel Ticotin, Joe Pantoliano, Holland Taylor, Ally Walker, David Ogden Stiers. Photo credit: Richard Foreman. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. Savoy Pictures;@A*    *R SDirector: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXWGNK IASport and Leisure BART,ART :Art,entertainment C MultiplicityH28/8/96K0123AMULTIPLICITY by Roger Ebert * * 1/2 Doug Kinney ........... Michael Keaton Laura Kinney .......... Andie MacDowell Zack Kinney ........... Zack Duhame Jennifer Kinney ....... Katie Schlossberg Dr. Leeds ............. Harris Yulin Del King .............. Richard Masur Vic ................... Eugene Levy Noreen ................ Ann Cusack Columbia presents a film directed by Harold Ramis. Produced by Trevor Albert and Ramis. Written by Chris Miller, Mary Hale, LowellBBlake and Terry Kahn. Photographed by Frank Tidy. Edited by Don Brochu and Tina Hirsch. Music by William Olvis. Running time: 134 minutes. Classified: PG-13 (for a scene of marijuana use). Remember those supermarket contests where the teams raced down the aisles, trying to pile as much stuff as possible into a shopping cart? "Steal Big, Steal Little" reads like the screenplay was assembled the same way, with the filmmakers racing through the Used Movie Parts Store, grabbing everythCing off the shelves and piling it into the movie. Here is a film that is seriously overloaded. The plot: A rich ballerina owns a 40,000-acre ranch near Santa Barbara, and adopts identical twins found in a ditch, only to disown one twin and leave the ranch to the other, after which the good twin reconciles with his wife, who has fled to Chicago to be cared for by a car dealer who returns to Santa Barbara with her, because he is being pursued by a Mafia loan collector. Pause Dhere for a deep breath and a sip of a chilled beverage. Then the evil brother, estranged from his wife, enlists a faithless attorney to set up a scam to steal the ranch, but meanwhile the car dealer becomes the good brother's adviser, and the mob guy arrives on the scene and decides there might be more money for everyone if he plays along. Meanwhile the INS raids the lemon groves and the IRS is after the good brother, and the bank forecloses on the loan, and evil property developerEs congregate, while fast cars, luxury boats and hot-air balloons also play crucial roles. Sip. And of course there is a scene where one brother impersonates the other brother, in order to prove that the other brother has impersonated him, and there is a comedy of errors of Shakespearean proportions, leading one of the women to discover she has had an affair with her own husband. There is more, but I think that fairly sets the scene. The twins are played by Andy GarcFia. One combs his hair forward and dresses out of the L.L. Bean catalog. The other slicks his hair back and dresses out of the J. Peterman catalog. Movie special effects are so sophisticated these days that it's nothing to see two actors combined into the same scene by a computer. But there's a virtuoso scene in "Steal Big, Steal Little" where the two Garcias are not only onscreen together, but reflected in many different mirrors. Now that's a neat trick. The movie is undone not onGly by its labyrinthine plot, but also by the way it's told. We begin with a guy who is making a video documentary of the story, and as various witnesses testify, we flash back to fragments of the history they're recalling. This is confusing. And additional characters keep turning up; the film may have more important speaking roles than anything since "A Bridge Too Far." Some of the performances are actually quite well done. I was impressed by the warmth and beauty of Rachel TicotinH, as the good brother's estranged wife. And by Alan Arkin, quite effective as the quick-thinking car dealer who appoints himself instant expert on the case. And by Garcia, who labors mostly successfully to make us believe in two different brothers. But the movie was a lost cause at the screenplay stage. It was directed and co-written by Andrew Davis, usually a master of plot construction (his previous film was "The Fugitive"). This time, he needed to dial down, way down. He lives iIn the Santa Barbara area, and maybe his story is inspired by assorted local cases and legends. In that event, it's perhaps a case of knowing too much. The movie might have benefited from a locale Davis was completely unfamiliar with. And it could have used a producer to say, "Hey, guys - - we can't afford at least half of these actors." COPYRIGHT 1995 THE EBERT CO. LTD.ODirector: Andrew Davis Starring: Andy Garcia, Alan Arkin, Rachel Ticotin, Joe Pantoliano, Holland Taylor, Ally Walker, David Ogden StiersA;STEAL BIG, STEAL LITTLE Director: Andrew Davis. Starring: Andy Garcia, Alan Arkin, Rachel Ticotin, Joe Pantoliano, Holland Taylor, Ally Walker, David Ogden Stiers. Photo credit: Richard Foreman. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. Savoy Pictures;@A*    *R SDirector: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXWGNK HASport and Leisure BART,ART :Art,entertainment C MutiplicityH28/8/96K0124AMULTIPLICITY by Roger Ebert * * 1/2 Doug Kinney ........... Michael Keaton Laura Kinney .......... Andie MacDowell Zack Kinney ........... Zack Duhame Jennifer Kinney ....... Katie Schlossberg Dr. Leeds ............. Harris Yulin Del King .............. Richard Masur Vic ................... Eugene Levy Noreen ................ Ann Cusack Columbia presents a film directed by Harold Ramis. Produced by Trevor Albert and Ramis. Written by Chris Miller, Mary Hale, LowellB Ganz and Babaloo Mandel. Based on the short story by Chris Miller. Photographed by Laszlo Kovacs. Edited by Pem Herring and Craig Herring. Music by George Fenton. Running time: 110 minutes. Classified: PG-13 (for sexual situations). As "Multiplicity" opens, Doug Kinney is complaining that he's too busy to talk to himself. He's a construction executive, saddled with a foreman who rips up the wrong driveways. Home is a place he visits between emergencies. When he tells his Cwife, Laura, that they need a schedule, she wails, "We don't need a schedule. We need a miracle!" They get one. Doug (Michael Keaton) is working on a job one day at the Gemini Institute, one of those California think tanks where no idea is too large to be enlarged. Its director, Dr. Leeds (Harris Yulin), listens to his complaints and offers a solution: Doug obviously needs to be cloned. Leeds explains his scientific method, and Doug gasps, "You Xerox people!" But if Doug --D or two Dougs -- could be in two places at one time, think of the scheduling breakthroughs he could make. And so he agrees to be cloned. That's the setup for "Multiplicity," the new reality- adjusting comedy from Harold Ramis, whose "Groundhog Day" (1993) starred Bill Murray as a weatherman condemned to repeat the same day over and over until he gets it right. "Groundhog Day" had a certain sweetness and even a sly philosophical depth, but "Multiplicity" is more of a ground- Elevel comedy, in which we can usually anticipate the problems that Doug and his clones will encounter. Of course the clone (Doug Two) doesn't think of himself as a clone; he is in every detail the duplicate of Doug One. Dr. Leeds helpfully provides tattoos behind the ears to tell them apart. One takes Two home with him and hides him in an apartment upstairs over the garage. Laura (Andie MacDowell) luckily never goes up there -- which is just as well, since the entire plot dFepends on the clones running riot over the garage while the facade of normal family life is maintained in the house. Keaton plays Dougs One and Two (and eventually Three and Four) fairly seamlessly, thanks to special effects. In his conversations with himself, he doesn't always have the precise timing that Eddie Murphy brought to the dinner-table scenes in "The Nutty Professor," which used similar methods. But he's good at helping us tell the Dougs apart. From the moment oGf cloning, each Doug begins to develop individual traits. Doug One, who was such a workaholic, turns out to have an unsuspected domestic side. Doug Two is even more workaholic than the original. Three develops party animal tendencies. And Doug Four is a simpleminded goof. (Dr. Leeds explains that Four was cloned from a copy, not the original, although with digital methods the copy should not have degraded -- but we're not talking hard science here.) Once the premise is estaHblished, the movie drifts into predictable waters. Discovery of the scheme will be narrowly averted. Laura will somehow remain oblivious to most of the bizarre and inexplicable things happening around her. One will wear himself out trying to keep Two, Three and Four in line ("No sex with my wife!"). And there will be a lesson in life at the end, although I am not sure this material has earned such profundity. Watching the film, I enjoyed a lot of it, especially Keaton's peIrmutations on the theme of himself. But I wondered why the possibilities weren't taken to greater comic extremes. How about a gay Doug? A mean one? A blackmailing Doug who threatens to go public? How about Laura finding out what's going on (which she doesn't do during a long, long night with the clones)? How about elevating the material to true screwball, instead of staying at the level of sitcom and human comedy? As it is, "Multiplicity's" promising material gets awfully J{thin by the end of the film. It feels more like a short film grown long, which is death to a comedy. And why, oh why, does an anarchic spirit like Harold Ramis (who was once a resident anarchist at Second City) feel obligated to provide a sweet little moral at the end of this fable? Why not run wild and see what happens? COPYRIGHT 1996 THE EBERT CO. LTD. ODirector: Harold Ramis Starring: Michael Keaton, Andie MacDowel, Zack Duhame, Katie Schlossberg, Harris Yulin, Richard Masur, Eugene Levy, Ann Cusack A5MULTIPLICITY Director: Harold Ramis. Starring: Michael Keaton, Andie MacDowel, Zack Duhame, Katie Schlossberg, Harris Yulin, Richard Masur, Eugene Levy, Ann Cusack. Photo credit: Stephen Vaughan. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. Columbia5@A*   *R SDirector: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXV*WGNK HASport and Leisure BART,ART :Art,entertainment C MutiplicityH28/8/96K0125AMULTIPLICITY by Roger Ebert * * 1/2 Doug Kinney ........... Michael Keaton Laura Kinney .......... Andie MacDowell Zack Kinney ........... Zack Duhame Jennifer Kinney ....... Katie Schlossberg Dr. Leeds ............. Harris Yulin Del King .............. Richard Masur Vic ................... Eugene Levy Noreen ................ Ann Cusack Columbia presents a film directed by Harold Ramis. Produced by Trevor Albert and Ramis. Written by Chris Miller, Mary Hale, LowellB Ganz and Babaloo Mandel. Based on the short story by Chris Miller. Photographed by Laszlo Kovacs. Edited by Pem Herring and Craig Herring. Music by George Fenton. Running time: 110 minutes. Classified: PG-13 (for sexual situations). As "Multiplicity" opens, Doug Kinney is complaining that he's too busy to talk to himself. He's a construction executive, saddled with a foreman who rips up the wrong driveways. Home is a place he visits between emergencies. When he tells his Cwife, Laura, that they need a schedule, she wails, "We don't need a schedule. We need a miracle!" They get one. Doug (Michael Keaton) is working on a job one day at the Gemini Institute, one of those California think tanks where no idea is too large to be enlarged. Its director, Dr. Leeds (Harris Yulin), listens to his complaints and offers a solution: Doug obviously needs to be cloned. Leeds explains his scientific method, and Doug gasps, "You Xerox people!" But if Doug --D or two Dougs -- could be in two places at one time, think of the scheduling breakthroughs he could make. And so he agrees to be cloned. That's the setup for "Multiplicity," the new reality- adjusting comedy from Harold Ramis, whose "Groundhog Day" (1993) starred Bill Murray as a weatherman condemned to repeat the same day over and over until he gets it right. "Groundhog Day" had a certain sweetness and even a sly philosophical depth, but "Multiplicity" is more of a ground- Elevel comedy, in which we can usually anticipate the problems that Doug and his clones will encounter. Of course the clone (Doug Two) doesn't think of himself as a clone; he is in every detail the duplicate of Doug One. Dr. Leeds helpfully provides tattoos behind the ears to tell them apart. One takes Two home with him and hides him in an apartment upstairs over the garage. Laura (Andie MacDowell) luckily never goes up there -- which is just as well, since the entire plot dFepends on the clones running riot over the garage while the facade of normal family life is maintained in the house. Keaton plays Dougs One and Two (and eventually Three and Four) fairly seamlessly, thanks to special effects. In his conversations with himself, he doesn't always have the precise timing that Eddie Murphy brought to the dinner-table scenes in "The Nutty Professor," which used similar methods. But he's good at helping us tell the Dougs apart. From the moment oGf cloning, each Doug begins to develop individual traits. Doug One, who was such a workaholic, turns out to have an unsuspected domestic side. Doug Two is even more workaholic than the original. Three develops party animal tendencies. And Doug Four is a simpleminded goof. (Dr. Leeds explains that Four was cloned from a copy, not the original, although with digital methods the copy should not have degraded -- but we're not talking hard science here.) Once the premise is estaHblished, the movie drifts into predictable waters. Discovery of the scheme will be narrowly averted. Laura will somehow remain oblivious to most of the bizarre and inexplicable things happening around her. One will wear himself out trying to keep Two, Three and Four in line ("No sex with my wife!"). And there will be a lesson in life at the end, although I am not sure this material has earned such profundity. Watching the film, I enjoyed a lot of it, especially Keaton's peIrmutations on the theme of himself. But I wondered why the possibilities weren't taken to greater comic extremes. How about a gay Doug? A mean one? A blackmailing Doug who threatens to go public? How about Laura finding out what's going on (which she doesn't do during a long, long night with the clones)? How about elevating the material to true screwball, instead of staying at the level of sitcom and human comedy? As it is, "Multiplicity's" promising material gets awfully J{thin by the end of the film. It feels more like a short film grown long, which is death to a comedy. And why, oh why, does an anarchic spirit like Harold Ramis (who was once a resident anarchist at Second City) feel obligated to provide a sweet little moral at the end of this fable? Why not run wild and see what happens? COPYRIGHT 1996 THE EBERT CO. LTD. ODirector: Harold Ramis Starring: Michael Keaton, Andie MacDowel, Zack Duhame, Katie Schlossberg, Harris Yulin, Richard Masur, Eugene Levy, Ann Cusack A5MULTIPLICITY Director: Harold Ramis. Starring: Michael Keaton, Andie MacDowel, Zack Duhame, Katie Schlossberg, Harris Yulin, Richard Masur, Eugene Levy, Ann Cusack. Photo credit: Stephen Vaughan. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. Columbia5@A*   *R SDirector: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXWGNK MASport and Leisure BART,ART :Art,entertainment CMulholland FallsH28/8/96K0126AMULHOLLAND FALLS by Roger Ebert * * * 1/2 Hoover .............. Nick Nolte Katherine ........... Melanie Griffith Allison Pond ........ Jennifer Connelly Coolidge ............ Chazz Palminteri Eddie Hall .......... Michael Madsen Relyea .............. Chris Penn Col. Fitzgerald ..... Treat Williams Gen. Timms .......... John Malkovich AEC Head ............ Bruce Dern Jimmy Fields ........ Andrew McCarthy MGM presents a film directed by Lee Tamahori. Produced by Richard D. Zanuck anB Ganz and Babaloo Mandel. Based on the short story by Chris Miller. Photographed by Laszlo Kovacs. Edited by Pem Herring and Craig Herring. Music by George Fenton. Running time: 110 minutes. Classified: PG-13 (for sexual situations). As "Multiplicity" opens, Doug Kinney is complaining that he's too busy to talk to himself. He's a construction executive, saddled with a foreman who rips up the wrong driveways. Home is a place he visits between emergencies. When he tells his Cwife, Laura, that they need a schedule, she wails, "We don't need a schedule. We need a miracle!" They get one. Doug (Michael Keaton) is working on a job one day at the Gemini Institute, one of those California think tanks where no idea is too large to be enlarged. Its director, Dr. Leeds (Harris Yulin), listens to his complaints and offers a solution: Doug obviously needs to be cloned. Leeds explains his scientific method, and Doug gasps, "You Xerox people!" But if Doug --D or two Dougs -- could be in two places at one time, think of the scheduling breakthroughs he could make. And so he agrees to be cloned. That's the setup for "Multiplicity," the new reality- adjusting comedy from Harold Ramis, whose "Groundhog Day" (1993) starred Bill Murray as a weatherman condemned to repeat the same day over and over until he gets it right. "Groundhog Day" had a certain sweetness and even a sly philosophical depth, but "Multiplicity" is more of a ground- Elevel comedy, in which we can usually anticipate the problems that Doug and his clones will encounter. Of course the clone (Doug Two) doesn't think of himself as a clone; he is in every detail the duplicate of Doug One. Dr. Leeds helpfully provides tattoos behind the ears to tell them apart. One takes Two home with him and hides him in an apartment upstairs over the garage. Laura (Andie MacDowell) luckily never goes up there -- which is just as well, since the entire plot dFepends on the clones running riot over the garage while the facade of normal family life is maintained in the house. Keaton plays Dougs One and Two (and eventually Three and Four) fairly seamlessly, thanks to special effects. In his conversations with himself, he doesn't always have the precise timing that Eddie Murphy brought to the dinner-table scenes in "The Nutty Professor," which used similar methods. But he's good at helping us tell the Dougs apart. From the moment oGf cloning, each Doug begins to develop individual traits. Doug One, who was such a workaholic, turns out to have an unsuspected domestic side. Doug Two is even more workaholic than the original. Three develops party animal tendencies. And Doug Four is a simpleminded goof. (Dr. Leeds explains that Four was cloned from a copy, not the original, although with digital methods the copy should not have degraded -- but we're not talking hard science here.) Once the premise is estaHblished, the movie drifts into predictable waters. Discovery of the scheme will be narrowly averted. Laura will somehow remain oblivious to most of the bizarre and inexplicable things happening around her. One will wear himself out trying to keep Two, Three and Four in line ("No sex with my wife!"). And there will be a lesson in life at the end, although I am not sure this material has earned such profundity. Watching the film, I enjoyed a lot of it, especially Keaton's peIrmutations on the theme of himself. But I wondered why the possibilities weren't taken to greater comic extremes. How about a gay Doug? A mean one? A blackmailing Doug who threatens to go public? How about Laura finding out what's going on (which she doesn't do during a long, long night with the clones)? How about elevating the material to true screwball, instead of staying at the level of sitcom and human comedy? As it is, "Multiplicity's" promising material gets awfully OBDFHJLABDFHJLABDFHJLA BDFHJL!BDFHJL"BDFHJL$A&A(C)S+A,A-/A 0A 1S 3A 4S 6A7A8:C;A=A>S@AASCADVFSHBIAKCUAC E!G"I#K$A%VA&C'E(G)I*K+M,S-WB.D/F0H1J2A3XB4B5D6F7H8S9YB:D;FL?Z@@BADBFCHDJELF[@GBHDIFJHKJMJ{thin by the end of the film. It feels more like a short film grown long, which is death to a comedy. And why, oh why, does an anarchic spirit like Harold Ramis (who was once a resident anarchist at Second City) feel obligated to provide a sweet little moral at the end of this fable? Why not run wild and see what happens? COPYRIGHT 1996 THE EBERT CO. LTD. ODirector: Harold Ramis Starring: Michael Keaton, Andie MacDowel, Zack Duhame, Katie Schlossberg, Harris Yulin, Richard Masur, Eugene Levy, Ann Cusack A5MULTIPLICITY Director: Harold Ramis. Starring: Michael Keaton, Andie MacDowel, Zack Duhame, Katie Schlossberg, Harris Yulin, Richard Masur, Eugene Levy, Ann Cusack. Photo credit: Stephen Vaughan. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. Columbia5@A*   *RSDirector: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXWGNK 3 SMASport and Leisure BART,ART :Art,entertainment CMulholland FallsH28/8/96K0127AMULHOLLAND FALLS by Roger Ebert * * * 1/2 Hoover .............. Nick Nolte Katherine ........... Melanie Griffith Allison Pond ........ Jennifer Connelly Coolidge ............ Chazz Palminteri Eddie Hall .......... Michael Madsen Relyea .............. Chris Penn Col. Fitzgerald ..... Treat Williams Gen. Timms .......... John Malkovich AEC Head ............ Bruce Dern Jimmy Fields ........ Andrew McCarthy MGM presents a film directed by Lee Tamahori. Produced by Richard D. Zanuck anBd Lili Fini Zanuck. Written by Pete Dexter. Based on a story by Dexter and Floyd Mutrux. Photographed by Haskell Wexler. Edited by Sally Menke. Music by Dave Grusin. Running time: 107 minutes. Classified: R (for sexuality, violence and language). They were called the Hat Squad. They were four beefy middle-aged guys who drove around in a black Buick convertible, wearing fedoras and chain-smoking, and throwing guys, mostly bad guys, over cliffs. They worked for the LAPD. This was in Cthe early 1950s. "Mulholland Falls" takes the idea of these licensed vigilantes and crafts it into a "Chinatown" of the early atomic age. When the body of a young woman is discovered at a construction site, pressed into the earth almost as if by a steam-roller, the Hat Squad gets involved. More involved than they planned, because the leader of the squad, a cop named Hoover (Nick Nolte), knew the dead girl. Knew her and had knowledge of her, if you see what I mean. This is tDhe kind of movie where every note is put in lovingly. It's a 1950s crime movie, but with a modern, ironic edge: The cops are just a shade over the top, just slightly in on the joke. They smoke all through the movie, but there's one scene where they're disturbed and thoughtful, and they all light up and smoke furiously, the smoke lit by the cinematographer to look like great billowing clouds, and you smile because you know the scene is really about -- itself. In addition to Nolte, tEhe squad is played by Michael Madsen, Chazz Palminteri and Chris Penn. Palminteri is seeing a shrink because he has trouble sleeping at night, no doubt because of his job (the film opens with the guys throwing a gangster over the edge of Mulholland Drive with the helpful advice, "We don't want organized crime in L.A.!"). The other three guys look like they sleep all right. But Nolte's dreams are haunted after he sees the dead girl. Her name is Allison Pond (Jennifer Connelly). She Flives in an efficiency apartment in a postwar pool-and-bedroom building, and is one of those beautiful lost young Hollywood girls who is halfway between being discovered as a starlet and growing old as a hooker. Hoover met her the first time as she was being beaten by a hoodlum. He sapped the hood and then injected him with a needle-full of his own medicine, causing a drug overdose. That led to his first conversation with Allison: "That's an inventive way of dispensing justice." "IGt's an integral part of the job. So, who are you?" "Well, you won't find out by killing me." She is breathtakingly beautiful, lush, carnal and yet innocent. She could be a model for the covers of all those 1950s pulp detective magazines. When the cops find her body, Hoover feels a special pain, because he loved her for six months, and then finally left her because he loved his wife (Melanie Griffith) more. The cops follow a trail of leads and clues through a strange cross-sHection of Southern California. Their search mirrors the method used by Raymond Chandler in his Philip Marlowe novels, where a crime requires an expedition into the psychological undergrowth of a sinful and greedy community. Hoover gets a film in the mail, showing him having sex with Allison. Tracking down the film leads to the possibility that there were other films, and that blackmail may be involved. And then tests show that glass in the dead girl's foot is radioactive, and the Hat SquadI finds itself breaking onto a military atomic test range. This Allison knew a lot of guys. Maybe she would have stayed with Hoover if he had stayed with her. But then her list grew longer, and as Hoover follows it, it leads him to the consumptive Gen. Timms (John Malkovich), kingpin of U.S. atomic testing, who saw the girl on the last weekend of her life. And Timms, in turn, is connected to the unbending Col. Fitzgerald (Treat Williams) and the snaky chief of police (Bruce Dern). J "Mulholland Falls" is the first movie directed by Lee Tamahori since his powerful "Once Were Warriors" (1994), the story of violence and abuse in a Maori family in New Zealand. It couldn't look and feel more different -- it's a masterfully atmospheric film noir -- and yet it sees a similar culture of men who define themselves violently by other men, and use women without knowing them. The film was photographed by Haskell Wexler, who finds a clean, hard-edged look to shots like one wKhere the cops peer down into a nuclear crater in the sand, and others where the Hat Squad in their shiny Buick look like male action dolls out for a spin in "Toy Story." One of the key casting decisions was to use Jennifer Connelly as the wounded beauty at the heart of the story. Connelly is sexy in the way Marilyn Monroe was sexy -- as if she doesn't quite believe it and can't quite help it -- and she finds the right note, halfway between innocence and heedless abandon. The men arLound her are well-cast (Dern and Malkovich are uncredited) to show the varieties of male ego and ruthless power, and it's no surprise that her best friend (Andrew McCarthy) is gay. In the way the movie makes a tour through colorful locations -- gangster nightclubs, lonely mountain roads, cheap apartment complexes, saloons, the desert -- it reminds us of Chandler's famous line about the mean streets a man must walk down. It also seems to know something about how those streets got toM9 be so mean. COPYRIGHT 1996 THE EBERT CO.aODirector: Lee Tamahori Starring: Nick Nolte, Melanie Griffith, Jennifer Connelly, Chazz Palminteri, Michael Madsen, Chris Penn, Treat Williams, John Malkovich, Bruce Dern, Andrew McCarthymAWMULHOLLAND FALLS Director: Lee Tamahori. Starring: Nick Nolte, Melanie Griffith, Jennifer Connelly, Chazz Palminteri, Michael Madsen, Chris Penn, Treat Williams, John Malkovich, Bruce Dern, Andrew McCarthy. Photo credit: Sam Emerson. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. MGMW@A*    *RSDirector: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXV*WGNK MASport and Leisure BART,ART :Art,entertainment CMulholland FallsH28/8/96K0128AMULHOLLAND FALLS by Roger Ebert * * * 1/2 Hoover .............. Nick Nolte Katherine ........... Melanie Griffith Allison Pond ........ Jennifer Connelly Coolidge ............ Chazz Palminteri Eddie Hall .......... Michael Madsen Relyea .............. Chris Penn Col. Fitzgerald ..... Treat Williams Gen. Timms .......... John Malkovich AEC Head ............ Bruce Dern Jimmy Fields ........ Andrew McCarthy MGM presents a film directed by Lee Tamahori. Produced by Richard D. Zanuck anBd Lili Fini Zanuck. Written by Pete Dexter. Based on a story by Dexter and Floyd Mutrux. Photographed by Haskell Wexler. Edited by Sally Menke. Music by Dave Grusin. Running time: 107 minutes. Classified: R (for sexuality, violence and language). They were called the Hat Squad. They were four beefy middle-aged guys who drove around in a black Buick convertible, wearing fedoras and chain-smoking, and throwing guys, mostly bad guys, over cliffs. They worked for the LAPD. This was in Cthe early 1950s. "Mulholland Falls" takes the idea of these licensed vigilantes and crafts it into a "Chinatown" of the early atomic age. When the body of a young woman is discovered at a construction site, pressed into the earth almost as if by a steam-roller, the Hat Squad gets involved. More involved than they planned, because the leader of the squad, a cop named Hoover (Nick Nolte), knew the dead girl. Knew her and had knowledge of her, if you see what I mean. This is tDhe kind of movie where every note is put in lovingly. It's a 1950s crime movie, but with a modern, ironic edge: The cops are just a shade over the top, just slightly in on the joke. They smoke all through the movie, but there's one scene where they're disturbed and thoughtful, and they all light up and smoke furiously, the smoke lit by the cinematographer to look like great billowing clouds, and you smile because you know the scene is really about -- itself. In addition to Nolte, tEhe squad is played by Michael Madsen, Chazz Palminteri and Chris Penn. Palminteri is seeing a shrink because he has trouble sleeping at night, no doubt because of his job (the film opens with the guys throwing a gangster over the edge of Mulholland Drive with the helpful advice, "We don't want organized crime in L.A.!"). The other three guys look like they sleep all right. But Nolte's dreams are haunted after he sees the dead girl. Her name is Allison Pond (Jennifer Connelly). She Flives in an efficiency apartment in a postwar pool-and-bedroom building, and is one of those beautiful lost young Hollywood girls who is halfway between being discovered as a starlet and growing old as a hooker. Hoover met her the first time as she was being beaten by a hoodlum. He sapped the hood and then injected him with a needle-full of his own medicine, causing a drug overdose. That led to his first conversation with Allison: "That's an inventive way of dispensing justice." "IGt's an integral part of the job. So, who are you?" "Well, you won't find out by killing me." She is breathtakingly beautiful, lush, carnal and yet innocent. She could be a model for the covers of all those 1950s pulp detective magazines. When the cops find her body, Hoover feels a special pain, because he loved her for six months, and then finally left her because he loved his wife (Melanie Griffith) more. The cops follow a trail of leads and clues through a strange cross-sHection of Southern California. Their search mirrors the method used by Raymond Chandler in his Philip Marlowe novels, where a crime requires an expedition into the psychological undergrowth of a sinful and greedy community. Hoover gets a film in the mail, showing him having sex with Allison. Tracking down the film leads to the possibility that there were other films, and that blackmail may be involved. And then tests show that glass in the dead girl's foot is radioactive, and the Hat SquadI finds itself breaking onto a military atomic test range. This Allison knew a lot of guys. Maybe she would have stayed with Hoover if he had stayed with her. But then her list grew longer, and as Hoover follows it, it leads him to the consumptive Gen. Timms (John Malkovich), kingpin of U.S. atomic testing, who saw the girl on the last weekend of her life. And Timms, in turn, is connected to the unbending Col. Fitzgerald (Treat Williams) and the snaky chief of police (Bruce Dern). J "Mulholland Falls" is the first movie directed by Lee Tamahori since his powerful "Once Were Warriors" (1994), the story of violence and abuse in a Maori family in New Zealand. It couldn't look and feel more different -- it's a masterfully atmospheric film noir -- and yet it sees a similar culture of men who define themselves violently by other men, and use women without knowing them. The film was photographed by Haskell Wexler, who finds a clean, hard-edged look to shots like one wKhere the cops peer down into a nuclear crater in the sand, and others where the Hat Squad in their shiny Buick look like male action dolls out for a spin in "Toy Story." One of the key casting decisions was to use Jennifer Connelly as the wounded beauty at the heart of the story. Connelly is sexy in the way Marilyn Monroe was sexy -- as if she doesn't quite believe it and can't quite help it -- and she finds the right note, halfway between innocence and heedless abandon. The men arLound her are well-cast (Dern and Malkovich are uncredited) to show the varieties of male ego and ruthless power, and it's no surprise that her best friend (Andrew McCarthy) is gay. In the way the movie makes a tour through colorful locations -- gangster nightclubs, lonely mountain roads, cheap apartment complexes, saloons, the desert -- it reminds us of Chandler's famous line about the mean streets a man must walk down. It also seems to know something about how those streets got toM9 be so mean. COPYRIGHT 1996 THE EBERT CO.aODirector: Lee Tamahori Starring: Nick Nolte, Melanie Griffith, Jennifer Connelly, Chazz Palminteri, Michael Madsen, Chris Penn, Treat Williams, John Malkovich, Bruce Dern, Andrew McCarthyjAWMULHOLLAND FALLS Director: Lee Tamahori. Starring: Nick Nolte, Melanie Griffith, Jennifer Connelly, Chazz Palminteri, Michael Madsen, Chris Penn, Treat Williams, John Malkovich, Bruce Dern, Andrew McCarthy. Photo credit: Sam Emerson. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. MGMW@A*    *RSDirector: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXWGNK K ASport and Leisure BART,ART :Art,entertainment CChain ReactionH28/8/96K0129ACHAIN REACTION by Roger Ebert * * 1/2 Eddie Kasalivich .......... Keanu Reeves Shannon ................... Morgan Freeman Lily Sinclair ............. Rachel Weisz FBI Agent Ford ............ Fred Ward FBI Agent Doyle ........... Kevin Dunn Lyman Earl Collier ........ Brian Cox Maggie McDermott .......... Joanna Cassidy Dr. Alistair Barkley ...... Nicholas Rudall 20th Century-Fox presents a film directed by Andrew Davis. Produced by Davis, Richard Zanuck and Arne L. Schmidt. WrittBd Lili Fini Zanuck. Written by Pete Dexter. Based on a story by Dexter and Floyd Mutrux. Photographed by Haskell Wexler. Edited by Sally Menke. Music by Dave Grusin. Running time: 107 minutes. Classified: R (for sexuality, violence and language). They were called the Hat Squad. They were four beefy middle-aged guys who drove around in a black Buick convertible, wearing fedoras and chain-smoking, and throwing guys, mostly bad guys, over cliffs. They worked for the LAPD. This was in Cthe early 1950s. "Mulholland Falls" takes the idea of these licensed vigilantes and crafts it into a "Chinatown" of the early atomic age. When the body of a young woman is discovered at a construction site, pressed into the earth almost as if by a steam-roller, the Hat Squad gets involved. More involved than they planned, because the leader of the squad, a cop named Hoover (Nick Nolte), knew the dead girl. Knew her and had knowledge of her, if you see what I mean. This is tDhe kind of movie where every note is put in lovingly. It's a 1950s crime movie, but with a modern, ironic edge: The cops are just a shade over the top, just slightly in on the joke. They smoke all through the movie, but there's one scene where they're disturbed and thoughtful, and they all light up and smoke furiously, the smoke lit by the cinematographer to look like great billowing clouds, and you smile because you know the scene is really about -- itself. In addition to Nolte, tEhe squad is played by Michael Madsen, Chazz Palminteri and Chris Penn. Palminteri is seeing a shrink because he has trouble sleeping at night, no doubt because of his job (the film opens with the guys throwing a gangster over the edge of Mulholland Drive with the helpful advice, "We don't want organized crime in L.A.!"). The other three guys look like they sleep all right. But Nolte's dreams are haunted after he sees the dead girl. Her name is Allison Pond (Jennifer Connelly). She Flives in an efficiency apartment in a postwar pool-and-bedroom building, and is one of those beautiful lost young Hollywood girls who is halfway between being discovered as a starlet and growing old as a hooker. Hoover met her the first time as she was being beaten by a hoodlum. He sapped the hood and then injected him with a needle-full of his own medicine, causing a drug overdose. That led to his first conversation with Allison: "That's an inventive way of dispensing justice." "IGt's an integral part of the job. So, who are you?" "Well, you won't find out by killing me." She is breathtakingly beautiful, lush, carnal and yet innocent. She could be a model for the covers of all those 1950s pulp detective magazines. When the cops find her body, Hoover feels a special pain, because he loved her for six months, and then finally left her because he loved his wife (Melanie Griffith) more. The cops follow a trail of leads and clues through a strange cross-sHection of Southern California. Their search mirrors the method used by Raymond Chandler in his Philip Marlowe novels, where a crime requires an expedition into the psychological undergrowth of a sinful and greedy community. Hoover gets a film in the mail, showing him having sex with Allison. Tracking down the film leads to the possibility that there were other films, and that blackmail may be involved. And then tests show that glass in the dead girl's foot is radioactive, and the Hat SquadI finds itself breaking onto a military atomic test range. This Allison knew a lot of guys. Maybe she would have stayed with Hoover if he had stayed with her. But then her list grew longer, and as Hoover follows it, it leads him to the consumptive Gen. Timms (John Malkovich), kingpin of U.S. atomic testing, who saw the girl on the last weekend of her life. And Timms, in turn, is connected to the unbending Col. Fitzgerald (Treat Williams) and the snaky chief of police (Bruce Dern). J "Mulholland Falls" is the first movie directed by Lee Tamahori since his powerful "Once Were Warriors" (1994), the story of violence and abuse in a Maori family in New Zealand. It couldn't look and feel more different -- it's a masterfully atmospheric film noir -- and yet it sees a similar culture of men who define themselves violently by other men, and use women without knowing them. The film was photographed by Haskell Wexler, who finds a clean, hard-edged look to shots like one wKhere the cops peer down into a nuclear crater in the sand, and others where the Hat Squad in their shiny Buick look like male action dolls out for a spin in "Toy Story." One of the key casting decisions was to use Jennifer Connelly as the wounded beauty at the heart of the story. Connelly is sexy in the way Marilyn Monroe was sexy -- as if she doesn't quite believe it and can't quite help it -- and she finds the right note, halfway between innocence and heedless abandon. The men arLound her are well-cast (Dern and Malkovich are uncredited) to show the varieties of male ego and ruthless power, and it's no surprise that her best friend (Andrew McCarthy) is gay. In the way the movie makes a tour through colorful locations -- gangster nightclubs, lonely mountain roads, cheap apartment complexes, saloons, the desert -- it reminds us of Chandler's famous line about the mean streets a man must walk down. It also seems to know something about how those streets got toM9 be so mean. COPYRIGHT 1996 THE EBERT CO.aODirector: Lee Tamahori Starring: Nick Nolte, Melanie Griffith, Jennifer Connelly, Chazz Palminteri, Michael Madsen, Chris Penn, Treat Williams, John Malkovich, Bruce Dern, Andrew McCarthyjAWMULHOLLAND FALLS Director: Lee Tamahori. Starring: Nick Nolte, Melanie Griffith, Jennifer Connelly, Chazz Palminteri, Michael Madsen, Chris Penn, Treat Williams, John Malkovich, Bruce Dern, Andrew McCarthy. Photo credit: Sam Emerson. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. MGMW@A*    *RSDirector: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXWGNK K !ASport and Leisure BART,ART :Art,entertainment CChain ReactionH28/8/96K0130ACHAIN REACTION by Roger Ebert * * 1/2 Eddie Kasalivich .......... Keanu Reeves Shannon ................... Morgan Freeman Lily Sinclair ............. Rachel Weisz FBI Agent Ford ............ Fred Ward FBI Agent Doyle ........... Kevin Dunn Lyman Earl Collier ........ Brian Cox Maggie McDermott .......... Joanna Cassidy Dr. Alistair Barkley ...... Nicholas Rudall 20th Century-Fox presents a film directed by Andrew Davis. Produced by Davis, Richard Zanuck and Arne L. Schmidt. Writt Ben by J.F. Lawton and Michael Bortman. Photographed by Frank Tidy. Edited by Don Brochu and Dov Hoenig. Music by Jerry Goldsmith. Running time: 100 minutes. Classified: PG-13 (for some intense action/violence). I'm tempted to say that "Chain Reaction" needed more work on its script, but maybe it needed less. The film is so filled with scientific events, chase scenes and bewildering explanations of the plot that finally, after taking eight pages of notes, I gave up exhausted Cand just watched the kinetics on the screen. It's not a bad film in individual moments and in the energy of its performances, but it doesn't make a whole lot of sense. The story: Keanu Reeves plays Eddie Kasalivich, a physics student and machinist (yes, with a machine shop in his apartment) who is working on the University of Chicago Hydrogen Energy Project. He once blew up a science lab, but never mind: "It could have been a good experiment." He is now supervised by the br Dilliant Dr. Barkley (Nicholas Rudall), an idealist who dreams of energy without pollution. Barkley is leading Eddie and his beautiful fellow scientist Lily Sinclair (Rachel Weisz) in trying to extract power from water. And early in the movie, after Eddie accidentally finds the exact sound frequency, or something, at which the atoms will separate, or something, they succeed. The big water tank in their lab bounces up and down like a towel dryer in a car wash, hydrogen flames Eshoot up in the background, and it is announced that there is enough energy in a single glass of water to power the city of Chicago for a week. This is good news, right? No, it is bad news. When the jubilant scientists try to post their discoveries on the Internet, their effort is thwarted, and later their laboratory disappears in a fireball that levels eight city blocks. Eddie, as it happens, was in the building just before the explosion and discovered that Dr. Barkley had F been murdered. Soon he and Lily realize they are being framed as spies who have sold the secrets to the Chinese. I have not yet mentioned the enigmatic Shannon (Morgan Freeman), head of the "Foundation," who seems to have some role in these events. Or his even more enigmatic associate Collier (Brian Cox), who seems to have taken it upon himself to cause the explosion, although (1) he doesn't want to call attention to the experiment, which leveling eight blocks might tend tGo do, (2) he wants to possess the means of converting water to energy, yet (3) he has framed Eddie, the only person who knows the secret frequency, and (4) his men are now involved in making Eddie look like a cop killer, so that Eddie may be killed on sight, which would mean Collier wouldn't have the frequency. Here and there in the movie Shannon, the Freeman character, has curious little snippets of dialogue that seem to suggest even he doesn't understand what Collier is up to.  H The movie was directed by Andrew Davis, who made that other, much superior chase movie "The Fugitive." Despite his impenetrable plot, Davis brings great visual interest to the film in a series of chase scenes set against a chilly winter landscape. He even finds a new twist on that Chicago standby, a pursuit up the Michigan Avenue drawbridge while it is opening. (What the twist is, I'm not sure; it looked like Eddie hid in the gears, but naw, that couldn't be.) Later Eddie andI Lily flee to Wisconsin by train, rendezvous with an astronomer, and flee from a police helicopter in an ice boat before turning up in Washington (either the movie doesn't explain how they got to Washington, or I missed it). All of these chases are well-done, and there is a big extravaganza at the end involving still another gigantic explosion (the escape is by that durable movie standby, the ventilation duct that leads exactly where you need it to lead). There's even litera Jte dialogue in between, although it doesn't hold together or lead anywhere. (Shannon tells Collier, "I wish you wouldn't threaten to kill my scientists right to their faces!") Meanwhile, an FBI agent (Fred Ward) coordinates the hunt for Eddie and Lily, while betting $100 that they're innocent and being framed by the CIA. Don't bet against him. Trying to get the logic of the movie straight in my mind, I found only confusion. The Foundation is apparently a CIA front, but the KCIA doesn't know it. The water-to-energy project is being run by Shannon and Collier, but they don't want to reveal that it has been successful. Why not? Free energy, we are told, would lead to recession, unemployment and plummeting stock prices. But would it? It seems to me free energy would unleash the greatest era of prosperity in planetary history. By movie's end, I'd seen some swell photography and witnessed some thrilling chase scenes, but when it came to understanding the mo8 LMvie, I didn't have a clue. COPYRIGHT 1996 THE EBERT CO. LTD.ODirector: Andrew Davis. Starring: Keanu Reeves, Morgan Freeman, Rachel Weisz, Fred Ward, Kevin Dunn, Brian Cox, Joanna Cassidy, Nicholas RudallA6CHAIN REACTION Director: Andrew Davis. Starring: Keanu Reeves, Morgan Freeman, Rachel Weisz, Fred Ward, Kevin Dunn, Brian Cox, Joanna Cassidy, Nicholas Rudall. Photo credit: Murray Close. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. 20th Century-Fox6@A*    *RSDirector: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXV*WGNK K!"ASport and Leisure BART,ART :Art,entertainment CChain ReactionH28/8/96K0131ACHAIN REACTION by Roger Ebert * * 1/2 Eddie Kasalivich .......... Keanu Reeves Shannon ................... Morgan Freeman Lily Sinclair ............. Rachel Weisz FBI Agent Ford ............ Fred Ward FBI Agent Doyle ........... Kevin Dunn Lyman Earl Collier ........ Brian Cox Maggie McDermott .......... Joanna Cassidy Dr. Alistair Barkley ...... Nicholas Rudall 20th Century-Fox presents a film directed by Andrew Davis. Produced by Davis, Richard Zanuck and Arne L. Schmidt. Writt!Ben by J.F. Lawton and Michael Bortman. Photographed by Frank Tidy. Edited by Don Brochu and Dov Hoenig. Music by Jerry Goldsmith. Running time: 100 minutes. Classified: PG-13 (for some intense action/violence). I'm tempted to say that "Chain Reaction" needed more work on its script, but maybe it needed less. The film is so filled with scientific events, chase scenes and bewildering explanations of the plot that finally, after taking eight pages of notes, I gave up exhausted Cand just watched the kinetics on the screen. It's not a bad film in individual moments and in the energy of its performances, but it doesn't make a whole lot of sense. The story: Keanu Reeves plays Eddie Kasalivich, a physics student and machinist (yes, with a machine shop in his apartment) who is working on the University of Chicago Hydrogen Energy Project. He once blew up a science lab, but never mind: "It could have been a good experiment." He is now supervised by the br!Dilliant Dr. Barkley (Nicholas Rudall), an idealist who dreams of energy without pollution. Barkley is leading Eddie and his beautiful fellow scientist Lily Sinclair (Rachel Weisz) in trying to extract power from water. And early in the movie, after Eddie accidentally finds the exact sound frequency, or something, at which the atoms will separate, or something, they succeed. The big water tank in their lab bounces up and down like a towel dryer in a car wash, hydrogen flames Eshoot up in the background, and it is announced that there is enough energy in a single glass of water to power the city of Chicago for a week. This is good news, right? No, it is bad news. When the jubilant scientists try to post their discoveries on the Internet, their effort is thwarted, and later their laboratory disappears in a fireball that levels eight city blocks. Eddie, as it happens, was in the building just before the explosion and discovered that Dr. Barkley had!F been murdered. Soon he and Lily realize they are being framed as spies who have sold the secrets to the Chinese. I have not yet mentioned the enigmatic Shannon (Morgan Freeman), head of the "Foundation," who seems to have some role in these events. Or his even more enigmatic associate Collier (Brian Cox), who seems to have taken it upon himself to cause the explosion, although (1) he doesn't want to call attention to the experiment, which leveling eight blocks might tend tGo do, (2) he wants to possess the means of converting water to energy, yet (3) he has framed Eddie, the only person who knows the secret frequency, and (4) his men are now involved in making Eddie look like a cop killer, so that Eddie may be killed on sight, which would mean Collier wouldn't have the frequency. Here and there in the movie Shannon, the Freeman character, has curious little snippets of dialogue that seem to suggest even he doesn't understand what Collier is up to. !H The movie was directed by Andrew Davis, who made that other, much superior chase movie "The Fugitive." Despite his impenetrable plot, Davis brings great visual interest to the film in a series of chase scenes set against a chilly winter landscape. He even finds a new twist on that Chicago standby, a pursuit up the Michigan Avenue drawbridge while it is opening. (What the twist is, I'm not sure; it looked like Eddie hid in the gears, but naw, that couldn't be.) Later Eddie andI Lily flee to Wisconsin by train, rendezvous with an astronomer, and flee from a police helicopter in an ice boat before turning up in Washington (either the movie doesn't explain how they got to Washington, or I missed it). All of these chases are well-done, and there is a big extravaganza at the end involving still another gigantic explosion (the escape is by that durable movie standby, the ventilation duct that leads exactly where you need it to lead). There's even litera!Jte dialogue in between, although it doesn't hold together or lead anywhere. (Shannon tells Collier, "I wish you wouldn't threaten to kill my scientists right to their faces!") Meanwhile, an FBI agent (Fred Ward) coordinates the hunt for Eddie and Lily, while betting $100 that they're innocent and being framed by the CIA. Don't bet against him. Trying to get the logic of the movie straight in my mind, I found only confusion. The Foundation is apparently a CIA front, but the KCIA doesn't know it. The water-to-energy project is being run by Shannon and Collier, but they don't want to reveal that it has been successful. Why not? Free energy, we are told, would lead to recession, unemployment and plummeting stock prices. But would it? It seems to me free energy would unleash the greatest era of prosperity in planetary history. By movie's end, I'd seen some swell photography and witnessed some thrilling chase scenes, but when it came to understanding the mo5!LMvie, I didn't have a clue. COPYRIGHT 1996 THE EBERT CO. LTD.ODirector: Andrew Davis. Starring: Keanu Reeves, Morgan Freeman, Rachel Weisz, Fred Ward, Kevin Dunn, Brian Cox, Joanna Cassidy, Nicholas RudallA6CHAIN REACTION Director: Andrew Davis. Starring: Keanu Reeves, Morgan Freeman, Rachel Weisz, Fred Ward, Kevin Dunn, Brian Cox, Joanna Cassidy, Nicholas Rudall. Photo credit: Murray Close. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. 20th Century-Fox6@A*    *RSDirector: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXWGNK "#AScience and Technology BSPA,OVR :Space CHALLEYS COMETH31/8/96K0132AHALLEYS COMET A bright comet in the sky can be a dazzling sight. The nucleus remains hidden by the emission of gasses and dust which form the comets tail as it passes close to the Sun. For editorial use only. Photo credit: Lowell Observatory@A*    *RSDirector: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK$AScience and Technology BSPA,OVR :Space CGROOVY GANYMEDEH31/8/96K0133"Ben by J.F. Lawton and Michael Bortman. Photographed by Frank Tidy. Edited by Don Brochu and Dov Hoenig. Music by Jerry Goldsmith. Running time: 100 minutes. Classified: PG-13 (for some intense action/violence). I'm tempted to say that "Chain Reaction" needed more work on its script, but maybe it needed less. The film is so filled with scientific events, chase scenes and bewildering explanations of the plot that finally, after taking eight pages of notes, I gave up exhausted Cand just watched the kinetics on the screen. It's not a bad film in individual moments and in the energy of its performances, but it doesn't make a whole lot of sense. The story: Keanu Reeves plays Eddie Kasalivich, a physics student and machinist (yes, with a machine shop in his apartment) who is working on the University of Chicago Hydrogen Energy Project. He once blew up a science lab, but never mind: "It could have been a good experiment." He is now supervised by the br"Dilliant Dr. Barkley (Nicholas Rudall), an idealist who dreams of energy without pollution. Barkley is leading Eddie and his beautiful fellow scientist Lily Sinclair (Rachel Weisz) in trying to extract power from water. And early in the movie, after Eddie accidentally finds the exact sound frequency, or something, at which the atoms will separate, or something, they succeed. The big water tank in their lab bounces up and down like a towel dryer in a car wash, hydrogen flames Eshoot up in the background, and it is announced that there is enough energy in a single glass of water to power the city of Chicago for a week. This is good news, right? No, it is bad news. When the jubilant scientists try to post their discoveries on the Internet, their effort is thwarted, and later their laboratory disappears in a fireball that levels eight city blocks. Eddie, as it happens, was in the building just before the explosion and discovered that Dr. Barkley had"F been murdered. Soon he and Lily realize they are being framed as spies who have sold the secrets to the Chinese. I have not yet mentioned the enigmatic Shannon (Morgan Freeman), head of the "Foundation," who seems to have some role in these events. Or his even more enigmatic associate Collier (Brian Cox), who seems to have taken it upon himself to cause the explosion, although (1) he doesn't want to call attention to the experiment, which leveling eight blocks might tend tGo do, (2) he wants to possess the means of converting water to energy, yet (3) he has framed Eddie, the only person who knows the secret frequency, and (4) his men are now involved in making Eddie look like a cop killer, so that Eddie may be killed on sight, which would mean Collier wouldn't have the frequency. Here and there in the movie Shannon, the Freeman character, has curious little snippets of dialogue that seem to suggest even he doesn't understand what Collier is up to. "H The movie was directed by Andrew Davis, who made that other, much superior chase movie "The Fugitive." Despite his impenetrable plot, Davis brings great visual interest to the film in a series of chase scenes set against a chilly winter landscape. He even finds a new twist on that Chicago standby, a pursuit up the Michigan Avenue drawbridge while it is opening. (What the twist is, I'm not sure; it looked like Eddie hid in the gears, but naw, that couldn't be.) Later Eddie andI Lily flee to Wisconsin by train, rendezvous with an astronomer, and flee from a police helicopter in an ice boat before turning up in Washington (either the movie doesn't explain how they got to Washington, or I missed it). All of these chases are well-done, and there is a big extravaganza at the end involving still another gigantic explosion (the escape is by that durable movie standby, the ventilation duct that leads exactly where you need it to lead). There's even litera"Jte dialogue in between, although it doesn't hold together or lead anywhere. (Shannon tells Collier, "I wish you wouldn't threaten to kill my scientists right to their faces!") Meanwhile, an FBI agent (Fred Ward) coordinates the hunt for Eddie and Lily, while betting $100 that they're innocent and being framed by the CIA. Don't bet against him. Trying to get the logic of the movie straight in my mind, I found only confusion. The Foundation is apparently a CIA front, but the KCIA doesn't know it. The water-to-energy project is being run by Shannon and Collier, but they don't want to reveal that it has been successful. Why not? Free energy, we are told, would lead to recession, unemployment and plummeting stock prices. But would it? It seems to me free energy would unleash the greatest era of prosperity in planetary history. By movie's end, I'd seen some swell photography and witnessed some thrilling chase scenes, but when it came to understanding the mo5"LMvie, I didn't have a clue. COPYRIGHT 1996 THE EBERT CO. LTD.ODirector: Andrew Davis. Starring: Keanu Reeves, Morgan Freeman, Rachel Weisz, Fred Ward, Kevin Dunn, Brian Cox, Joanna Cassidy, Nicholas RudallA6CHAIN REACTION Director: Andrew Davis. Starring: Keanu Reeves, Morgan Freeman, Rachel Weisz, Fred Ward, Kevin Dunn, Brian Cox, Joanna Cassidy, Nicholas Rudall. Photo credit: Murray Close. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. 20th Century-Fox6@A*    *RSDirector: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXWGNK $%AScience and Technology BSPA,OVR :Space C FULL MOONH31/8/96K0134AFULL MOON The Earths natural satellite is on average only 385,000 kilometres away from us, and keeps the same face turned to us all the time. For editorial use only. Photo credit: NASA/JPL@A*   *RSDirector: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK&AScience and Technology BSPA,OVR :Space CSPACE SHUTTLE EVA VIEWH31/8/96K0135A SPACE SHUTTLE EVA STS-69 Ensconced in a 107-pound suit, astronaut James S. Voss, payload commander, uses the mobile foot restraint to hold himself in place at the end of the Space Shuttle Endeavours robotic Canadarm. For editorial use only. Photo credit: NASA/JPL @$A2GROOVY GANYMEDE The surface of Ganymede the largest moon of Jupiter is criss-crossed by lighter grooved terrain and darker, older areas that are more heavily cratered. More recent impacts have thrown up fresh, icy material from below the moons surface. For editorial use only. Photo credit: NASA/JPL2@A*    *RSDirector: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK&RSDirector: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK'AScience and Technology BSPA,OVR :Space CEUROPAH31/8/96K0136A EUROPA One of Jupiters four moons, Europa 3,140km in diameter consists of interlocking ice sheets which appear similar to those of Antarctica. The moon may have an ocean of water around a warm, volcanic rocky core. For editorial use only. Photo credit: NASA/JPL @A*    *RSDirector: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK(AScience and Technology BSPA,OVR :Space  >&A*    *@Plats  ABCDE FGHIJKLM ABCHJ  !"#$%&'()*+,-./0123456789:;<=>?@ABCDEFGHIJKUVWXYZ[\]^_`abcdefghijklmnopqrstvwxyz{|}~‚ÂĂł @Society ScriptEconomics and Business ScriptScience and Technology ScriptSport and Leisure Script Test Open ScriptASociety ScriptAzHH +6G{HH d@z(CSHUTTLE ENDEAVOUR LAUNCHH31/8/96K0137ASHUTTLE ENDEAVOUR LAUNCH Kennedy Space Center, Florida Marsh driftwood and Florida shrubbery frame the liftoff phase of the Space Shuttle Endeavour as it begins the STS-69 mission. For editorial use only. Photo credit: NASA/JPL@A*    *RSDirector: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK)AScience and Technology BSPA,OVR :Space C EARTHRISEH31/8/96K0138AEARTHRISE Prior to landing on the Moon on July 20 1969, the crew of Apollo 11 photographed the awesome sight of an earthrise from outer space. For editorial use only. Photo credit: NASA/JPL@A*   *R)SDirector: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK*AScience and Technology BSPA,OVR :Space C EARTH VIEWH31/8/96K0139AGEARTH VIEW An active auroral display is viewed across the payload bay of Atlantis. The multiple auroral arcs are indicative of magnetic substorms caused by the intervention of the solar wind with the Earths magnetosphere. Photograph aquired over the South Atlantic in April 1992. For editorial use only. Photo credit: NASA/JPLG@A*   *RSDirector: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK++AScience and Technology BSPA,OVR :Space C VENUS SURFACEH31/8/96K0140AVENUS SURFACE In August 1990 Magellan began a 243-day mission to radar-map virtually the entire surface of Venus. This view reveals a variety of bizarre terrain not seen anywhere before in the Solar System. For editorial use only. Photo credit: NASA/JPL@A*    *RSDirector: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK,AScience and Technology BSPA,OVR :Space C TOTAL ECLIPSEH31/8/96K0141ATOTAL ECLIPSE The Suns chromosphere lives up to its literal meaning, globe of colour, in this image of a solar eclipse recorded by astronauts aboard Skylab space station in 1973. For editorial use only. Photo credit: NASA/JPL@,RSDirector: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK-AScience and Technology BSPA,OVR :Space C MILKY WAYH31/8/96K0142AMMILKY WAY Our Solar System is only one of perhaps many thousands of millions of planetary systems in our own galaxy, the Milky Way. Proto-planetary systems have been seen in the Orion Nebula (far right, below sentre) visible in this infrared map of the Milky Way taken by COBE in 1992. For editorial use only. Photo credit: NASA/JPLM@A*   *R SDirector: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK >,A*    * G-.AScience and Technology BSPA,OVR :Space CSHUTTLE NIGHT LANDINGH31/8/96K0143AFSHUTTLE NIGHT LANDING For editorial use only. Photo credit: NASA/JPLF@A*    *R!SDirector: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK/AScience and Technology BSPA,OVR :Space CSIR ISAAC NEWTONH31/8/96K0144 /ASIR ISAAC NEWTON British scientist Isaac Newton (1642-1727) was the first person to understand the force of gravity. In 1666, after watching an apple fall to the ground, he wondered whether the force of gravity that makes things fall also holds the moon in its orbit. He invented the mathematic rules of differential calculus (1671) in order to calculate the exact orbits of the planets. For editorial use only. Picture credit: Portrait by Sir Godfrey Kneller, courtesy of the National PortraitB Gallery@A*    *R:SDirector: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK0AScience and Technology BSPA,OVR :Space C NEPTUNE SPOTH31/8/96K0145  0ANEPTUNE SPOT Neptunes atmospheric features include the pale triangular feature named the Scooter, and the small eye-like dot below it. Circling above are clouds, probably of frozen methane. For editorial use only. Photo credit: NASA/JPL@A*   *R$SDirector: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK1AScience and Technology BSPA,OVR :Space C MT ST HELENSH31/8/96K0146AMT ST HELENS Roiling clouds of steam, gases and pulverized rock burst from Mount St Helens following its eruption on May 18 1980. For editorial use only. Photo credit: NASA/JPL@A*   *RD  1SDirector: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK2AScience and Technology BSPA,OVR :Space CMERCURYH31/8/96K0147AMERCURY The pockmarked surface of Mercury the innermost planet in the Solar System was photographed for the first time by the Mariner 10 spacecraft in the mid-1970s. For editorial use only. Photo credit: NASA/JPL@A*    *R&SDirector: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK3AScience and Technology BSPA,OVR :Space CMARSH31/8/96K0148  3A,MARS Of all our planetary neighbours, Mars the Red Planet has been explored in the greatest detail. Although Martian rocks are superficially similar to those on Earth, their history and evolution is quite different. For editorial use only. Photo credit: U.S. Geological Survey, Flagstaff, Arizona,@A*    *R;SDirector: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK4AScience and Technology BSPA,OVR :Space C LUNAR SURFACEH31/8/96K0149ALUNAR SURFACE Between July 1969 and December 1972, a dozen astronauts walked on the Moon. In total, 382 kilograms of lunar rock was returned by the six Apollo craft. For editorial use only. Photo credit: NASA/JPL@A*    *R< 4SDirector: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK5AScience and Technology BSPA,OVR :Space CHUBBLE CAPTUREH31/8/96K0150AHUBBLE CAPTURE December 4, 1993 The Hubble Space Telescope (HST) is backdropped against the blackness of space as it is berthed in the Endeavours cargo bay. For editorial use only. Photo credit: NASA/JPL@A*    *R)SDirector: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK6AScience and Technology BSPA,OVR :Space CHUBBLE CAPTUREH31/8/96K0151 6AHUBBLE CAPTURE December 4, 1993 The Hubble Space Telescope (HST) is backdropped over Madagascar as it is berthed in the Endeavours cargo bay following its capture by the STS-61 astronauts. For editorial use only. Photo credit: NASA/JPL@A*    *R*SDirector: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK7ASport and Leisure BART,ART :Art,entertainment CCOBE INFRARED PICTUREH1/9/96K01527AeCOBE INFRARED PICTURE Picture formed by data gathered by NASAs Cosmic Background Explorer. The plane of the Milky Way Galaxy lies horizontally across the middle of the image with the Galactic Center in the middle. The orange S-shaped curve is caused by emission from interplanetary dust in our solar system. For editorial use only. Photo credit: NASA/JPLe@A*    *R+SDirector: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK8AScience and Technology BSPA,OVR :Space CAPOLLO 17 EVA/1H1/9/96K0153AAPOLLO 17 EVA/1 Scientist astronaut Harrison H Schmitt is photographed next to the deployed U.S. flag during lunar surface extravehicular activity at the Taurus-Littrow landing site. For editorial use only. Photo credit: NASA/JPL8@A*    *R,SDirector: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK9AScience and Technology BSPA,OVR :Space CSKYLAB SPACE STATIONH1/9/96K0154ASKYLAB 3 A closeup view of the Skylab space station photographed against an earth background from the Skylab 3 Command/Service module in July 1973. For editorial use only. Photo credit: NASA/JPL@A*   *R-SDirector: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK:AScience and Technology BSPA,OVR :Space :CASTRONAUT EVA VIEWH1/9/96K0155A:ASTRONAUT EVA VIEW Astronaut Michael L, Gernhardt, mission specialist, is pictured during the September 16, 1995, Extravehicular Activity (EVA) which was conducted around Space Shuttle Endeavours cargo bay. The purpose of the EVA was to test Space Station-era tools. For editorial use only. Photo credit: NASA/JPL:@A*    *R.SDirector: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK;AScience and Technology BSPA,OVR :Space CAPOLLO 17 -EARTHH1/9/96K0156AAPOLLO 17 -EARTH This fantastic view of the Earth was seen by the Apollo 17 crewmen on their journey toward the Moon on their lunar landing mission in December 1972. For editorial use only. Photo credit: NASA/JPL@;R/SDirector: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK;A*    *i=ASHUTTLE SUNRISE A morning sky drenched in vibrant color welcomes the Space Shuttle Endeavour as it rolls out to Launch Pad 39A on October 28 1993. For editorial use only. Photo credit: NASA/JPL@A*    *R?SDirector: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK>AScience and Technology BSPA,OVR :Space CSHUTTLE ENDEAVOURH1/9/96K0159ASHUTTLE ENDEAVOUR Space Shuttle Endeavour prior to lift-off on the the first Hubble Space Telescope servicing mission on December 1, 1993. For editorial use only. Photo credit: NASA/JPL@A*    *R>>SDirector: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK?AScience and Technology BSPA,OVR :Space C PAYLOAD BAYH1/9/96K0160APAYLOAD BAY Space Shuttle Endeavours payload bay prior to lift-off on December 1 1993 on the first Hubble Space Telescope servicing mission. For editorial use only. Photo credit: NASA/JPL@A*   *R@SDirector: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK@AScience and Technology BSPA,OVR :Space CSUNRISE 155 MILES HIGHH1/9/96K0161@ASUNRISE 155 MILES HIGH A sunrise seen from 155 nautical miles above Pecos, Texas. Much of the solar radiant energy is being scattered by the residue from Mount Pinatubo which erupted a year earlier in 1991. For editorial use only. Photo credit: NASA/JPL@A*    *RASDirector: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNKAAScience and Technology BSPA,OVR :Space C APOLLO 15 EVAH1/9/96K0162AAPOLLO 15 EVA Astronaut David R. Scott, commander, performs a task at the Lunar Roving Vehicle parked on the edge of the Hadley Rille during the first Apollo 15 EVA in July 1971. For editorial use only. Photo credit: NASA/JPL@A*    *R5zASDirector: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNKBAScience and Technology BSPA,OVR :Space CSHUTTLE LAUNCHH1/9/96K0163ASHUTTLE LAUNCH Space Shuttle Endeavour lifts off from Launch Pad 39B on December 2, 1993 For editorial use only. Photo credit: NASA/JPL@A*    *R6SDirector: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNKCAScience and Technology BSPA,OVR :Space CSERVICING HUBBLE/1H1/9/96K0164CASERVICING HUBBLE/1 Astronauts sericing the Hubble Space Telescope (HST) in December 1993 For editorial use only. Photo credit: NASA/JPL@A*    *R7SDirector: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK DAScience and Technology BSPA,OVR :Space CSERVICING HUBBLE /2H1/9/96K0165ASERVICING HUBBLE/1 Astronauts sericing the Hubble Space Telescope (HST) in December 1993 For editorial use only. Photo credit: NASA/JPL@A*    *R8SDirector: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXDVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK EAScience and Technology BSPA,OVR :Space CSERVICING HUBBLE /3H1/9/96K0166ASERVICING HUBBLE/1 Astronauts sericing the Hubble Space Telescope (HST) in December 1993 For editorial use only. Photo credit: NASA/JPL@A*    *R9SDirector: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK FAScience and Technology BSPA,OVR :Space CORION NEBULA M42H2/9/96K0167AORION NEBULA M42 A true-color image from the Hubble Space Telescope shows hot gases of the Orion Nebula spread over 15 light years of space. Photo credit: NASA/JPL@A*    *RBFSDirector: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNKGASport and Leisure BART,ART :Art,entertainment C ETA CARINAEH2/9/96K0168AETA CARINAE A true-color image from the Hubble Space Telescope shows eta Carinae possibly the most luminous star in the entire Galaxy. In this image the dustry central regions appear white, while the outer regions glow red with emission from nitrogen atoms. Photo credit: NASA/JPL@A*   *RCSDirector: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNKHASport and Leisure HBART,ART :Art,entertainment CCaptain PicardH4/9/96K0169APicture shows Star Trek Captain Jean-Luc Picard (played by Patrick Stewart). This image is supplied copyright-free for editorial use only. KEYWORDS: Crew of the USS Enterprise. Spock. Bones. Kirk. Science Museum. Exhibition. Movies. Films. Must credit Paramount Pictures.@A RESDirector: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNKIASport and Leisure BART,ART :Art,entertainment CTransporter roomH4/9/96K0170APicture shows Star Trek Transporter Room. This image is supplied copyright-free for editorial use only. KEYWORDS: Crew of the USS Enterprise. Spock. Bones. Kirk. Science Museum. Exhibition. Movies. Films. Must credit Paramount Pictures.@IRFSDirector: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNKJASport and Leisure BART,ART :Art,entertainment CThe EnterpriseH4/9/96K0171APicture shows Star Trek's USS Enterprise space craft from the Next Generation series. This image is supplied copyright-free for editorial use only. KEYWORDS: Crew of the USS Enterprise. Spock. Bones. Kirk. Science Museum. Exhibition. Movies. Films. Must credit Paramount Pictures.@A RGSDirector: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNKKASport and Leisure BART,ART :Art,entertainment  *IA KCSpock and BonesH4/9/96K0172APicture shows Star Trek Mr Spock and Dr McCoy (played by Leonard Limoy and DeForest Kelley). This image is supplied copyright-free for editorial use only. KEYWORDS: Crew of the USS Enterprise. Spock. Bones. Kirk. Science Museum. Exhibition. Movies. Films. Must credit Paramount Pictures.@A RHSDirector: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNKUASport and Leisure BART,ART :Art,entertainment AJack/1@A  H9/9/96K0178 UAJACK by Roger Ebert * 1/2 Jack Powell ............ Robin Williams Karen Powell ........... Diane Lane Brian Powell ........... Brian Kerwin Miss Marquez ........... Jennifer Lopez Lawrence Woodruff ...... Bill Cosby Dolores Durante Fran Drescher Louis Durante .......... Adam Zolotin Edward ................. Todd Bosley Hollywood Pictures presents a film directed by Francis Ford Coppola. Produced by Ricardo Mestres, Fred Fuchs and Francis Ford Coppola. Written by JameBs DeMonaco and Gary Nadeau. Photographed by John Toll. Edited by Barry Malkin. Music by Michael Kamen. Running time: 117 minutes. Classified: PG-13 (for some sexual references). In his choice of characters, Robin Williams seems more comfortable playing soloists -- people set apart by special skills or problems. Remember him in "Jumanji," trapped in time. Or in "Popeye," where "I yam what I yam." Or in "Mrs. Doubtfire," crossing the gender line. Or consider his unclassifiabl!UCe characters in "The Fisher King" and "Toys." Williams seems most at home in bodies that don't quite fit. Maybe that's why he had so much fun doing the voice for the genie in "Aladdin." He must have been the first choice for Francis Ford Coppola's "Jack," where he plays a boy who is aging at four times the normal rate. He is born, fully developed, after a two-month pregnancy, and at the age of 10 he looks exactly like a 40-year-old man. The notion of a boy trapped inD a man's body has been done before, by Tom Hanks in "Big," for example. "Jack" brings it poignancy, because the situation isn't caused by magic, but by medical reasons; it's obvious Jack may not turn 20. (His condition is not inspired by a real disease, but was created by the filmmakers). Williams works hard at seeming to be a kid inside a grown-up body, and some of his inspirations work well. But he has been ill-served by a screenplay that isn't curious about what his lif "UEe would REALLY be like. Francis Coppola brought great pathos to a similar situation in his "Peggy Sue Got Married" (1986), where a 43-year-old woman (Kathleen Turner) found herself inside her own teen-age body. He found scenes that dealt truly with the crushing fact that we float on a current of time. In "Jack," he and his writers, James DeMonaco and Gary Nadeau, go for more obvious pay-offs. The setup: As a device to make the story simpler and more dramatic, Jack is essentiFally kept out of society until he's 10. A tutor (Bill Cosby) comes to his home every day, and Jack has no ordinary contact with other kids. The movie explains this through the concerns of his up-tight mom (Diane Lane), but finally the tutor and the dad (Brian Kerwin) prevail, and he goes to school. Of course the other kids don't accept him. Well, why should they? He's got a receding hairline. (His dad teaches him to shave during the film, which seems odd, since by my calcul!#UGations he should have been doing that since he was about 4.) When he sits down on his first day in fifth grade, the desk isn't big enough, it collapses beneath him, and my heart sank: Why would anyone the size of Robin Williams try to sit in a fifth-grade chair except to produce a slapstick gag? Eventually the kids accept him (he's a good basketball center), and then they find he has other uses -- he can buy Penthouse, for example. But instead of using Penthouse as the spriHngboard for observations about the ambivalence of boys that age to sex, the movie goes for a pay-off in which a tree house collapses. (The next time I see a tree house collapse or a character fall through several floors of an old building, I'm going to fine the prop union.) There is one scene in the movie that works, is true, and does illuminate Jack's human dilemma, and that's the scene where he gets a crush on his teacher (Jennifer Lopez) and plies her with a bag of red Gu"$UImmi Bears before asking her to the school dance. (She's the only female in view who is tall enough to dance with him.) The way the teacher tactfully and gently handles this situation is an illustration of a path the whole movie could have taken, had it been more ambitious. But "Jack" doesn't want to be a great movie. It only wants to pluck the usual heartstrings and provide the anticipated payoff. Far from being able to empathize with the thought processes of a 10-year-old,J the filmmakers place him in situations they can imagine but a kid probably couldn't. I intensely disliked a subplot involving a schoolmate's trampy mother (Fran Drescher), which leads to a scene in a bar that doesn't work and doesn't belong, but does illustrate the ancient principle that every time there is a bar in a movie, there is a fight. Who was this movie made for? Kids, maybe, who will like the scene where Jack passes himself off as the school principal (although th#%GUKe scene could have been written with smarter dialogue). But if this is a kids' movie, go for kids' reference points. Or if it's for adults, then it shouldn't have been constructed as a sitcom. My best guess is that the premise blinded everyone. Robin Williams is a 10-year-old in a 40-year-old's body? Great! When do we start shooting? If anyone dared to bring up the possibility of a better screenplay, he was probably shouted down: In the delirium of high concept, it doesn't pay to rLuain on the parade -- no, not even if flowers might afterward grow. COPYRIGHT 1996 THE EBERT CO. LTD.ADirector: Francis Ford Coppola Starring: Robin Williams, Diane Lane, Brian Kerwin, Jennifer Lopez, Bill Cosby, Fran Drescher, Adam Zolotin, Todd Bosley.@A $&MUA8JACK Director: Francis Ford Coppola Starring: Robin Williams, Diane Lane, Brian Kerwin, Jennifer Lopez, Bill Cosby, Fran Drescher, Adam Zolotin, Todd Bosley. Photo credit: Merrick Morton. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. Hollywood Pictures.8@A*   *RISMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. Copyright 1996 XXXXXXXXXX (all rights reserved)VAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNKVASport and Leisure BART,ART :Art,entertainment AEscape from LA/1@A  H9/9/96K0179%'VAESCAPE FROM L.A. by Roger Ebert * * * 1/2 Snake Plissken ............. Kurt Russell Malloy ..................... Stacy Keach Map to the Stars Eddie ..... Steve Buscemi Pipeline ................... Peter Fonda Cuervo Jones ............... George Corraface Surgeon General ............ Bruce Campbell Taslima .................... Valeria Golino Hershe ..................... Pam Grier President .................. Cliff Robertson Utopia ..................... A.J. Langer Paramount pBresents a film directed by John Carpenter. Produced by Debra Hill and Kurt Russell. Written by Carpenter, Hill and Russell. Photographed by Gary B. Kibbe. Edited by Edward A. Warschilka. Music by Shirley Walker and John Carpenter. Running time: 100 minutes. Classified: R (for violence and some language). John Carpenter's "Escape From L.A." is a go-for-broke action extravaganza that satirizes the genre at the same time it's exploiting it. It's a dark vision of a post-apocalyp&(VCtic Los Angeles -- leveled by a massive earthquake, cut off from the mainland by a flooded San Fernando Valley, and converted into a prison camp for the nation's undesirables. Against this backdrop Carpenter launches a special effects fantasy that reaches heights so absurd that there's a giddy delight in the outrage. He generates heedlessness and joy in scenes like the one where the hero surfs on a tsunami wave down Wilshire Boulevard and leaps onto the back of a speeding cDonvertible. It's as if he gave himself license to dream up anything -- to play without a net. This is the kind of movie "Independence Day" could have been if it hadn't played it safe. The production reunites Carpenter with actor Kurt Russell and producer Debra Hill, who also made his "Escape From New York" (1981). They wrote the script together (reportedly starting right after the 1994 earthquake), and it combines adventure elements with a bizarre gallery of characters and ')VEpotshots at such satirical targets as plastic surgery, theme parks, agents and the imperial presidency. As the movie opens in the year 2013, "Los Angeles Island" is no longer part of the United States, but a one-way destination for "immorals and undesirables," who are offered an option at the deportation office: They can choose instant electrocution instead. The island is controlled by Cuervo Jones (George Corraface), a Latino revolutionary who has a big disco ball mounted Fon the trunk of his convertible. The U.S. is ruled by a President for Life (Cliff Robertson), who has moved the capital to his home town of Lynchburg, Va. Now his rebellious daughter Utopia (A.J. Langer) has hijacked Air Force Three and fled to Los Angeles with the precious black box that contains the codes controlling the globe's energy- transmission satellites. The president and his chief henchman (Stacy Keach) need to get that black box back. So they track down outlaw Sna(*VGke Plissken (Kurt Russell), who saved an earlier president from the prison city of New York. His assignment: Go in, get the box, kill the girl, and return within 10 hours before he dies of a virus they've helpfully infected him with as an added inspiration. Movies like this depend on special effects, costumes and set design to create their worlds out of scratch, and "Escape From L.A." is wall-to-wall with the landmarks of a post-earthquake L.A. We see the Chinese theater, tHhe Hollywood Bowl and a beached ocean liner, and the showdown takes place in an amusement park intended, I think, to suggest Disneyland's Main Street USA. Snake finds his way through the deadly wilderness with a series of guides, including Pipeline (Peter Fonda), a has-been surfer; Taslima (Valeria Golino), a beautiful but doomed street person; Map to the Stars Eddie (Steve Buscemi), who is the "guy to see" about anything; and the exotic Hershe (Pam Grier), a transsexual Snake onc)+VIe knew back in Cleveland, where he/she was known as Carjack. Meanwhile, the clock is ticking, and Snake has been supplied with that indispensable device for all action thrillers, a digital read-out that tells him how much time he has left to live. At the end, when Snake has only 20 minutes to find Cuervo Jones, grab the black box and seize the daughter, Hershe suggests they get to Pasadena in a hurry by using hang-gliders. Whose heart is so stony it can resist the sight of JKurt Russell and Pam Grier swooping down out of the sky, automatic weapons blazing, in an attack on Disneyland? Who, for that matter, can resist some of the other stops along the way, including Snake's encounter with a colony of "surgical failures," who have had one plastic surgery too many and can survive only by obtaining a steady supply of fresh body parts? Or by the sight of San Fernando Valley used car signs peeking above the waves? Or by a chase scene that involves mot*,VKorcycles, cars, trucks, horses, machine-guns and boleros? "Escape From L.A." took some courage for Carpenter, Russell and Hill to make; they had to hope that moviegoers would accept a special effects picture with a satiric sense of humor. Yes, there are laughs in "Independence Day," but they're fairly obvious and don't sting. "Escape From L.A." has fun with the whole concept of pictures like itself. It goes deliberately and cheerfully over the top, anchored by Russell's monLosyllabic performance, which makes Clint Eastwood sound like Gabby Hayes. Futuristic Los Angeles fantasies have uneven histories at the box office; neither "Blade Runner" nor "Strange Days" did all that well in their initial theatrical releases. But "Escape From L.A." has such manic energy, such a weird, cockeyed vision, that it may work on some moviegoers as satire and on others as the real thing. That could lead to some interesting audience reactions. John Carpenter as a +-VM= filmmaker has been all over the map, from the superb ("Halloween") to the weirdly offbeat ("Christine," "Starman") to the dreary ("Village of the Damned"). This time he simply tears the map up; the implications of his final scene are breath-taking. Good for him. COPYRIGHT 1996 THE EBERT CO. LTD.eADirector: John Carpenter. Starring: Kurt Russell, Stacy Keach, Steve Buscem, Peter Fonda, George Corraface, Bruce Campbell, Valeria Golino, Pam Grier, Cliff Robertson , A.J. Langer. @A AWESCAPE FROM LA Director: John Carpenter. Starring: Kurt Russell, Stacy Keach, Steve Buscem, Peter Fonda, George Corraface, Bruce Campbell, Valeria Golino, Pam Grier, Cliff Robertson , A.J. Langer. Photo credit: Robert Zukerman. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. Paramount.W@A*   *RJ,.VSMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. Copyright 1996 XXXXXXXXXX (all rights reserved)VAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNKWASport and Leisure BART,ART :Art,entertainment ACourage Under Fire/1@A  H9/9/96K0180ACOURAGE UNDER FIRE by Roger Ebert * * * 1/2 Lt. Col. Nathaniel Serling ..... Denzel Washington Capt. Karen Walden ............. Meg Ryan Monfriez ....................... Lou Diamond Phillips Gen. Hershberg ................. Michael Moriarty Llario ......................... Matt Damon Altameyer ...................... Seth Gilliam Bruno .......................... Bronson Pinchot Tony Gartner ................... Scott Glenn Meredith ....................... Regina Taylor 20th Centu-/WBry-Fox presents a film directed by Edward Zwick. Produced by John Davis, Joseph M. Singer and David T. Friendly. Screenplay by Patrick Sheane Duncan. Photographed by Roger Deakins. Edited by Steven Rosenblum. Music by James Horner. Running time: 155 minutes. Classified: R (for realistic and violent battle scenes, language). Eyewitnesses are notoriously unreliable, even when they want to tell the truth. As an Army colonel reconstructs a battle scene in "Courage Under Fire," Che begins to suspect that some of his witnesses are lying. His assignment: Decide on the suitability of the first woman ever nominated for a Medal of Honor for combat. His problem: The White House is salivating over the media image of presenting the posthumous medal to the woman's young daughter in a ceremony in the Rose Garden. The colonel, named Serling and played by Denzel Washington, is determined to do his job honestly and well, even though his own life is falling apar.0WDt. During a night tank battle in the Gulf War, he was indirectly responsible for taking out an American tank with friendly fire. An Army investigation excused him, but now his sleep is fragmented by nightmares, he's drinking too much, and he has moved out on his wife and children. The investigation is about the only thing holding him together. The woman under consideration for the Medal of Honor is Capt. Karen Walden (Meg Ryan), who commanded a helicopter in the battle zoneE. After taking out an enemy tank by the refreshing improvisation of dropping a fuel tank on it, Walden's chopper was shot down by enemy fire. Nearby American troops heard M-16 fire, apparently by the wounded Walden, that kept the enemy at bay the next morning until her men could be rescued. For this she certainly deserves the medal - - if that's how it happened. Edward Zwick and Patrick Sheane Duncan, the director and writer, construct their screenplay with a nod to "Rashomon/1WF" (1950), Kurosawa's famous film in which four defendants give their wildly different testimony about a murder. In "Courage Under Fire," the witnesses are Walden's own men. Ilario (Matt Damon), the medic, paints Walden as a brave leader sacrificing her life for her men. Monfriez (Lou Diamond Phillips), the gunner, says, "She was afraid, Colonel. She was a coward. That's the bottom line on your Capt. Walden." Another crew member, Altameyer (Seth Gilliam), languishes in a V.A. hospitGal, confused by pain-killers. Serling, the Denzel Washington character, doggedly conducts his investigation by day and spends his nights boozing in hotel bars. He is being tracked by a reporter for The Washington Post (Scott Glenn), who suspects there was a cover-up of the tank destroyed by friendly fire. Serling tries to avoid him, but Serling is a man who desperately needs to tell the truth to someone, and the reporter is relentless. These interlocking investigatio02WHns all take place under the thumb of the unrelenting Gen. Hershberg (Michael Moriarty), who wants the friendly fire incident kept quiet, and the Medal of Honor approved (there is urgent pressure from the White House). Hershberg turns the screws, threatening Serling's Army promotion path and hinting at reprisals ("I know about the drinking"). "Courage Under Fire" is Hollywood's first film about the Gulf War, and one of the rare films to deal with women in combat. But it is Inot simply a war film; there are also personal issues involved, and the story does a good job of dealing with the relationship between Col. Serling and his wife (Regina Taylor), who tells him she will wait for him -- but not forever. Washington's role is the central one, and he handles it well, playing a man who sticks to procedure and self- discipline even in the midst of emotional chaos (before the tank battle, he leads his men in prayer, and then adds: "Now let's kill 'em13JWJ all!"). Meg Ryan's role is a different kind of challenge: In the flashbacks through the eyes of her men, she is seen in three or four entirely different styles of behavior. The movie doesn't give us one Capt. Walden but several, for us (and Serling) to choose between. Zwick's direction handles the many conflicting story possibilities with great clarity. And the opening sequence, involving the mistaken tank attack, makes it clear how confusing battle is, and how differently KCit will be perceived by each participant. The end of the film understandably lays on the emotion a little heavily, but until then "Courage Under Fire" has been a fascinating emotional and logistical puzzle -- almost a courtroom movie, with the desert as the courtroom. COPYRIGHT 1996 THE EBERT CO. LTD.24WADirector: Edward Zwick. Starring: Denzel Washington, Meg Ryan, Lou Diamond Phillips, Michael Moriarty, Matt Damon , Seth Gilliam, Bronson Pinchot, Scott Glenn, Regina Taylor.@A A]COURAGE UNDER FIRE Director: Edward Zwick. Starring: Denzel Washington, Meg Ryan, Lou Diamond Phillips, Michael Moriarty, Matt Damon , Seth Gilliam, Bronson Pinchot, Scott Glenn, Regina Taylor. Photo credit: Merie W. Wallace. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. 20th Century-Fox ]@A*   *RVSMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. Copyright 1996 XXXXXXXXXX (all rights reserved)VAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNKXASport and Leisure 35_XBART,ART :Art,entertainment ABogus/1@A  H9/9/96K0181ABOGUS by Roger Ebert * * * Harriet Franklin ....... Whoopi Goldberg Bogus .................. Gerard Depardieu Albert ................. Haley Joel Osment Mr. Antoine ............ Denis Mercier Lorraine ............... Nancy Travis Regency presents a film directed by Norman Jewison. Produced by Jewison, Arnon Milchan and Jeff Rothberg. Written by Alvin Sargent. Photographed by David Watkin. Edited by Stephen Rivkin. Music by Marc Shaiman. Running time: 112 minutes. Classi46XBfied: PG (for thematic elements and some mild language). "Bogus" tells the story of a little boy who is orphaned and then finds his life filled with two unconventional parent-substitutes. How unconventional? They're played by Whoopi Goldberg and Gerard Depardieu -- Goldberg as the aunt he never knew about, and Depardieu as an imaginary friend, a large, shambling Frenchman, who bounces out of the pages of a coloring book. The little boy's name is Albert (Haley JoelC Osment), and he has grown up in Las Vegas, where his mother (Nancy Travis) was an assistant in the magic act of Mr. Antoine (Denis Mercier), who seems to be a cross between David Copperfield and Cirque de Soliel. It's not an ordinary childhood; he has a baseball autographed by Liza Minnelli. After his mother is killed in a traffic accident early in the film, Mr. Antoine and the other showbiz people meet to decide what is to be done with the child. But the mother has provided for t57XDhat in her will, naming her African-American foster sister Harriet (Goldberg), who nobody knew about. Harriet is not thrilled to be given responsibility for a kid. She runs a restaurant supply business out east, knows nothing of showbiz and less about kids, and has a lot on her mind. But she accepts the responsibility because she must, and the morose little boy flies east to his destiny. It is then that Bogus (Depardieu) materializes from the coloring book to become his sidEekick, adviser and confidant. This mixture of the poignant and the mystical is not new to director Norman Jewison, who in films like "Moonstruck" and "Only You" has found a winsome romanticism that bypasses the pragmatic side of life. Here he works with a story by Alvin Sargent that seems contrived from unlikely inspirations. It is not enough to provide Albert with Whoopi Goldberg as a foster mother and Gerard Depardieu as an imaginary friend: The movie must also allow Harr68XFiet to see Bogus, too -- and not just see him, but dance "The Continental" with him, in the unlikeliest pas de deux of our age. "Bogus" is light as a feather. It's a charming, inconsequential fantasy that sidesteps such matters as logic and motivation, and rightly so: This is the sort of beguiling fairy tale that needs as little reality as possible, and I thought it really took off after the stepmother finally saw Bogus, too. A few problems are provided in the thGird act, as when the homesick Albert travels all by himself to Atlantic City, where Mr. Antoine is performing, and of course there are manufactured moments when it seems the little boy is missing or lost. A crisis like that is necessary, I suppose, in order for there to be a happy ending. But essentially the movie is about the charm of the actors, especially Goldberg and Depardieu. And it adds still more wonder to the career of Depardieu, who increasingly seems to be cost79dXHumed in giant's overcoats and shirts made out of draperies. He is an unmade bed with a broken nose, and the biggest French star of his generation, which, in a way, is an even better trick than popping out of a coloring book. COPYRIGHT 1996 THE EBERT CO. LTD. ADirector: Norman Jewison. Starring: Whoopi Goldberg, Gerard Depardieu, Haley Joel Osment, Denis Mercier, Nancy Travis. Photo credit: Suzanne Hanover.@A A BOGUS Director: Norman Jewison. Starring: Whoopi Goldberg, Gerard Depardieu, Haley Joel Osment, Denis Mercier, Nancy Travis. Photo credit: Suzanne Hanover. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. Regency Entertainment. USA  @A*   *RK8:XSMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. Copyright 1996 XXXXXXXXXX (all rights reserved)VAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNKYASport and Leisure BART,ART :Art,entertainment AJack/2@A  H9/9/96K0182AJACK by Roger Ebert * 1/2 Jack Powell ............ Robin Williams Karen Powell ........... Diane Lane Brian Powell ........... Brian Kerwin Miss Marquez ........... Jennifer Lopez Lawrence Woodruff ...... Bill Cosby Dolores Durante Fran Drescher Louis Durante .......... Adam Zolotin Edward ................. Todd Bosley Hollywood Pictures presents a film directed by Francis Ford Coppola. Produced by Ricardo Mestres, Fred Fuchs and Francis Ford Coppola. Written by Jame9;YBs DeMonaco and Gary Nadeau. Photographed by John Toll. Edited by Barry Malkin. Music by Michael Kamen. Running time: 117 minutes. Classified: PG-13 (for some sexual references). In his choice of characters, Robin Williams seems more comfortable playing soloists -- people set apart by special skills or problems. Remember him in "Jumanji," trapped in time. Or in "Popeye," where "I yam what I yam." Or in "Mrs. Doubtfire," crossing the gender line. Or consider his unclassifiablCe characters in "The Fisher King" and "Toys." Williams seems most at home in bodies that don't quite fit. Maybe that's why he had so much fun doing the voice for the genie in "Aladdin." He must have been the first choice for Francis Ford Coppola's "Jack," where he plays a boy who is aging at four times the normal rate. He is born, fully developed, after a two-month pregnancy, and at the age of 10 he looks exactly like a 40-year-old man. The notion of a boy trapped in:<YD a man's body has been done before, by Tom Hanks in "Big," for example. "Jack" brings it poignancy, because the situation isn't caused by magic, but by medical reasons; it's obvious Jack may not turn 20. (His condition is not inspired by a real disease, but was created by the filmmakers). Williams works hard at seeming to be a kid inside a grown-up body, and some of his inspirations work well. But he has been ill-served by a screenplay that isn't curious about what his lifEe would REALLY be like. Francis Coppola brought great pathos to a similar situation in his "Peggy Sue Got Married" (1986), where a 43-year-old woman (Kathleen Turner) found herself inside her own teen-age body. He found scenes that dealt truly with the crushing fact that we float on a current of time. In "Jack," he and his writers, James DeMonaco and Gary Nadeau, go for more obvious pay-offs. The setup: As a device to make the story simpler and more dramatic, Jack is essenti;=YFally kept out of society until he's 10. A tutor (Bill Cosby) comes to his home every day, and Jack has no ordinary contact with other kids. The movie explains this through the concerns of his up-tight mom (Diane Lane), but finally the tutor and the dad (Brian Kerwin) prevail, and he goes to school. Of course the other kids don't accept him. Well, why should they? He's got a receding hairline. (His dad teaches him to shave during the film, which seems odd, since by my calculGations he should have been doing that since he was about 4.) When he sits down on his first day in fifth grade, the desk isn't big enough, it collapses beneath him, and my heart sank: Why would anyone the size of Robin Williams try to sit in a fifth-grade chair except to produce a slapstick gag? Eventually the kids accept him (he's a good basketball center), and then they find he has other uses -- he can buy Penthouse, for example. But instead of using Penthouse as the spri<>YHngboard for observations about the ambivalence of boys that age to sex, the movie goes for a pay-off in which a tree house collapses. (The next time I see a tree house collapse or a character fall through several floors of an old building, I'm going to fine the prop union.) There is one scene in the movie that works, is true, and does illuminate Jack's human dilemma, and that's the scene where he gets a crush on his teacher (Jennifer Lopez) and plies her with a bag of red GuImmi Bears before asking her to the school dance. (She's the only female in view who is tall enough to dance with him.) The way the teacher tactfully and gently handles this situation is an illustration of a path the whole movie could have taken, had it been more ambitious. But "Jack" doesn't want to be a great movie. It only wants to pluck the usual heartstrings and provide the anticipated payoff. Far from being able to empathize with the thought processes of a 10-year-old,=?YJ the filmmakers place him in situations they can imagine but a kid probably couldn't. I intensely disliked a subplot involving a schoolmate's trampy mother (Fran Drescher), which leads to a scene in a bar that doesn't work and doesn't belong, but does illustrate the ancient principle that every time there is a bar in a movie, there is a fight. Who was this movie made for? Kids, maybe, who will like the scene where Jack passes himself off as the school principal (although thKe scene could have been written with smarter dialogue). But if this is a kids' movie, go for kids' reference points. Or if it's for adults, then it shouldn't have been constructed as a sitcom. My best guess is that the premise blinded everyone. Robin Williams is a 10-year-old in a 40-year-old's body? Great! When do we start shooting? If anyone dared to bring up the possibility of a better screenplay, he was probably shouted down: In the delirium of high concept, it doesn't pay to r>@YLuain on the parade -- no, not even if flowers might afterward grow. COPYRIGHT 1996 THE EBERT CO. LTD.ADirector: Francis Ford Coppola Starring: Robin Williams, Diane Lane, Brian Kerwin, Jennifer Lopez, Bill Cosby, Fran Drescher, Adam Zolotin, Todd Bosley.@A A8JACK Director: Francis Ford Coppola Starring: Robin Williams, Diane Lane, Brian Kerwin, Jennifer Lopez, Bill Cosby, Fran Drescher, Adam Zolotin, Todd Bosley. Photo credit: Merrick Morton. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. Hollywood Pictures.8@A*   *RLSMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK?ArZASport and Leisure BART,ART :Art,entertainment AJack/3@A  H9/9/96K0183AJACK by Roger Ebert * 1/2 Jack Powell ............ Robin Williams Karen Powell ........... Diane Lane Brian Powell ........... Brian Kerwin Miss Marquez ........... Jennifer Lopez Lawrence Woodruff ...... Bill Cosby Dolores Durante Fran Drescher Louis Durante .......... Adam Zolotin Edward ................. Todd Bosley Hollywood Pictures presents a film directed by Francis Ford Coppola. Produced by Ricardo Mestres, Fred Fuchs and Francis Ford Coppola. Written by Jame@BZBs DeMonaco and Gary Nadeau. Photographed by John Toll. Edited by Barry Malkin. Music by Michael Kamen. Running time: 117 minutes. Classified: PG-13 (for some sexual references). In his choice of characters, Robin Williams seems more comfortable playing soloists -- people set apart by special skills or problems. Remember him in "Jumanji," trapped in time. Or in "Popeye," where "I yam what I yam." Or in "Mrs. Doubtfire," crossing the gender line. Or consider his unclassifiablCe characters in "The Fisher King" and "Toys." Williams seems most at home in bodies that don't quite fit. Maybe that's why he had so much fun doing the voice for the genie in "Aladdin." He must have been the first choice for Francis Ford Coppola's "Jack," where he plays a boy who is aging at four times the normal rate. He is born, fully developed, after a two-month pregnancy, and at the age of 10 he looks exactly like a 40-year-old man. The notion of a boy trapped inACZD a man's body has been done before, by Tom Hanks in "Big," for example. "Jack" brings it poignancy, because the situation isn't caused by magic, but by medical reasons; it's obvious Jack may not turn 20. (His condition is not inspired by a real disease, but was created by the filmmakers). Williams works hard at seeming to be a kid inside a grown-up body, and some of his inspirations work well. But he has been ill-served by a screenplay that isn't curious about what his lifEe would REALLY be like. Francis Coppola brought great pathos to a similar situation in his "Peggy Sue Got Married" (1986), where a 43-year-old woman (Kathleen Turner) found herself inside her own teen-age body. He found scenes that dealt truly with the crushing fact that we float on a current of time. In "Jack," he and his writers, James DeMonaco and Gary Nadeau, go for more obvious pay-offs. The setup: As a device to make the story simpler and more dramatic, Jack is essentiBDZFally kept out of society until he's 10. A tutor (Bill Cosby) comes to his home every day, and Jack has no ordinary contact with other kids. The movie explains this through the concerns of his up-tight mom (Diane Lane), but finally the tutor and the dad (Brian Kerwin) prevail, and he goes to school. Of course the other kids don't accept him. Well, why should they? He's got a receding hairline. (His dad teaches him to shave during the film, which seems odd, since by my calculGations he should have been doing that since he was about 4.) When he sits down on his first day in fifth grade, the desk isn't big enough, it collapses beneath him, and my heart sank: Why would anyone the size of Robin Williams try to sit in a fifth-grade chair except to produce a slapstick gag? Eventually the kids accept him (he's a good basketball center), and then they find he has other uses -- he can buy Penthouse, for example. But instead of using Penthouse as the spriCEZHngboard for observations about the ambivalence of boys that age to sex, the movie goes for a pay-off in which a tree house collapses. (The next time I see a tree house collapse or a character fall through several floors of an old building, I'm going to fine the prop union.) There is one scene in the movie that works, is true, and does illuminate Jack's human dilemma, and that's the scene where he gets a crush on his teacher (Jennifer Lopez) and plies her with a bag of red GuImmi Bears before asking her to the school dance. (She's the only female in view who is tall enough to dance with him.) The way the teacher tactfully and gently handles this situation is an illustration of a path the whole movie could have taken, had it been more ambitious. But "Jack" doesn't want to be a great movie. It only wants to pluck the usual heartstrings and provide the anticipated payoff. Far from being able to empathize with the thought processes of a 10-year-old,DFZJ the filmmakers place him in situations they can imagine but a kid probably couldn't. I intensely disliked a subplot involving a schoolmate's trampy mother (Fran Drescher), which leads to a scene in a bar that doesn't work and doesn't belong, but does illustrate the ancient principle that every time there is a bar in a movie, there is a fight. Who was this movie made for? Kids, maybe, who will like the scene where Jack passes himself off as the school principal (although thKe scene could have been written with smarter dialogue). But if this is a kids' movie, go for kids' reference points. Or if it's for adults, then it shouldn't have been constructed as a sitcom. My best guess is that the premise blinded everyone. Robin Williams is a 10-year-old in a 40-year-old's body? Great! When do we start shooting? If anyone dared to bring up the possibility of a better screenplay, he was probably shouted down: In the delirium of high concept, it doesn't pay to rEGZLuain on the parade -- no, not even if flowers might afterward grow. COPYRIGHT 1996 THE EBERT CO. LTD.ADirector: Francis Ford Coppola Starring: Robin Williams, Diane Lane, Brian Kerwin, Jennifer Lopez, Bill Cosby, Fran Drescher, Adam Zolotin, Todd Bosley.@A A8JACK Director: Francis Ford Coppola Starring: Robin Williams, Diane Lane, Brian Kerwin, Jennifer Lopez, Bill Cosby, Fran Drescher, Adam Zolotin, Todd Bosley. Photo credit: Merrick Morton. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. Hollywood Pictures.8@A*   *RMSMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNKFHr[ASport and Leisure BART,ART :Art,entertainment AJack/4@A  H9/9/96K0184AJACK by Roger Ebert * 1/2 Jack Powell ............ Robin Williams Karen Powell ........... Diane Lane Brian Powell ........... Brian Kerwin Miss Marquez ........... Jennifer Lopez Lawrence Woodruff ...... Bill Cosby Dolores Durante Fran Drescher Louis Durante .......... Adam Zolotin Edward ................. Todd Bosley Hollywood Pictures presents a film directed by Francis Ford Coppola. Produced by Ricardo Mestres, Fred Fuchs and Francis Ford Coppola. Written by JameGI[Bs DeMonaco and Gary Nadeau. Photographed by John Toll. Edited by Barry Malkin. Music by Michael Kamen. Running time: 117 minutes. Classified: PG-13 (for some sexual references). In his choice of characters, Robin Williams seems more comfortable playing soloists -- people set apart by special skills or problems. Remember him in "Jumanji," trapped in time. Or in "Popeye," where "I yam what I yam." Or in "Mrs. Doubtfire," crossing the gender line. Or consider his unclassifiablCe characters in "The Fisher King" and "Toys." Williams seems most at home in bodies that don't quite fit. Maybe that's why he had so much fun doing the voice for the genie in "Aladdin." He must have been the first choice for Francis Ford Coppola's "Jack," where he plays a boy who is aging at four times the normal rate. He is born, fully developed, after a two-month pregnancy, and at the age of 10 he looks exactly like a 40-year-old man. The notion of a boy trapped inHJ[D a man's body has been done before, by Tom Hanks in "Big," for example. "Jack" brings it poignancy, because the situation isn't caused by magic, but by medical reasons; it's obvious Jack may not turn 20. (His condition is not inspired by a real disease, but was created by the filmmakers). Williams works hard at seeming to be a kid inside a grown-up body, and some of his inspirations work well. But he has been ill-served by a screenplay that isn't curious about what his lifEe would REALLY be like. Francis Coppola brought great pathos to a similar situation in his "Peggy Sue Got Married" (1986), where a 43-year-old woman (Kathleen Turner) found herself inside her own teen-age body. He found scenes that dealt truly with the crushing fact that we float on a current of time. In "Jack," he and his writers, James DeMonaco and Gary Nadeau, go for more obvious pay-offs. The setup: As a device to make the story simpler and more dramatic, Jack is essentiIK[Fally kept out of society until he's 10. A tutor (Bill Cosby) comes to his home every day, and Jack has no ordinary contact with other kids. The movie explains this through the concerns of his up-tight mom (Diane Lane), but finally the tutor and the dad (Brian Kerwin) prevail, and he goes to school. Of course the other kids don't accept him. Well, why should they? He's got a receding hairline. (His dad teaches him to shave during the film, which seems odd, since by my calculGations he should have been doing that since he was about 4.) When he sits down on his first day in fifth grade, the desk isn't big enough, it collapses beneath him, and my heart sank: Why would anyone the size of Robin Williams try to sit in a fifth-grade chair except to produce a slapstick gag? Eventually the kids accept him (he's a good basketball center), and then they find he has other uses -- he can buy Penthouse, for example. But instead of using Penthouse as the spriJM[Hngboard for observations about the ambivalence of boys that age to sex, the movie goes for a pay-off in which a tree house collapses. (The next time I see a tree house collapse or a character fall through several floors of an old building, I'm going to fine the prop union.) There is one scene in the movie that works, is true, and does illuminate Jack's human dilemma, and that's the scene where he gets a crush on his teacher (Jennifer Lopez) and plies her with a bag of red GuImmi Bears before asking her to the school dance. (She's the only female in view who is tall enough to dance with him.) The way the teacher tactfully and gently handles this situation is an illustration of a path the whole movie could have taken, had it been more ambitious. But "Jack" doesn't want to be a great movie. It only wants to pluck the usual heartstrings and provide the anticipated payoff. Far from being able to empathize with the thought processes of a 10-year-old,O[\@PBQDRFSHTJULVAW]AXBYDZF[H\J]L^A_^A`BaDbFcHdJeLfAg_AhBiDjFkHlJmLnAo`ApBqDrFsHtJuLvAwaAxByDzF{H|J}L~AbABDFHJLAcABDFHJLAdABDFHJAeABDFHJAfABDFHJAgABDFHJAhABDFHJAiABDFHJAjABDFHJAk@BDFHSlBDFHSmBDFHSnBDFHKN[J the filmmakers place him in situations they can imagine but a kid probably couldn't. I intensely disliked a subplot involving a schoolmate's trampy mother (Fran Drescher), which leads to a scene in a bar that doesn't work and doesn't belong, but does illustrate the ancient principle that every time there is a bar in a movie, there is a fight. Who was this movie made for? Kids, maybe, who will like the scene where Jack passes himself off as the school principal (although thKe scene could have been written with smarter dialogue). But if this is a kids' movie, go for kids' reference points. Or if it's for adults, then it shouldn't have been constructed as a sitcom. My best guess is that the premise blinded everyone. Robin Williams is a 10-year-old in a 40-year-old's body? Great! When do we start shooting? If anyone dared to bring up the possibility of a better screenplay, he was probably shouted down: In the delirium of high concept, it doesn't pay to rMP[Luain on the parade -- no, not even if flowers might afterward grow. COPYRIGHT 1996 THE EBERT CO. LTD.ADirector: Francis Ford Coppola Starring: Robin Williams, Diane Lane, Brian Kerwin, Jennifer Lopez, Bill Cosby, Fran Drescher, Adam Zolotin, Todd Bosley.@A A8JACK Director: Francis Ford Coppola Starring: Robin Williams, Diane Lane, Brian Kerwin, Jennifer Lopez, Bill Cosby, Fran Drescher, Adam Zolotin, Todd Bosley. Photo credit: Merrick Morton. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. Hollywood Pictures.8@A*   *RNSMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNKL [LNNQ|\ASport and Leisure BART,ART :Art,entertainment AEscape from LA/2@A  H9/9/96K0185AESCAPE FROM L.A. by Roger Ebert * * * 1/2 Snake Plissken ............. Kurt Russell Malloy ..................... Stacy Keach Map to the Stars Eddie ..... Steve Buscemi Pipeline ................... Peter Fonda Cuervo Jones ............... George Corraface Surgeon General ............ Bruce Campbell Taslima .................... Valeria Golino Hershe ..................... Pam Grier President .................. Cliff Robertson Utopia ..................... A.J. Langer Paramount pPR\Bresents a film directed by John Carpenter. Produced by Debra Hill and Kurt Russell. Written by Carpenter, Hill and Russell. Photographed by Gary B. Kibbe. Edited by Edward A. Warschilka. Music by Shirley Walker and John Carpenter. Running time: 100 minutes. Classified: R (for violence and some language). John Carpenter's "Escape From L.A." is a go-for-broke action extravaganza that satirizes the genre at the same time it's exploiting it. It's a dark vision of a post-apocalypCtic Los Angeles -- leveled by a massive earthquake, cut off from the mainland by a flooded San Fernando Valley, and converted into a prison camp for the nation's undesirables. Against this backdrop Carpenter launches a special effects fantasy that reaches heights so absurd that there's a giddy delight in the outrage. He generates heedlessness and joy in scenes like the one where the hero surfs on a tsunami wave down Wilshire Boulevard and leaps onto the back of a speeding cQS\Donvertible. It's as if he gave himself license to dream up anything -- to play without a net. This is the kind of movie "Independence Day" could have been if it hadn't played it safe. The production reunites Carpenter with actor Kurt Russell and producer Debra Hill, who also made his "Escape From New York" (1981). They wrote the script together (reportedly starting right after the 1994 earthquake), and it combines adventure elements with a bizarre gallery of characters and Epotshots at such satirical targets as plastic surgery, theme parks, agents and the imperial presidency. As the movie opens in the year 2013, "Los Angeles Island" is no longer part of the United States, but a one-way destination for "immorals and undesirables," who are offered an option at the deportation office: They can choose instant electrocution instead. The island is controlled by Cuervo Jones (George Corraface), a Latino revolutionary who has a big disco ball mounted RT\Fon the trunk of his convertible. The U.S. is ruled by a President for Life (Cliff Robertson), who has moved the capital to his home town of Lynchburg, Va. Now his rebellious daughter Utopia (A.J. Langer) has hijacked Air Force Three and fled to Los Angeles with the precious black box that contains the codes controlling the globe's energy- transmission satellites. The president and his chief henchman (Stacy Keach) need to get that black box back. So they track down outlaw SnaGke Plissken (Kurt Russell), who saved an earlier president from the prison city of New York. His assignment: Go in, get the box, kill the girl, and return within 10 hours before he dies of a virus they've helpfully infected him with as an added inspiration. Movies like this depend on special effects, costumes and set design to create their worlds out of scratch, and "Escape From L.A." is wall-to-wall with the landmarks of a post-earthquake L.A. We see the Chinese theater, tSU\Hhe Hollywood Bowl and a beached ocean liner, and the showdown takes place in an amusement park intended, I think, to suggest Disneyland's Main Street USA. Snake finds his way through the deadly wilderness with a series of guides, including Pipeline (Peter Fonda), a has-been surfer; Taslima (Valeria Golino), a beautiful but doomed street person; Map to the Stars Eddie (Steve Buscemi), who is the "guy to see" about anything; and the exotic Hershe (Pam Grier), a transsexual Snake oncIe knew back in Cleveland, where he/she was known as Carjack. Meanwhile, the clock is ticking, and Snake has been supplied with that indispensable device for all action thrillers, a digital read-out that tells him how much time he has left to live. At the end, when Snake has only 20 minutes to find Cuervo Jones, grab the black box and seize the daughter, Hershe suggests they get to Pasadena in a hurry by using hang-gliders. Whose heart is so stony it can resist the sight of TV\JKurt Russell and Pam Grier swooping down out of the sky, automatic weapons blazing, in an attack on Disneyland? Who, for that matter, can resist some of the other stops along the way, including Snake's encounter with a colony of "surgical failures," who have had one plastic surgery too many and can survive only by obtaining a steady supply of fresh body parts? Or by the sight of San Fernando Valley used car signs peeking above the waves? Or by a chase scene that involves motKorcycles, cars, trucks, horses, machine-guns and boleros? "Escape From L.A." took some courage for Carpenter, Russell and Hill to make; they had to hope that moviegoers would accept a special effects picture with a satiric sense of humor. Yes, there are laughs in "Independence Day," but they're fairly obvious and don't sting. "Escape From L.A." has fun with the whole concept of pictures like itself. It goes deliberately and cheerfully over the top, anchored by Russell's monUWD\Losyllabic performance, which makes Clint Eastwood sound like Gabby Hayes. Futuristic Los Angeles fantasies have uneven histories at the box office; neither "Blade Runner" nor "Strange Days" did all that well in their initial theatrical releases. But "Escape From L.A." has such manic energy, such a weird, cockeyed vision, that it may work on some moviegoers as satire and on others as the real thing. That could lead to some interesting audience reactions. John Carpenter as a M= filmmaker has been all over the map, from the superb ("Halloween") to the weirdly offbeat ("Christine," "Starman") to the dreary ("Village of the Damned"). This time he simply tears the map up; the implications of his final scene are breath-taking. Good for him. COPYRIGHT 1996 THE EBERT CO. LTD.eVX\ADirector: John Carpenter. Starring: Kurt Russell, Stacy Keach, Steve Buscem, Peter Fonda, George Corraface, Bruce Campbell, Valeria Golino, Pam Grier, Cliff Robertson , A.J. Langer. @A AWESCAPE FROM LA Director: John Carpenter. Starring: Kurt Russell, Stacy Keach, Steve Buscem, Peter Fonda, George Corraface, Bruce Campbell, Valeria Golino, Pam Grier, Cliff Robertson , A.J. Langer. Photo credit: Robert Zukerman. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. Paramount.W@A*   *RWSMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK]ASport and Leisure BART,ART :Art,entertainment WYK]AEscape from LA/3@A  H9/9/96K0186AESCAPE FROM L.A. by Roger Ebert * * * 1/2 Snake Plissken ............. Kurt Russell Malloy ..................... Stacy Keach Map to the Stars Eddie ..... Steve Buscemi Pipeline ................... Peter Fonda Cuervo Jones ............... George Corraface Surgeon General ............ Bruce Campbell Taslima .................... Valeria Golino Hershe ..................... Pam Grier President .................. Cliff Robertson Utopia ..................... A.J. Langer Paramount pXZ]Bresents a film directed by John Carpenter. Produced by Debra Hill and Kurt Russell. Written by Carpenter, Hill and Russell. Photographed by Gary B. Kibbe. Edited by Edward A. Warschilka. Music by Shirley Walker and John Carpenter. Running time: 100 minutes. Classified: R (for violence and some language). John Carpenter's "Escape From L.A." is a go-for-broke action extravaganza that satirizes the genre at the same time it's exploiting it. It's a dark vision of a post-apocalypCtic Los Angeles -- leveled by a massive earthquake, cut off from the mainland by a flooded San Fernando Valley, and converted into a prison camp for the nation's undesirables. Against this backdrop Carpenter launches a special effects fantasy that reaches heights so absurd that there's a giddy delight in the outrage. He generates heedlessness and joy in scenes like the one where the hero surfs on a tsunami wave down Wilshire Boulevard and leaps onto the back of a speeding cY[]Donvertible. It's as if he gave himself license to dream up anything -- to play without a net. This is the kind of movie "Independence Day" could have been if it hadn't played it safe. The production reunites Carpenter with actor Kurt Russell and producer Debra Hill, who also made his "Escape From New York" (1981). They wrote the script together (reportedly starting right after the 1994 earthquake), and it combines adventure elements with a bizarre gallery of characters and Epotshots at such satirical targets as plastic surgery, theme parks, agents and the imperial presidency. As the movie opens in the year 2013, "Los Angeles Island" is no longer part of the United States, but a one-way destination for "immorals and undesirables," who are offered an option at the deportation office: They can choose instant electrocution instead. The island is controlled by Cuervo Jones (George Corraface), a Latino revolutionary who has a big disco ball mounted Z\]Fon the trunk of his convertible. The U.S. is ruled by a President for Life (Cliff Robertson), who has moved the capital to his home town of Lynchburg, Va. Now his rebellious daughter Utopia (A.J. Langer) has hijacked Air Force Three and fled to Los Angeles with the precious black box that contains the codes controlling the globe's energy- transmission satellites. The president and his chief henchman (Stacy Keach) need to get that black box back. So they track down outlaw SnaGke Plissken (Kurt Russell), who saved an earlier president from the prison city of New York. His assignment: Go in, get the box, kill the girl, and return within 10 hours before he dies of a virus they've helpfully infected him with as an added inspiration. Movies like this depend on special effects, costumes and set design to create their worlds out of scratch, and "Escape From L.A." is wall-to-wall with the landmarks of a post-earthquake L.A. We see the Chinese theater, t[]]Hhe Hollywood Bowl and a beached ocean liner, and the showdown takes place in an amusement park intended, I think, to suggest Disneyland's Main Street USA. Snake finds his way through the deadly wilderness with a series of guides, including Pipeline (Peter Fonda), a has-been surfer; Taslima (Valeria Golino), a beautiful but doomed street person; Map to the Stars Eddie (Steve Buscemi), who is the "guy to see" about anything; and the exotic Hershe (Pam Grier), a transsexual Snake oncIe knew back in Cleveland, where he/she was known as Carjack. Meanwhile, the clock is ticking, and Snake has been supplied with that indispensable device for all action thrillers, a digital read-out that tells him how much time he has left to live. At the end, when Snake has only 20 minutes to find Cuervo Jones, grab the black box and seize the daughter, Hershe suggests they get to Pasadena in a hurry by using hang-gliders. Whose heart is so stony it can resist the sight of \^]JKurt Russell and Pam Grier swooping down out of the sky, automatic weapons blazing, in an attack on Disneyland? Who, for that matter, can resist some of the other stops along the way, including Snake's encounter with a colony of "surgical failures," who have had one plastic surgery too many and can survive only by obtaining a steady supply of fresh body parts? Or by the sight of San Fernando Valley used car signs peeking above the waves? Or by a chase scene that involves motKorcycles, cars, trucks, horses, machine-guns and boleros? "Escape From L.A." took some courage for Carpenter, Russell and Hill to make; they had to hope that moviegoers would accept a special effects picture with a satiric sense of humor. Yes, there are laughs in "Independence Day," but they're fairly obvious and don't sting. "Escape From L.A." has fun with the whole concept of pictures like itself. It goes deliberately and cheerfully over the top, anchored by Russell's mon]_D]Losyllabic performance, which makes Clint Eastwood sound like Gabby Hayes. Futuristic Los Angeles fantasies have uneven histories at the box office; neither "Blade Runner" nor "Strange Days" did all that well in their initial theatrical releases. But "Escape From L.A." has such manic energy, such a weird, cockeyed vision, that it may work on some moviegoers as satire and on others as the real thing. That could lead to some interesting audience reactions. John Carpenter as a M= filmmaker has been all over the map, from the superb ("Halloween") to the weirdly offbeat ("Christine," "Starman") to the dreary ("Village of the Damned"). This time he simply tears the map up; the implications of his final scene are breath-taking. Good for him. COPYRIGHT 1996 THE EBERT CO. LTD.e^`]ADirector: John Carpenter. Starring: Kurt Russell, Stacy Keach, Steve Buscem, Peter Fonda, George Corraface, Bruce Campbell, Valeria Golino, Pam Grier, Cliff Robertson , A.J. Langer. @A AWESCAPE FROM LA Director: John Carpenter. Starring: Kurt Russell, Stacy Keach, Steve Buscem, Peter Fonda, George Corraface, Bruce Campbell, Valeria Golino, Pam Grier, Cliff Robertson , A.J. Langer. Photo credit: Robert Zukerman. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. Paramount.W@A*   *RXSMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK^ASport and Leisure BART,ART :Art,entertainment _aK^AEscape from LA/4@A  H9/9/96K0187AESCAPE FROM L.A. by Roger Ebert * * * 1/2 Snake Plissken ............. Kurt Russell Malloy ..................... Stacy Keach Map to the Stars Eddie ..... Steve Buscemi Pipeline ................... Peter Fonda Cuervo Jones ............... George Corraface Surgeon General ............ Bruce Campbell Taslima .................... Valeria Golino Hershe ..................... Pam Grier President .................. Cliff Robertson Utopia ..................... A.J. Langer Paramount p`b^Bresents a film directed by John Carpenter. Produced by Debra Hill and Kurt Russell. Written by Carpenter, Hill and Russell. Photographed by Gary B. Kibbe. Edited by Edward A. Warschilka. Music by Shirley Walker and John Carpenter. Running time: 100 minutes. Classified: R (for violence and some language). John Carpenter's "Escape From L.A." is a go-for-broke action extravaganza that satirizes the genre at the same time it's exploiting it. It's a dark vision of a post-apocalypCtic Los Angeles -- leveled by a massive earthquake, cut off from the mainland by a flooded San Fernando Valley, and converted into a prison camp for the nation's undesirables. Against this backdrop Carpenter launches a special effects fantasy that reaches heights so absurd that there's a giddy delight in the outrage. He generates heedlessness and joy in scenes like the one where the hero surfs on a tsunami wave down Wilshire Boulevard and leaps onto the back of a speeding cac^Donvertible. It's as if he gave himself license to dream up anything -- to play without a net. This is the kind of movie "Independence Day" could have been if it hadn't played it safe. The production reunites Carpenter with actor Kurt Russell and producer Debra Hill, who also made his "Escape From New York" (1981). They wrote the script together (reportedly starting right after the 1994 earthquake), and it combines adventure elements with a bizarre gallery of characters and Epotshots at such satirical targets as plastic surgery, theme parks, agents and the imperial presidency. As the movie opens in the year 2013, "Los Angeles Island" is no longer part of the United States, but a one-way destination for "immorals and undesirables," who are offered an option at the deportation office: They can choose instant electrocution instead. The island is controlled by Cuervo Jones (George Corraface), a Latino revolutionary who has a big disco ball mounted bd^Fon the trunk of his convertible. The U.S. is ruled by a President for Life (Cliff Robertson), who has moved the capital to his home town of Lynchburg, Va. Now his rebellious daughter Utopia (A.J. Langer) has hijacked Air Force Three and fled to Los Angeles with the precious black box that contains the codes controlling the globe's energy- transmission satellites. The president and his chief henchman (Stacy Keach) need to get that black box back. So they track down outlaw SnaGke Plissken (Kurt Russell), who saved an earlier president from the prison city of New York. His assignment: Go in, get the box, kill the girl, and return within 10 hours before he dies of a virus they've helpfully infected him with as an added inspiration. Movies like this depend on special effects, costumes and set design to create their worlds out of scratch, and "Escape From L.A." is wall-to-wall with the landmarks of a post-earthquake L.A. We see the Chinese theater, tce^Hhe Hollywood Bowl and a beached ocean liner, and the showdown takes place in an amusement park intended, I think, to suggest Disneyland's Main Street USA. Snake finds his way through the deadly wilderness with a series of guides, including Pipeline (Peter Fonda), a has-been surfer; Taslima (Valeria Golino), a beautiful but doomed street person; Map to the Stars Eddie (Steve Buscemi), who is the "guy to see" about anything; and the exotic Hershe (Pam Grier), a transsexual Snake oncIe knew back in Cleveland, where he/she was known as Carjack. Meanwhile, the clock is ticking, and Snake has been supplied with that indispensable device for all action thrillers, a digital read-out that tells him how much time he has left to live. At the end, when Snake has only 20 minutes to find Cuervo Jones, grab the black box and seize the daughter, Hershe suggests they get to Pasadena in a hurry by using hang-gliders. Whose heart is so stony it can resist the sight of df^JKurt Russell and Pam Grier swooping down out of the sky, automatic weapons blazing, in an attack on Disneyland? Who, for that matter, can resist some of the other stops along the way, including Snake's encounter with a colony of "surgical failures," who have had one plastic surgery too many and can survive only by obtaining a steady supply of fresh body parts? Or by the sight of San Fernando Valley used car signs peeking above the waves? Or by a chase scene that involves motKorcycles, cars, trucks, horses, machine-guns and boleros? "Escape From L.A." took some courage for Carpenter, Russell and Hill to make; they had to hope that moviegoers would accept a special effects picture with a satiric sense of humor. Yes, there are laughs in "Independence Day," but they're fairly obvious and don't sting. "Escape From L.A." has fun with the whole concept of pictures like itself. It goes deliberately and cheerfully over the top, anchored by Russell's monegD^Losyllabic performance, which makes Clint Eastwood sound like Gabby Hayes. Futuristic Los Angeles fantasies have uneven histories at the box office; neither "Blade Runner" nor "Strange Days" did all that well in their initial theatrical releases. But "Escape From L.A." has such manic energy, such a weird, cockeyed vision, that it may work on some moviegoers as satire and on others as the real thing. That could lead to some interesting audience reactions. John Carpenter as a M= filmmaker has been all over the map, from the superb ("Halloween") to the weirdly offbeat ("Christine," "Starman") to the dreary ("Village of the Damned"). This time he simply tears the map up; the implications of his final scene are breath-taking. Good for him. COPYRIGHT 1996 THE EBERT CO. LTD.efh^ADirector: John Carpenter. Starring: Kurt Russell, Stacy Keach, Steve Buscem, Peter Fonda, George Corraface, Bruce Campbell, Valeria Golino, Pam Grier, Cliff Robertson , A.J. Langer. @A AWESCAPE FROM LA Director: John Carpenter. Starring: Kurt Russell, Stacy Keach, Steve Buscem, Peter Fonda, George Corraface, Bruce Campbell, Valeria Golino, Pam Grier, Cliff Robertson , A.J. Langer. Photo credit: Robert Zukerman. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. Paramount.W@A*   *RYSMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK_ASport and Leisure BART,ART :Art,entertainment giK_AEscape from LA/5@A  H9/9/96K0188AESCAPE FROM L.A. by Roger Ebert * * * 1/2 Snake Plissken ............. Kurt Russell Malloy ..................... Stacy Keach Map to the Stars Eddie ..... Steve Buscemi Pipeline ................... Peter Fonda Cuervo Jones ............... George Corraface Surgeon General ............ Bruce Campbell Taslima .................... Valeria Golino Hershe ..................... Pam Grier President .................. Cliff Robertson Utopia ..................... A.J. Langer Paramount phj_Bresents a film directed by John Carpenter. Produced by Debra Hill and Kurt Russell. Written by Carpenter, Hill and Russell. Photographed by Gary B. Kibbe. Edited by Edward A. Warschilka. Music by Shirley Walker and John Carpenter. Running time: 100 minutes. Classified: R (for violence and some language). John Carpenter's "Escape From L.A." is a go-for-broke action extravaganza that satirizes the genre at the same time it's exploiting it. It's a dark vision of a post-apocalypCtic Los Angeles -- leveled by a massive earthquake, cut off from the mainland by a flooded San Fernando Valley, and converted into a prison camp for the nation's undesirables. Against this backdrop Carpenter launches a special effects fantasy that reaches heights so absurd that there's a giddy delight in the outrage. He generates heedlessness and joy in scenes like the one where the hero surfs on a tsunami wave down Wilshire Boulevard and leaps onto the back of a speeding cik_Donvertible. It's as if he gave himself license to dream up anything -- to play without a net. This is the kind of movie "Independence Day" could have been if it hadn't played it safe. The production reunites Carpenter with actor Kurt Russell and producer Debra Hill, who also made his "Escape From New York" (1981). They wrote the script together (reportedly starting right after the 1994 earthquake), and it combines adventure elements with a bizarre gallery of characters and Epotshots at such satirical targets as plastic surgery, theme parks, agents and the imperial presidency. As the movie opens in the year 2013, "Los Angeles Island" is no longer part of the United States, but a one-way destination for "immorals and undesirables," who are offered an option at the deportation office: They can choose instant electrocution instead. The island is controlled by Cuervo Jones (George Corraface), a Latino revolutionary who has a big disco ball mounted jl_Fon the trunk of his convertible. The U.S. is ruled by a President for Life (Cliff Robertson), who has moved the capital to his home town of Lynchburg, Va. Now his rebellious daughter Utopia (A.J. Langer) has hijacked Air Force Three and fled to Los Angeles with the precious black box that contains the codes controlling the globe's energy- transmission satellites. The president and his chief henchman (Stacy Keach) need to get that black box back. So they track down outlaw SnaGke Plissken (Kurt Russell), who saved an earlier president from the prison city of New York. His assignment: Go in, get the box, kill the girl, and return within 10 hours before he dies of a virus they've helpfully infected him with as an added inspiration. Movies like this depend on special effects, costumes and set design to create their worlds out of scratch, and "Escape From L.A." is wall-to-wall with the landmarks of a post-earthquake L.A. We see the Chinese theater, tkm_Hhe Hollywood Bowl and a beached ocean liner, and the showdown takes place in an amusement park intended, I think, to suggest Disneyland's Main Street USA. Snake finds his way through the deadly wilderness with a series of guides, including Pipeline (Peter Fonda), a has-been surfer; Taslima (Valeria Golino), a beautiful but doomed street person; Map to the Stars Eddie (Steve Buscemi), who is the "guy to see" about anything; and the exotic Hershe (Pam Grier), a transsexual Snake oncIe knew back in Cleveland, where he/she was known as Carjack. Meanwhile, the clock is ticking, and Snake has been supplied with that indispensable device for all action thrillers, a digital read-out that tells him how much time he has left to live. At the end, when Snake has only 20 minutes to find Cuervo Jones, grab the black box and seize the daughter, Hershe suggests they get to Pasadena in a hurry by using hang-gliders. Whose heart is so stony it can resist the sight of ln_JKurt Russell and Pam Grier swooping down out of the sky, automatic weapons blazing, in an attack on Disneyland? Who, for that matter, can resist some of the other stops along the way, including Snake's encounter with a colony of "surgical failures," who have had one plastic surgery too many and can survive only by obtaining a steady supply of fresh body parts? Or by the sight of San Fernando Valley used car signs peeking above the waves? Or by a chase scene that involves motKorcycles, cars, trucks, horses, machine-guns and boleros? "Escape From L.A." took some courage for Carpenter, Russell and Hill to make; they had to hope that moviegoers would accept a special effects picture with a satiric sense of humor. Yes, there are laughs in "Independence Day," but they're fairly obvious and don't sting. "Escape From L.A." has fun with the whole concept of pictures like itself. It goes deliberately and cheerfully over the top, anchored by Russell's monmoD_Losyllabic performance, which makes Clint Eastwood sound like Gabby Hayes. Futuristic Los Angeles fantasies have uneven histories at the box office; neither "Blade Runner" nor "Strange Days" did all that well in their initial theatrical releases. But "Escape From L.A." has such manic energy, such a weird, cockeyed vision, that it may work on some moviegoers as satire and on others as the real thing. That could lead to some interesting audience reactions. John Carpenter as a M= filmmaker has been all over the map, from the superb ("Halloween") to the weirdly offbeat ("Christine," "Starman") to the dreary ("Village of the Damned"). This time he simply tears the map up; the implications of his final scene are breath-taking. Good for him. COPYRIGHT 1996 THE EBERT CO. LTD.enp_ADirector: John Carpenter. Starring: Kurt Russell, Stacy Keach, Steve Buscem, Peter Fonda, George Corraface, Bruce Campbell, Valeria Golino, Pam Grier, Cliff Robertson , A.J. Langer. @A AWESCAPE FROM LA Director: John Carpenter. Starring: Kurt Russell, Stacy Keach, Steve Buscem, Peter Fonda, George Corraface, Bruce Campbell, Valeria Golino, Pam Grier, Cliff Robertson , A.J. Langer. Photo credit: Robert Zukerman. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. Paramount.W@A*   *RZSMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK`ASport and Leisure BART,ART :Art,entertainment oqK`AEscape from LA/6@A  H9/9/96K0189AESCAPE FROM L.A. by Roger Ebert * * * 1/2 Snake Plissken ............. Kurt Russell Malloy ..................... Stacy Keach Map to the Stars Eddie ..... Steve Buscemi Pipeline ................... Peter Fonda Cuervo Jones ............... George Corraface Surgeon General ............ Bruce Campbell Taslima .................... Valeria Golino Hershe ..................... Pam Grier President .................. Cliff Robertson Utopia ..................... A.J. Langer Paramount ppr`Bresents a film directed by John Carpenter. Produced by Debra Hill and Kurt Russell. Written by Carpenter, Hill and Russell. Photographed by Gary B. Kibbe. Edited by Edward A. Warschilka. Music by Shirley Walker and John Carpenter. Running time: 100 minutes. Classified: R (for violence and some language). John Carpenter's "Escape From L.A." is a go-for-broke action extravaganza that satirizes the genre at the same time it's exploiting it. It's a dark vision of a post-apocalypCtic Los Angeles -- leveled by a massive earthquake, cut off from the mainland by a flooded San Fernando Valley, and converted into a prison camp for the nation's undesirables. Against this backdrop Carpenter launches a special effects fantasy that reaches heights so absurd that there's a giddy delight in the outrage. He generates heedlessness and joy in scenes like the one where the hero surfs on a tsunami wave down Wilshire Boulevard and leaps onto the back of a speeding cqs`Donvertible. It's as if he gave himself license to dream up anything -- to play without a net. This is the kind of movie "Independence Day" could have been if it hadn't played it safe. The production reunites Carpenter with actor Kurt Russell and producer Debra Hill, who also made his "Escape From New York" (1981). They wrote the script together (reportedly starting right after the 1994 earthquake), and it combines adventure elements with a bizarre gallery of characters and Epotshots at such satirical targets as plastic surgery, theme parks, agents and the imperial presidency. As the movie opens in the year 2013, "Los Angeles Island" is no longer part of the United States, but a one-way destination for "immorals and undesirables," who are offered an option at the deportation office: They can choose instant electrocution instead. The island is controlled by Cuervo Jones (George Corraface), a Latino revolutionary who has a big disco ball mounted rt`Fon the trunk of his convertible. The U.S. is ruled by a President for Life (Cliff Robertson), who has moved the capital to his home town of Lynchburg, Va. Now his rebellious daughter Utopia (A.J. Langer) has hijacked Air Force Three and fled to Los Angeles with the precious black box that contains the codes controlling the globe's energy- transmission satellites. The president and his chief henchman (Stacy Keach) need to get that black box back. So they track down outlaw SnaGke Plissken (Kurt Russell), who saved an earlier president from the prison city of New York. His assignment: Go in, get the box, kill the girl, and return within 10 hours before he dies of a virus they've helpfully infected him with as an added inspiration. Movies like this depend on special effects, costumes and set design to create their worlds out of scratch, and "Escape From L.A." is wall-to-wall with the landmarks of a post-earthquake L.A. We see the Chinese theater, tsu`Hhe Hollywood Bowl and a beached ocean liner, and the showdown takes place in an amusement park intended, I think, to suggest Disneyland's Main Street USA. Snake finds his way through the deadly wilderness with a series of guides, including Pipeline (Peter Fonda), a has-been surfer; Taslima (Valeria Golino), a beautiful but doomed street person; Map to the Stars Eddie (Steve Buscemi), who is the "guy to see" about anything; and the exotic Hershe (Pam Grier), a transsexual Snake oncIe knew back in Cleveland, where he/she was known as Carjack. Meanwhile, the clock is ticking, and Snake has been supplied with that indispensable device for all action thrillers, a digital read-out that tells him how much time he has left to live. At the end, when Snake has only 20 minutes to find Cuervo Jones, grab the black box and seize the daughter, Hershe suggests they get to Pasadena in a hurry by using hang-gliders. Whose heart is so stony it can resist the sight of tv`JKurt Russell and Pam Grier swooping down out of the sky, automatic weapons blazing, in an attack on Disneyland? Who, for that matter, can resist some of the other stops along the way, including Snake's encounter with a colony of "surgical failures," who have had one plastic surgery too many and can survive only by obtaining a steady supply of fresh body parts? Or by the sight of San Fernando Valley used car signs peeking above the waves? Or by a chase scene that involves motKorcycles, cars, trucks, horses, machine-guns and boleros? "Escape From L.A." took some courage for Carpenter, Russell and Hill to make; they had to hope that moviegoers would accept a special effects picture with a satiric sense of humor. Yes, there are laughs in "Independence Day," but they're fairly obvious and don't sting. "Escape From L.A." has fun with the whole concept of pictures like itself. It goes deliberately and cheerfully over the top, anchored by Russell's monuwD`Losyllabic performance, which makes Clint Eastwood sound like Gabby Hayes. Futuristic Los Angeles fantasies have uneven histories at the box office; neither "Blade Runner" nor "Strange Days" did all that well in their initial theatrical releases. But "Escape From L.A." has such manic energy, such a weird, cockeyed vision, that it may work on some moviegoers as satire and on others as the real thing. That could lead to some interesting audience reactions. John Carpenter as a M= filmmaker has been all over the map, from the superb ("Halloween") to the weirdly offbeat ("Christine," "Starman") to the dreary ("Village of the Damned"). This time he simply tears the map up; the implications of his final scene are breath-taking. Good for him. COPYRIGHT 1996 THE EBERT CO. LTD.evx`ADirector: John Carpenter. Starring: Kurt Russell, Stacy Keach, Steve Buscem, Peter Fonda, George Corraface, Bruce Campbell, Valeria Golino, Pam Grier, Cliff Robertson , A.J. Langer. @A AWESCAPE FROM LA Director: John Carpenter. Starring: Kurt Russell, Stacy Keach, Steve Buscem, Peter Fonda, George Corraface, Bruce Campbell, Valeria Golino, Pam Grier, Cliff Robertson , A.J. Langer. Photo credit: Robert Zukerman. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. Paramount.W@A*   *R[SMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNKaASport and Leisure BART,ART :Art,entertainment wyKaAEscape from LA/7@A  H9/9/96K0190AESCAPE FROM L.A. by Roger Ebert * * * 1/2 Snake Plissken ............. Kurt Russell Malloy ..................... Stacy Keach Map to the Stars Eddie ..... Steve Buscemi Pipeline ................... Peter Fonda Cuervo Jones ............... George Corraface Surgeon General ............ Bruce Campbell Taslima .................... Valeria Golino Hershe ..................... Pam Grier President .................. Cliff Robertson Utopia ..................... A.J. Langer Paramount pxzaBresents a film directed by John Carpenter. Produced by Debra Hill and Kurt Russell. Written by Carpenter, Hill and Russell. Photographed by Gary B. Kibbe. Edited by Edward A. Warschilka. Music by Shirley Walker and John Carpenter. Running time: 100 minutes. Classified: R (for violence and some language). John Carpenter's "Escape From L.A." is a go-for-broke action extravaganza that satirizes the genre at the same time it's exploiting it. It's a dark vision of a post-apocalypCtic Los Angeles -- leveled by a massive earthquake, cut off from the mainland by a flooded San Fernando Valley, and converted into a prison camp for the nation's undesirables. Against this backdrop Carpenter launches a special effects fantasy that reaches heights so absurd that there's a giddy delight in the outrage. He generates heedlessness and joy in scenes like the one where the hero surfs on a tsunami wave down Wilshire Boulevard and leaps onto the back of a speeding cy{aDonvertible. It's as if he gave himself license to dream up anything -- to play without a net. This is the kind of movie "Independence Day" could have been if it hadn't played it safe. The production reunites Carpenter with actor Kurt Russell and producer Debra Hill, who also made his "Escape From New York" (1981). They wrote the script together (reportedly starting right after the 1994 earthquake), and it combines adventure elements with a bizarre gallery of characters and Epotshots at such satirical targets as plastic surgery, theme parks, agents and the imperial presidency. As the movie opens in the year 2013, "Los Angeles Island" is no longer part of the United States, but a one-way destination for "immorals and undesirables," who are offered an option at the deportation office: They can choose instant electrocution instead. The island is controlled by Cuervo Jones (George Corraface), a Latino revolutionary who has a big disco ball mounted z|aFon the trunk of his convertible. The U.S. is ruled by a President for Life (Cliff Robertson), who has moved the capital to his home town of Lynchburg, Va. Now his rebellious daughter Utopia (A.J. Langer) has hijacked Air Force Three and fled to Los Angeles with the precious black box that contains the codes controlling the globe's energy- transmission satellites. The president and his chief henchman (Stacy Keach) need to get that black box back. So they track down outlaw SnaGke Plissken (Kurt Russell), who saved an earlier president from the prison city of New York. His assignment: Go in, get the box, kill the girl, and return within 10 hours before he dies of a virus they've helpfully infected him with as an added inspiration. Movies like this depend on special effects, costumes and set design to create their worlds out of scratch, and "Escape From L.A." is wall-to-wall with the landmarks of a post-earthquake L.A. We see the Chinese theater, t{}aHhe Hollywood Bowl and a beached ocean liner, and the showdown takes place in an amusement park intended, I think, to suggest Disneyland's Main Street USA. Snake finds his way through the deadly wilderness with a series of guides, including Pipeline (Peter Fonda), a has-been surfer; Taslima (Valeria Golino), a beautiful but doomed street person; Map to the Stars Eddie (Steve Buscemi), who is the "guy to see" about anything; and the exotic Hershe (Pam Grier), a transsexual Snake oncIe knew back in Cleveland, where he/she was known as Carjack. Meanwhile, the clock is ticking, and Snake has been supplied with that indispensable device for all action thrillers, a digital read-out that tells him how much time he has left to live. At the end, when Snake has only 20 minutes to find Cuervo Jones, grab the black box and seize the daughter, Hershe suggests they get to Pasadena in a hurry by using hang-gliders. Whose heart is so stony it can resist the sight of |~aJKurt Russell and Pam Grier swooping down out of the sky, automatic weapons blazing, in an attack on Disneyland? Who, for that matter, can resist some of the other stops along the way, including Snake's encounter with a colony of "surgical failures," who have had one plastic surgery too many and can survive only by obtaining a steady supply of fresh body parts? Or by the sight of San Fernando Valley used car signs peeking above the waves? Or by a chase scene that involves motKorcycles, cars, trucks, horses, machine-guns and boleros? "Escape From L.A." took some courage for Carpenter, Russell and Hill to make; they had to hope that moviegoers would accept a special effects picture with a satiric sense of humor. Yes, there are laughs in "Independence Day," but they're fairly obvious and don't sting. "Escape From L.A." has fun with the whole concept of pictures like itself. It goes deliberately and cheerfully over the top, anchored by Russell's mon}DaLosyllabic performance, which makes Clint Eastwood sound like Gabby Hayes. Futuristic Los Angeles fantasies have uneven histories at the box office; neither "Blade Runner" nor "Strange Days" did all that well in their initial theatrical releases. But "Escape From L.A." has such manic energy, such a weird, cockeyed vision, that it may work on some moviegoers as satire and on others as the real thing. That could lead to some interesting audience reactions. John Carpenter as a M= filmmaker has been all over the map, from the superb ("Halloween") to the weirdly offbeat ("Christine," "Starman") to the dreary ("Village of the Damned"). This time he simply tears the map up; the implications of his final scene are breath-taking. Good for him. COPYRIGHT 1996 THE EBERT CO. LTD.e~aADirector: John Carpenter. Starring: Kurt Russell, Stacy Keach, Steve Buscem, Peter Fonda, George Corraface, Bruce Campbell, Valeria Golino, Pam Grier, Cliff Robertson , A.J. Langer. @A AWESCAPE FROM LA Director: John Carpenter. Starring: Kurt Russell, Stacy Keach, Steve Buscem, Peter Fonda, George Corraface, Bruce Campbell, Valeria Golino, Pam Grier, Cliff Robertson , A.J. Langer. Photo credit: Robert Zukerman. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. Paramount.W@A*   *R\SMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNKbASport and Leisure BART,ART :Art,entertainment KbAEscape from LA/8@A  H9/9/96K0191AESCAPE FROM L.A. by Roger Ebert * * * 1/2 Snake Plissken ............. Kurt Russell Malloy ..................... Stacy Keach Map to the Stars Eddie ..... Steve Buscemi Pipeline ................... Peter Fonda Cuervo Jones ............... George Corraface Surgeon General ............ Bruce Campbell Taslima .................... Valeria Golino Hershe ..................... Pam Grier President .................. Cliff Robertson Utopia ..................... A.J. Langer Paramount pbBresents a film directed by John Carpenter. Produced by Debra Hill and Kurt Russell. Written by Carpenter, Hill and Russell. Photographed by Gary B. Kibbe. Edited by Edward A. Warschilka. Music by Shirley Walker and John Carpenter. Running time: 100 minutes. Classified: R (for violence and some language). John Carpenter's "Escape From L.A." is a go-for-broke action extravaganza that satirizes the genre at the same time it's exploiting it. It's a dark vision of a post-apocalypCtic Los Angeles -- leveled by a massive earthquake, cut off from the mainland by a flooded San Fernando Valley, and converted into a prison camp for the nation's undesirables. Against this backdrop Carpenter launches a special effects fantasy that reaches heights so absurd that there's a giddy delight in the outrage. He generates heedlessness and joy in scenes like the one where the hero surfs on a tsunami wave down Wilshire Boulevard and leaps onto the back of a speeding cbDonvertible. It's as if he gave himself license to dream up anything -- to play without a net. This is the kind of movie "Independence Day" could have been if it hadn't played it safe. The production reunites Carpenter with actor Kurt Russell and producer Debra Hill, who also made his "Escape From New York" (1981). They wrote the script together (reportedly starting right after the 1994 earthquake), and it combines adventure elements with a bizarre gallery of characters and Epotshots at such satirical targets as plastic surgery, theme parks, agents and the imperial presidency. As the movie opens in the year 2013, "Los Angeles Island" is no longer part of the United States, but a one-way destination for "immorals and undesirables," who are offered an option at the deportation office: They can choose instant electrocution instead. The island is controlled by Cuervo Jones (George Corraface), a Latino revolutionary who has a big disco ball mounted bFon the trunk of his convertible. The U.S. is ruled by a President for Life (Cliff Robertson), who has moved the capital to his home town of Lynchburg, Va. Now his rebellious daughter Utopia (A.J. Langer) has hijacked Air Force Three and fled to Los Angeles with the precious black box that contains the codes controlling the globe's energy- transmission satellites. The president and his chief henchman (Stacy Keach) need to get that black box back. So they track down outlaw SnaGke Plissken (Kurt Russell), who saved an earlier president from the prison city of New York. His assignment: Go in, get the box, kill the girl, and return within 10 hours before he dies of a virus they've helpfully infected him with as an added inspiration. Movies like this depend on special effects, costumes and set design to create their worlds out of scratch, and "Escape From L.A." is wall-to-wall with the landmarks of a post-earthquake L.A. We see the Chinese theater, tbHhe Hollywood Bowl and a beached ocean liner, and the showdown takes place in an amusement park intended, I think, to suggest Disneyland's Main Street USA. Snake finds his way through the deadly wilderness with a series of guides, including Pipeline (Peter Fonda), a has-been surfer; Taslima (Valeria Golino), a beautiful but doomed street person; Map to the Stars Eddie (Steve Buscemi), who is the "guy to see" about anything; and the exotic Hershe (Pam Grier), a transsexual Snake oncIe knew back in Cleveland, where he/she was known as Carjack. Meanwhile, the clock is ticking, and Snake has been supplied with that indispensable device for all action thrillers, a digital read-out that tells him how much time he has left to live. At the end, when Snake has only 20 minutes to find Cuervo Jones, grab the black box and seize the daughter, Hershe suggests they get to Pasadena in a hurry by using hang-gliders. Whose heart is so stony it can resist the sight of bJKurt Russell and Pam Grier swooping down out of the sky, automatic weapons blazing, in an attack on Disneyland? Who, for that matter, can resist some of the other stops along the way, including Snake's encounter with a colony of "surgical failures," who have had one plastic surgery too many and can survive only by obtaining a steady supply of fresh body parts? Or by the sight of San Fernando Valley used car signs peeking above the waves? Or by a chase scene that involves motKorcycles, cars, trucks, horses, machine-guns and boleros? "Escape From L.A." took some courage for Carpenter, Russell and Hill to make; they had to hope that moviegoers would accept a special effects picture with a satiric sense of humor. Yes, there are laughs in "Independence Day," but they're fairly obvious and don't sting. "Escape From L.A." has fun with the whole concept of pictures like itself. It goes deliberately and cheerfully over the top, anchored by Russell's monDbLosyllabic performance, which makes Clint Eastwood sound like Gabby Hayes. Futuristic Los Angeles fantasies have uneven histories at the box office; neither "Blade Runner" nor "Strange Days" did all that well in their initial theatrical releases. But "Escape From L.A." has such manic energy, such a weird, cockeyed vision, that it may work on some moviegoers as satire and on others as the real thing. That could lead to some interesting audience reactions. John Carpenter as a M= filmmaker has been all over the map, from the superb ("Halloween") to the weirdly offbeat ("Christine," "Starman") to the dreary ("Village of the Damned"). This time he simply tears the map up; the implications of his final scene are breath-taking. Good for him. COPYRIGHT 1996 THE EBERT CO. LTD.ebADirector: John Carpenter. Starring: Kurt Russell, Stacy Keach, Steve Buscem, Peter Fonda, George Corraface, Bruce Campbell, Valeria Golino, Pam Grier, Cliff Robertson , A.J. Langer. @A AWESCAPE FROM LA Director: John Carpenter. Starring: Kurt Russell, Stacy Keach, Steve Buscem, Peter Fonda, George Corraface, Bruce Campbell, Valeria Golino, Pam Grier, Cliff Robertson , A.J. Langer. Photo credit: Robert Zukerman. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. Paramount.W@A*   *R]SMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNKcASport and Leisure BART,ART :Art,entertainment KcAEscape from LA/9@A  H9/9/96K0192AESCAPE FROM L.A. by Roger Ebert * * * 1/2 Snake Plissken ............. Kurt Russell Malloy ..................... Stacy Keach Map to the Stars Eddie ..... Steve Buscemi Pipeline ................... Peter Fonda Cuervo Jones ............... George Corraface Surgeon General ............ Bruce Campbell Taslima .................... Valeria Golino Hershe ..................... Pam Grier President .................. Cliff Robertson Utopia ..................... A.J. Langer Paramount pcBresents a film directed by John Carpenter. Produced by Debra Hill and Kurt Russell. Written by Carpenter, Hill and Russell. Photographed by Gary B. Kibbe. Edited by Edward A. Warschilka. Music by Shirley Walker and John Carpenter. Running time: 100 minutes. Classified: R (for violence and some language). John Carpenter's "Escape From L.A." is a go-for-broke action extravaganza that satirizes the genre at the same time it's exploiting it. It's a dark vision of a post-apocalypCtic Los Angeles -- leveled by a massive earthquake, cut off from the mainland by a flooded San Fernando Valley, and converted into a prison camp for the nation's undesirables. Against this backdrop Carpenter launches a special effects fantasy that reaches heights so absurd that there's a giddy delight in the outrage. He generates heedlessness and joy in scenes like the one where the hero surfs on a tsunami wave down Wilshire Boulevard and leaps onto the back of a speeding ccDonvertible. It's as if he gave himself license to dream up anything -- to play without a net. This is the kind of movie "Independence Day" could have been if it hadn't played it safe. The production reunites Carpenter with actor Kurt Russell and producer Debra Hill, who also made his "Escape From New York" (1981). They wrote the script together (reportedly starting right after the 1994 earthquake), and it combines adventure elements with a bizarre gallery of characters and Epotshots at such satirical targets as plastic surgery, theme parks, agents and the imperial presidency. As the movie opens in the year 2013, "Los Angeles Island" is no longer part of the United States, but a one-way destination for "immorals and undesirables," who are offered an option at the deportation office: They can choose instant electrocution instead. The island is controlled by Cuervo Jones (George Corraface), a Latino revolutionary who has a big disco ball mounted cFon the trunk of his convertible. The U.S. is ruled by a President for Life (Cliff Robertson), who has moved the capital to his home town of Lynchburg, Va. Now his rebellious daughter Utopia (A.J. Langer) has hijacked Air Force Three and fled to Los Angeles with the precious black box that contains the codes controlling the globe's energy- transmission satellites. The president and his chief henchman (Stacy Keach) need to get that black box back. So they track down outlaw SnaGke Plissken (Kurt Russell), who saved an earlier president from the prison city of New York. His assignment: Go in, get the box, kill the girl, and return within 10 hours before he dies of a virus they've helpfully infected him with as an added inspiration. Movies like this depend on special effects, costumes and set design to create their worlds out of scratch, and "Escape From L.A." is wall-to-wall with the landmarks of a post-earthquake L.A. We see the Chinese theater, tcHhe Hollywood Bowl and a beached ocean liner, and the showdown takes place in an amusement park intended, I think, to suggest Disneyland's Main Street USA. Snake finds his way through the deadly wilderness with a series of guides, including Pipeline (Peter Fonda), a has-been surfer; Taslima (Valeria Golino), a beautiful but doomed street person; Map to the Stars Eddie (Steve Buscemi), who is the "guy to see" about anything; and the exotic Hershe (Pam Grier), a transsexual Snake oncIe knew back in Cleveland, where he/she was known as Carjack. Meanwhile, the clock is ticking, and Snake has been supplied with that indispensable device for all action thrillers, a digital read-out that tells him how much time he has left to live. At the end, when Snake has only 20 minutes to find Cuervo Jones, grab the black box and seize the daughter, Hershe suggests they get to Pasadena in a hurry by using hang-gliders. Whose heart is so stony it can resist the sight of cJKurt Russell and Pam Grier swooping down out of the sky, automatic weapons blazing, in an attack on Disneyland? Who, for that matter, can resist some of the other stops along the way, including Snake's encounter with a colony of "surgical failures," who have had one plastic surgery too many and can survive only by obtaining a steady supply of fresh body parts? Or by the sight of San Fernando Valley used car signs peeking above the waves? Or by a chase scene that involves motKorcycles, cars, trucks, horses, machine-guns and boleros? "Escape From L.A." took some courage for Carpenter, Russell and Hill to make; they had to hope that moviegoers would accept a special effects picture with a satiric sense of humor. Yes, there are laughs in "Independence Day," but they're fairly obvious and don't sting. "Escape From L.A." has fun with the whole concept of pictures like itself. It goes deliberately and cheerfully over the top, anchored by Russell's monDcLosyllabic performance, which makes Clint Eastwood sound like Gabby Hayes. Futuristic Los Angeles fantasies have uneven histories at the box office; neither "Blade Runner" nor "Strange Days" did all that well in their initial theatrical releases. But "Escape From L.A." has such manic energy, such a weird, cockeyed vision, that it may work on some moviegoers as satire and on others as the real thing. That could lead to some interesting audience reactions. John Carpenter as a M= filmmaker has been all over the map, from the superb ("Halloween") to the weirdly offbeat ("Christine," "Starman") to the dreary ("Village of the Damned"). This time he simply tears the map up; the implications of his final scene are breath-taking. Good for him. COPYRIGHT 1996 THE EBERT CO. LTD.ecADirector: John Carpenter. Starring: Kurt Russell, Stacy Keach, Steve Buscem, Peter Fonda, George Corraface, Bruce Campbell, Valeria Golino, Pam Grier, Cliff Robertson , A.J. Langer. @A AWESCAPE FROM LA Director: John Carpenter. Starring: Kurt Russell, Stacy Keach, Steve Buscem, Peter Fonda, George Corraface, Bruce Campbell, Valeria Golino, Pam Grier, Cliff Robertson , A.J. Langer. Photo credit: Robert Zukerman. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. Paramount.W@A*   *R^SMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNKdASport and Leisure BART,ART :Art,entertainment OdACourage Under Fire/2@A  H9/9/96K0193ACOURAGE UNDER FIRE by Roger Ebert * * * 1/2 Lt. Col. Nathaniel Serling ..... Denzel Washington Capt. Karen Walden ............. Meg Ryan Monfriez ....................... Lou Diamond Phillips Gen. Hershberg ................. Michael Moriarty Llario ......................... Matt Damon Altameyer ...................... Seth Gilliam Bruno .......................... Bronson Pinchot Tony Gartner ................... Scott Glenn Meredith ....................... Regina Taylor 20th CentudBry-Fox presents a film directed by Edward Zwick. Produced by John Davis, Joseph M. Singer and David T. Friendly. Screenplay by Patrick Sheane Duncan. Photographed by Roger Deakins. Edited by Steven Rosenblum. Music by James Horner. Running time: 155 minutes. Classified: R (for realistic and violent battle scenes, language). Eyewitnesses are notoriously unreliable, even when they want to tell the truth. As an Army colonel reconstructs a battle scene in "Courage Under Fire," Che begins to suspect that some of his witnesses are lying. His assignment: Decide on the suitability of the first woman ever nominated for a Medal of Honor for combat. His problem: The White House is salivating over the media image of presenting the posthumous medal to the woman's young daughter in a ceremony in the Rose Garden. The colonel, named Serling and played by Denzel Washington, is determined to do his job honestly and well, even though his own life is falling apardDt. During a night tank battle in the Gulf War, he was indirectly responsible for taking out an American tank with friendly fire. An Army investigation excused him, but now his sleep is fragmented by nightmares, he's drinking too much, and he has moved out on his wife and children. The investigation is about the only thing holding him together. The woman under consideration for the Medal of Honor is Capt. Karen Walden (Meg Ryan), who commanded a helicopter in the battle zoneE. After taking out an enemy tank by the refreshing improvisation of dropping a fuel tank on it, Walden's chopper was shot down by enemy fire. Nearby American troops heard M-16 fire, apparently by the wounded Walden, that kept the enemy at bay the next morning until her men could be rescued. For this she certainly deserves the medal - - if that's how it happened. Edward Zwick and Patrick Sheane Duncan, the director and writer, construct their screenplay with a nod to "RashomondF" (1950), Kurosawa's famous film in which four defendants give their wildly different testimony about a murder. In "Courage Under Fire," the witnesses are Walden's own men. Ilario (Matt Damon), the medic, paints Walden as a brave leader sacrificing her life for her men. Monfriez (Lou Diamond Phillips), the gunner, says, "She was afraid, Colonel. She was a coward. That's the bottom line on your Capt. Walden." Another crew member, Altameyer (Seth Gilliam), languishes in a V.A. hospitGal, confused by pain-killers. Serling, the Denzel Washington character, doggedly conducts his investigation by day and spends his nights boozing in hotel bars. He is being tracked by a reporter for The Washington Post (Scott Glenn), who suspects there was a cover-up of the tank destroyed by friendly fire. Serling tries to avoid him, but Serling is a man who desperately needs to tell the truth to someone, and the reporter is relentless. These interlocking investigatiodHns all take place under the thumb of the unrelenting Gen. Hershberg (Michael Moriarty), who wants the friendly fire incident kept quiet, and the Medal of Honor approved (there is urgent pressure from the White House). Hershberg turns the screws, threatening Serling's Army promotion path and hinting at reprisals ("I know about the drinking"). "Courage Under Fire" is Hollywood's first film about the Gulf War, and one of the rare films to deal with women in combat. But it is Inot simply a war film; there are also personal issues involved, and the story does a good job of dealing with the relationship between Col. Serling and his wife (Regina Taylor), who tells him she will wait for him -- but not forever. Washington's role is the central one, and he handles it well, playing a man who sticks to procedure and self- discipline even in the midst of emotional chaos (before the tank battle, he leads his men in prayer, and then adds: "Now let's kill 'emJdJ all!"). Meg Ryan's role is a different kind of challenge: In the flashbacks through the eyes of her men, she is seen in three or four entirely different styles of behavior. The movie doesn't give us one Capt. Walden but several, for us (and Serling) to choose between. Zwick's direction handles the many conflicting story possibilities with great clarity. And the opening sequence, involving the mistaken tank attack, makes it clear how confusing battle is, and how differently KCit will be perceived by each participant. The end of the film understandably lays on the emotion a little heavily, but until then "Courage Under Fire" has been a fascinating emotional and logistical puzzle -- almost a courtroom movie, with the desert as the courtroom. COPYRIGHT 1996 THE EBERT CO. LTD.dADirector: Edward Zwick. Starring: Denzel Washington, Meg Ryan, Lou Diamond Phillips, Michael Moriarty, Matt Damon , Seth Gilliam, Bronson Pinchot, Scott Glenn, Regina Taylor.@A A]COURAGE UNDER FIRE Director: Edward Zwick. Starring: Denzel Washington, Meg Ryan, Lou Diamond Phillips, Michael Moriarty, Matt Damon , Seth Gilliam, Bronson Pinchot, Scott Glenn, Regina Taylor. Photo credit: Merie W. Wallace. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. 20th Century-Fox ]@A*   *R_SMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNKeASport and Leisure BART,ART :Art,entertainment OeACourage Under Fire/3@A  H9/9/96K0194ACOURAGE UNDER FIRE by Roger Ebert * * * 1/2 Lt. Col. Nathaniel Serling ..... Denzel Washington Capt. Karen Walden ............. Meg Ryan Monfriez ....................... Lou Diamond Phillips Gen. Hershberg ................. Michael Moriarty Llario ......................... Matt Damon Altameyer ...................... Seth Gilliam Bruno .......................... Bronson Pinchot Tony Gartner ................... Scott Glenn Meredith ....................... Regina Taylor 20th CentueBry-Fox presents a film directed by Edward Zwick. Produced by John Davis, Joseph M. Singer and David T. Friendly. Screenplay by Patrick Sheane Duncan. Photographed by Roger Deakins. Edited by Steven Rosenblum. Music by James Horner. Running time: 155 minutes. Classified: R (for realistic and violent battle scenes, language). Eyewitnesses are notoriously unreliable, even when they want to tell the truth. As an Army colonel reconstructs a battle scene in "Courage Under Fire," Che begins to suspect that some of his witnesses are lying. His assignment: Decide on the suitability of the first woman ever nominated for a Medal of Honor for combat. His problem: The White House is salivating over the media image of presenting the posthumous medal to the woman's young daughter in a ceremony in the Rose Garden. The colonel, named Serling and played by Denzel Washington, is determined to do his job honestly and well, even though his own life is falling apareDt. During a night tank battle in the Gulf War, he was indirectly responsible for taking out an American tank with friendly fire. An Army investigation excused him, but now his sleep is fragmented by nightmares, he's drinking too much, and he has moved out on his wife and children. The investigation is about the only thing holding him together. The woman under consideration for the Medal of Honor is Capt. Karen Walden (Meg Ryan), who commanded a helicopter in the battle zoneE. After taking out an enemy tank by the refreshing improvisation of dropping a fuel tank on it, Walden's chopper was shot down by enemy fire. Nearby American troops heard M-16 fire, apparently by the wounded Walden, that kept the enemy at bay the next morning until her men could be rescued. For this she certainly deserves the medal - - if that's how it happened. Edward Zwick and Patrick Sheane Duncan, the director and writer, construct their screenplay with a nod to "RashomoneF" (1950), Kurosawa's famous film in which four defendants give their wildly different testimony about a murder. In "Courage Under Fire," the witnesses are Walden's own men. Ilario (Matt Damon), the medic, paints Walden as a brave leader sacrificing her life for her men. Monfriez (Lou Diamond Phillips), the gunner, says, "She was afraid, Colonel. She was a coward. That's the bottom line on your Capt. Walden." Another crew member, Altameyer (Seth Gilliam), languishes in a V.A. hospitGal, confused by pain-killers. Serling, the Denzel Washington character, doggedly conducts his investigation by day and spends his nights boozing in hotel bars. He is being tracked by a reporter for The Washington Post (Scott Glenn), who suspects there was a cover-up of the tank destroyed by friendly fire. Serling tries to avoid him, but Serling is a man who desperately needs to tell the truth to someone, and the reporter is relentless. These interlocking investigatioeHns all take place under the thumb of the unrelenting Gen. Hershberg (Michael Moriarty), who wants the friendly fire incident kept quiet, and the Medal of Honor approved (there is urgent pressure from the White House). Hershberg turns the screws, threatening Serling's Army promotion path and hinting at reprisals ("I know about the drinking"). "Courage Under Fire" is Hollywood's first film about the Gulf War, and one of the rare films to deal with women in combat. But it is Inot simply a war film; there are also personal issues involved, and the story does a good job of dealing with the relationship between Col. Serling and his wife (Regina Taylor), who tells him she will wait for him -- but not forever. Washington's role is the central one, and he handles it well, playing a man who sticks to procedure and self- discipline even in the midst of emotional chaos (before the tank battle, he leads his men in prayer, and then adds: "Now let's kill 'emJeJ all!"). Meg Ryan's role is a different kind of challenge: In the flashbacks through the eyes of her men, she is seen in three or four entirely different styles of behavior. The movie doesn't give us one Capt. Walden but several, for us (and Serling) to choose between. Zwick's direction handles the many conflicting story possibilities with great clarity. And the opening sequence, involving the mistaken tank attack, makes it clear how confusing battle is, and how differently KCit will be perceived by each participant. The end of the film understandably lays on the emotion a little heavily, but until then "Courage Under Fire" has been a fascinating emotional and logistical puzzle -- almost a courtroom movie, with the desert as the courtroom. COPYRIGHT 1996 THE EBERT CO. LTD.eADirector: Edward Zwick. Starring: Denzel Washington, Meg Ryan, Lou Diamond Phillips, Michael Moriarty, Matt Damon , Seth Gilliam, Bronson Pinchot, Scott Glenn, Regina Taylor.@A A]COURAGE UNDER FIRE Director: Edward Zwick. Starring: Denzel Washington, Meg Ryan, Lou Diamond Phillips, Michael Moriarty, Matt Damon , Seth Gilliam, Bronson Pinchot, Scott Glenn, Regina Taylor. Photo credit: Merie W. Wallace. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. 20th Century-Fox ]@A*   *R`SMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNKfASport and Leisure BART,ART :Art,entertainment OfACourage Under Fire/4@A  H9/9/96K0195ACOURAGE UNDER FIRE by Roger Ebert * * * 1/2 Lt. Col. Nathaniel Serling ..... Denzel Washington Capt. Karen Walden ............. Meg Ryan Monfriez ....................... Lou Diamond Phillips Gen. Hershberg ................. Michael Moriarty Llario ......................... Matt Damon Altameyer ...................... Seth Gilliam Bruno .......................... Bronson Pinchot Tony Gartner ................... Scott Glenn Meredith ....................... Regina Taylor 20th CentufBry-Fox presents a film directed by Edward Zwick. Produced by John Davis, Joseph M. Singer and David T. Friendly. Screenplay by Patrick Sheane Duncan. Photographed by Roger Deakins. Edited by Steven Rosenblum. Music by James Horner. Running time: 155 minutes. Classified: R (for realistic and violent battle scenes, language). Eyewitnesses are notoriously unreliable, even when they want to tell the truth. As an Army colonel reconstructs a battle scene in "Courage Under Fire," Che begins to suspect that some of his witnesses are lying. His assignment: Decide on the suitability of the first woman ever nominated for a Medal of Honor for combat. His problem: The White House is salivating over the media image of presenting the posthumous medal to the woman's young daughter in a ceremony in the Rose Garden. The colonel, named Serling and played by Denzel Washington, is determined to do his job honestly and well, even though his own life is falling aparfDt. During a night tank battle in the Gulf War, he was indirectly responsible for taking out an American tank with friendly fire. An Army investigation excused him, but now his sleep is fragmented by nightmares, he's drinking too much, and he has moved out on his wife and children. The investigation is about the only thing holding him together. The woman under consideration for the Medal of Honor is Capt. Karen Walden (Meg Ryan), who commanded a helicopter in the battle zoneE. After taking out an enemy tank by the refreshing improvisation of dropping a fuel tank on it, Walden's chopper was shot down by enemy fire. Nearby American troops heard M-16 fire, apparently by the wounded Walden, that kept the enemy at bay the next morning until her men could be rescued. For this she certainly deserves the medal - - if that's how it happened. Edward Zwick and Patrick Sheane Duncan, the director and writer, construct their screenplay with a nod to "RashomonfF" (1950), Kurosawa's famous film in which four defendants give their wildly different testimony about a murder. In "Courage Under Fire," the witnesses are Walden's own men. Ilario (Matt Damon), the medic, paints Walden as a brave leader sacrificing her life for her men. Monfriez (Lou Diamond Phillips), the gunner, says, "She was afraid, Colonel. She was a coward. That's the bottom line on your Capt. Walden." Another crew member, Altameyer (Seth Gilliam), languishes in a V.A. hospitGal, confused by pain-killers. Serling, the Denzel Washington character, doggedly conducts his investigation by day and spends his nights boozing in hotel bars. He is being tracked by a reporter for The Washington Post (Scott Glenn), who suspects there was a cover-up of the tank destroyed by friendly fire. Serling tries to avoid him, but Serling is a man who desperately needs to tell the truth to someone, and the reporter is relentless. These interlocking investigatiofHns all take place under the thumb of the unrelenting Gen. Hershberg (Michael Moriarty), who wants the friendly fire incident kept quiet, and the Medal of Honor approved (there is urgent pressure from the White House). Hershberg turns the screws, threatening Serling's Army promotion path and hinting at reprisals ("I know about the drinking"). "Courage Under Fire" is Hollywood's first film about the Gulf War, and one of the rare films to deal with women in combat. But it is Inot simply a war film; there are also personal issues involved, and the story does a good job of dealing with the relationship between Col. Serling and his wife (Regina Taylor), who tells him she will wait for him -- but not forever. Washington's role is the central one, and he handles it well, playing a man who sticks to procedure and self- discipline even in the midst of emotional chaos (before the tank battle, he leads his men in prayer, and then adds: "Now let's kill 'emJfJ all!"). Meg Ryan's role is a different kind of challenge: In the flashbacks through the eyes of her men, she is seen in three or four entirely different styles of behavior. The movie doesn't give us one Capt. Walden but several, for us (and Serling) to choose between. Zwick's direction handles the many conflicting story possibilities with great clarity. And the opening sequence, involving the mistaken tank attack, makes it clear how confusing battle is, and how differently KCit will be perceived by each participant. The end of the film understandably lays on the emotion a little heavily, but until then "Courage Under Fire" has been a fascinating emotional and logistical puzzle -- almost a courtroom movie, with the desert as the courtroom. COPYRIGHT 1996 THE EBERT CO. LTD.fADirector: Edward Zwick. Starring: Denzel Washington, Meg Ryan, Lou Diamond Phillips, Michael Moriarty, Matt Damon , Seth Gilliam, Bronson Pinchot, Scott Glenn, Regina Taylor.@A A]COURAGE UNDER FIRE Director: Edward Zwick. Starring: Denzel Washington, Meg Ryan, Lou Diamond Phillips, Michael Moriarty, Matt Damon , Seth Gilliam, Bronson Pinchot, Scott Glenn, Regina Taylor. Photo credit: Merie W. Wallace. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. 20th Century-Fox ]@A*   *RaSMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNKgASport and Leisure BART,ART :Art,entertainment OgACourage Under Fire/5@A  H9/9/96K0196ACOURAGE UNDER FIRE by Roger Ebert * * * 1/2 Lt. Col. Nathaniel Serling ..... Denzel Washington Capt. Karen Walden ............. Meg Ryan Monfriez ....................... Lou Diamond Phillips Gen. Hershberg ................. Michael Moriarty Llario ......................... Matt Damon Altameyer ...................... Seth Gilliam Bruno .......................... Bronson Pinchot Tony Gartner ................... Scott Glenn Meredith ....................... Regina Taylor 20th CentugBry-Fox presents a film directed by Edward Zwick. Produced by John Davis, Joseph M. Singer and David T. Friendly. Screenplay by Patrick Sheane Duncan. Photographed by Roger Deakins. Edited by Steven Rosenblum. Music by James Horner. Running time: 155 minutes. Classified: R (for realistic and violent battle scenes, language). Eyewitnesses are notoriously unreliable, even when they want to tell the truth. As an Army colonel reconstructs a battle scene in "Courage Under Fire," Che begins to suspect that some of his witnesses are lying. His assignment: Decide on the suitability of the first woman ever nominated for a Medal of Honor for combat. His problem: The White House is salivating over the media image of presenting the posthumous medal to the woman's young daughter in a ceremony in the Rose Garden. The colonel, named Serling and played by Denzel Washington, is determined to do his job honestly and well, even though his own life is falling apargDt. During a night tank battle in the Gulf War, he was indirectly responsible for taking out an American tank with friendly fire. An Army investigation excused him, but now his sleep is fragmented by nightmares, he's drinking too much, and he has moved out on his wife and children. The investigation is about the only thing holding him together. The woman under consideration for the Medal of Honor is Capt. Karen Walden (Meg Ryan), who commanded a helicopter in the battle zoneE. After taking out an enemy tank by the refreshing improvisation of dropping a fuel tank on it, Walden's chopper was shot down by enemy fire. Nearby American troops heard M-16 fire, apparently by the wounded Walden, that kept the enemy at bay the next morning until her men could be rescued. For this she certainly deserves the medal - - if that's how it happened. Edward Zwick and Patrick Sheane Duncan, the director and writer, construct their screenplay with a nod to "RashomongF" (1950), Kurosawa's famous film in which four defendants give their wildly different testimony about a murder. In "Courage Under Fire," the witnesses are Walden's own men. Ilario (Matt Damon), the medic, paints Walden as a brave leader sacrificing her life for her men. Monfriez (Lou Diamond Phillips), the gunner, says, "She was afraid, Colonel. She was a coward. That's the bottom line on your Capt. Walden." Another crew member, Altameyer (Seth Gilliam), languishes in a V.A. hospitGal, confused by pain-killers. Serling, the Denzel Washington character, doggedly conducts his investigation by day and spends his nights boozing in hotel bars. He is being tracked by a reporter for The Washington Post (Scott Glenn), who suspects there was a cover-up of the tank destroyed by friendly fire. Serling tries to avoid him, but Serling is a man who desperately needs to tell the truth to someone, and the reporter is relentless. These interlocking investigatiogHns all take place under the thumb of the unrelenting Gen. Hershberg (Michael Moriarty), who wants the friendly fire incident kept quiet, and the Medal of Honor approved (there is urgent pressure from the White House). Hershberg turns the screws, threatening Serling's Army promotion path and hinting at reprisals ("I know about the drinking"). "Courage Under Fire" is Hollywood's first film about the Gulf War, and one of the rare films to deal with women in combat. But it is Inot simply a war film; there are also personal issues involved, and the story does a good job of dealing with the relationship between Col. Serling and his wife (Regina Taylor), who tells him she will wait for him -- but not forever. Washington's role is the central one, and he handles it well, playing a man who sticks to procedure and self- discipline even in the midst of emotional chaos (before the tank battle, he leads his men in prayer, and then adds: "Now let's kill 'emJgJ all!"). Meg Ryan's role is a different kind of challenge: In the flashbacks through the eyes of her men, she is seen in three or four entirely different styles of behavior. The movie doesn't give us one Capt. Walden but several, for us (and Serling) to choose between. Zwick's direction handles the many conflicting story possibilities with great clarity. And the opening sequence, involving the mistaken tank attack, makes it clear how confusing battle is, and how differently KCit will be perceived by each participant. The end of the film understandably lays on the emotion a little heavily, but until then "Courage Under Fire" has been a fascinating emotional and logistical puzzle -- almost a courtroom movie, with the desert as the courtroom. COPYRIGHT 1996 THE EBERT CO. LTD.gADirector: Edward Zwick. Starring: Denzel Washington, Meg Ryan, Lou Diamond Phillips, Michael Moriarty, Matt Damon , Seth Gilliam, Bronson Pinchot, Scott Glenn, Regina Taylor.@A A]COURAGE UNDER FIRE Director: Edward Zwick. Starring: Denzel Washington, Meg Ryan, Lou Diamond Phillips, Michael Moriarty, Matt Damon , Seth Gilliam, Bronson Pinchot, Scott Glenn, Regina Taylor. Photo credit: Merie W. Wallace. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. 20th Century-Fox ]@A*   *RbSMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNKhASport and Leisure BART,ART :Art,entertainment OhACourage Under Fire/6@A  H9/9/96K0197ACOURAGE UNDER FIRE by Roger Ebert * * * 1/2 Lt. Col. Nathaniel Serling ..... Denzel Washington Capt. Karen Walden ............. Meg Ryan Monfriez ....................... Lou Diamond Phillips Gen. Hershberg ................. Michael Moriarty Llario ......................... Matt Damon Altameyer ...................... Seth Gilliam Bruno .......................... Bronson Pinchot Tony Gartner ................... Scott Glenn Meredith ....................... Regina Taylor 20th CentuhBry-Fox presents a film directed by Edward Zwick. Produced by John Davis, Joseph M. Singer and David T. Friendly. Screenplay by Patrick Sheane Duncan. Photographed by Roger Deakins. Edited by Steven Rosenblum. Music by James Horner. Running time: 155 minutes. Classified: R (for realistic and violent battle scenes, language). Eyewitnesses are notoriously unreliable, even when they want to tell the truth. As an Army colonel reconstructs a battle scene in "Courage Under Fire," Che begins to suspect that some of his witnesses are lying. His assignment: Decide on the suitability of the first woman ever nominated for a Medal of Honor for combat. His problem: The White House is salivating over the media image of presenting the posthumous medal to the woman's young daughter in a ceremony in the Rose Garden. The colonel, named Serling and played by Denzel Washington, is determined to do his job honestly and well, even though his own life is falling aparhDt. During a night tank battle in the Gulf War, he was indirectly responsible for taking out an American tank with friendly fire. An Army investigation excused him, but now his sleep is fragmented by nightmares, he's drinking too much, and he has moved out on his wife and children. The investigation is about the only thing holding him together. The woman under consideration for the Medal of Honor is Capt. Karen Walden (Meg Ryan), who commanded a helicopter in the battle zoneE. After taking out an enemy tank by the refreshing improvisation of dropping a fuel tank on it, Walden's chopper was shot down by enemy fire. Nearby American troops heard M-16 fire, apparently by the wounded Walden, that kept the enemy at bay the next morning until her men could be rescued. For this she certainly deserves the medal - - if that's how it happened. Edward Zwick and Patrick Sheane Duncan, the director and writer, construct their screenplay with a nod to "RashomonhF" (1950), Kurosawa's famous film in which four defendants give their wildly different testimony about a murder. In "Courage Under Fire," the witnesses are Walden's own men. Ilario (Matt Damon), the medic, paints Walden as a brave leader sacrificing her life for her men. Monfriez (Lou Diamond Phillips), the gunner, says, "She was afraid, Colonel. She was a coward. That's the bottom line on your Capt. Walden." Another crew member, Altameyer (Seth Gilliam), languishes in a V.A. hospitGal, confused by pain-killers. Serling, the Denzel Washington character, doggedly conducts his investigation by day and spends his nights boozing in hotel bars. He is being tracked by a reporter for The Washington Post (Scott Glenn), who suspects there was a cover-up of the tank destroyed by friendly fire. Serling tries to avoid him, but Serling is a man who desperately needs to tell the truth to someone, and the reporter is relentless. These interlocking investigatiohHns all take place under the thumb of the unrelenting Gen. Hershberg (Michael Moriarty), who wants the friendly fire incident kept quiet, and the Medal of Honor approved (there is urgent pressure from the White House). Hershberg turns the screws, threatening Serling's Army promotion path and hinting at reprisals ("I know about the drinking"). "Courage Under Fire" is Hollywood's first film about the Gulf War, and one of the rare films to deal with women in combat. But it is Inot simply a war film; there are also personal issues involved, and the story does a good job of dealing with the relationship between Col. Serling and his wife (Regina Taylor), who tells him she will wait for him -- but not forever. Washington's role is the central one, and he handles it well, playing a man who sticks to procedure and self- discipline even in the midst of emotional chaos (before the tank battle, he leads his men in prayer, and then adds: "Now let's kill 'emJhJ all!"). Meg Ryan's role is a different kind of challenge: In the flashbacks through the eyes of her men, she is seen in three or four entirely different styles of behavior. The movie doesn't give us one Capt. Walden but several, for us (and Serling) to choose between. Zwick's direction handles the many conflicting story possibilities with great clarity. And the opening sequence, involving the mistaken tank attack, makes it clear how confusing battle is, and how differently KCit will be perceived by each participant. The end of the film understandably lays on the emotion a little heavily, but until then "Courage Under Fire" has been a fascinating emotional and logistical puzzle -- almost a courtroom movie, with the desert as the courtroom. COPYRIGHT 1996 THE EBERT CO. LTD.hADirector: Edward Zwick. Starring: Denzel Washington, Meg Ryan, Lou Diamond Phillips, Michael Moriarty, Matt Damon , Seth Gilliam, Bronson Pinchot, Scott Glenn, Regina Taylor.@A A]COURAGE UNDER FIRE Director: Edward Zwick. Starring: Denzel Washington, Meg Ryan, Lou Diamond Phillips, Michael Moriarty, Matt Damon , Seth Gilliam, Bronson Pinchot, Scott Glenn, Regina Taylor. Photo credit: Merie W. Wallace. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. 20th Century-Fox ]@A*   *ReSMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNKiASport and Leisure BART,ART :Art,entertainment OiACourage Under Fire/7@A  H9/9/96K0198ACOURAGE UNDER FIRE by Roger Ebert * * * 1/2 Lt. Col. Nathaniel Serling ..... Denzel Washington Capt. Karen Walden ............. Meg Ryan Monfriez ....................... Lou Diamond Phillips Gen. Hershberg ................. Michael Moriarty Llario ......................... Matt Damon Altameyer ...................... Seth Gilliam Bruno .......................... Bronson Pinchot Tony Gartner ................... Scott Glenn Meredith ....................... Regina Taylor 20th CentuiBry-Fox presents a film directed by Edward Zwick. Produced by John Davis, Joseph M. Singer and David T. Friendly. Screenplay by Patrick Sheane Duncan. Photographed by Roger Deakins. Edited by Steven Rosenblum. Music by James Horner. Running time: 155 minutes. Classified: R (for realistic and violent battle scenes, language). Eyewitnesses are notoriously unreliable, even when they want to tell the truth. As an Army colonel reconstructs a battle scene in "Courage Under Fire," Che begins to suspect that some of his witnesses are lying. His assignment: Decide on the suitability of the first woman ever nominated for a Medal of Honor for combat. His problem: The White House is salivating over the media image of presenting the posthumous medal to the woman's young daughter in a ceremony in the Rose Garden. The colonel, named Serling and played by Denzel Washington, is determined to do his job honestly and well, even though his own life is falling apariDt. During a night tank battle in the Gulf War, he was indirectly responsible for taking out an American tank with friendly fire. An Army investigation excused him, but now his sleep is fragmented by nightmares, he's drinking too much, and he has moved out on his wife and children. The investigation is about the only thing holding him together. The woman under consideration for the Medal of Honor is Capt. Karen Walden (Meg Ryan), who commanded a helicopter in the battle zoneE. After taking out an enemy tank by the refreshing improvisation of dropping a fuel tank on it, Walden's chopper was shot down by enemy fire. Nearby American troops heard M-16 fire, apparently by the wounded Walden, that kept the enemy at bay the next morning until her men could be rescued. For this she certainly deserves the medal - - if that's how it happened. Edward Zwick and Patrick Sheane Duncan, the director and writer, construct their screenplay with a nod to "RashomoniF" (1950), Kurosawa's famous film in which four defendants give their wildly different testimony about a murder. In "Courage Under Fire," the witnesses are Walden's own men. Ilario (Matt Damon), the medic, paints Walden as a brave leader sacrificing her life for her men. Monfriez (Lou Diamond Phillips), the gunner, says, "She was afraid, Colonel. She was a coward. That's the bottom line on your Capt. Walden." Another crew member, Altameyer (Seth Gilliam), languishes in a V.A. hospitGal, confused by pain-killers. Serling, the Denzel Washington character, doggedly conducts his investigation by day and spends his nights boozing in hotel bars. He is being tracked by a reporter for The Washington Post (Scott Glenn), who suspects there was a cover-up of the tank destroyed by friendly fire. Serling tries to avoid him, but Serling is a man who desperately needs to tell the truth to someone, and the reporter is relentless. These interlocking investigatioiHns all take place under the thumb of the unrelenting Gen. Hershberg (Michael Moriarty), who wants the friendly fire incident kept quiet, and the Medal of Honor approved (there is urgent pressure from the White House). Hershberg turns the screws, threatening Serling's Army promotion path and hinting at reprisals ("I know about the drinking"). "Courage Under Fire" is Hollywood's first film about the Gulf War, and one of the rare films to deal with women in combat. But it is Inot simply a war film; there are also personal issues involved, and the story does a good job of dealing with the relationship between Col. Serling and his wife (Regina Taylor), who tells him she will wait for him -- but not forever. Washington's role is the central one, and he handles it well, playing a man who sticks to procedure and self- discipline even in the midst of emotional chaos (before the tank battle, he leads his men in prayer, and then adds: "Now let's kill 'emJiJ all!"). Meg Ryan's role is a different kind of challenge: In the flashbacks through the eyes of her men, she is seen in three or four entirely different styles of behavior. The movie doesn't give us one Capt. Walden but several, for us (and Serling) to choose between. Zwick's direction handles the many conflicting story possibilities with great clarity. And the opening sequence, involving the mistaken tank attack, makes it clear how confusing battle is, and how differently KCit will be perceived by each participant. The end of the film understandably lays on the emotion a little heavily, but until then "Courage Under Fire" has been a fascinating emotional and logistical puzzle -- almost a courtroom movie, with the desert as the courtroom. COPYRIGHT 1996 THE EBERT CO. LTD.iADirector: Edward Zwick. Starring: Denzel Washington, Meg Ryan, Lou Diamond Phillips, Michael Moriarty, Matt Damon , Seth Gilliam, Bronson Pinchot, Scott Glenn, Regina Taylor.@A A]COURAGE UNDER FIRE Director: Edward Zwick. Starring: Denzel Washington, Meg Ryan, Lou Diamond Phillips, Michael Moriarty, Matt Damon , Seth Gilliam, Bronson Pinchot, Scott Glenn, Regina Taylor. Photo credit: Merie W. Wallace. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. 20th Century-Fox ]@A*   *RcSMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNKjASport and Leisure BART,ART :Art,entertainment OjACourage Under Fire/8@A  H9/9/96K0199ACOURAGE UNDER FIRE by Roger Ebert * * * 1/2 Lt. Col. Nathaniel Serling ..... Denzel Washington Capt. Karen Walden ............. Meg Ryan Monfriez ....................... Lou Diamond Phillips Gen. Hershberg ................. Michael Moriarty Llario ......................... Matt Damon Altameyer ...................... Seth Gilliam Bruno .......................... Bronson Pinchot Tony Gartner ................... Scott Glenn Meredith ....................... Regina Taylor 20th CentujBry-Fox presents a film directed by Edward Zwick. Produced by John Davis, Joseph M. Singer and David T. Friendly. Screenplay by Patrick Sheane Duncan. Photographed by Roger Deakins. Edited by Steven Rosenblum. Music by James Horner. Running time: 155 minutes. Classified: R (for realistic and violent battle scenes, language). Eyewitnesses are notoriously unreliable, even when they want to tell the truth. As an Army colonel reconstructs a battle scene in "Courage Under Fire," Che begins to suspect that some of his witnesses are lying. His assignment: Decide on the suitability of the first woman ever nominated for a Medal of Honor for combat. His problem: The White House is salivating over the media image of presenting the posthumous medal to the woman's young daughter in a ceremony in the Rose Garden. The colonel, named Serling and played by Denzel Washington, is determined to do his job honestly and well, even though his own life is falling aparjDt. During a night tank battle in the Gulf War, he was indirectly responsible for taking out an American tank with friendly fire. An Army investigation excused him, but now his sleep is fragmented by nightmares, he's drinking too much, and he has moved out on his wife and children. The investigation is about the only thing holding him together. The woman under consideration for the Medal of Honor is Capt. Karen Walden (Meg Ryan), who commanded a helicopter in the battle zoneE. After taking out an enemy tank by the refreshing improvisation of dropping a fuel tank on it, Walden's chopper was shot down by enemy fire. Nearby American troops heard M-16 fire, apparently by the wounded Walden, that kept the enemy at bay the next morning until her men could be rescued. For this she certainly deserves the medal - - if that's how it happened. Edward Zwick and Patrick Sheane Duncan, the director and writer, construct their screenplay with a nod to "RashomonjF" (1950), Kurosawa's famous film in which four defendants give their wildly different testimony about a murder. In "Courage Under Fire," the witnesses are Walden's own men. Ilario (Matt Damon), the medic, paints Walden as a brave leader sacrificing her life for her men. Monfriez (Lou Diamond Phillips), the gunner, says, "She was afraid, Colonel. She was a coward. That's the bottom line on your Capt. Walden." Another crew member, Altameyer (Seth Gilliam), languishes in a V.A. hospitGal, confused by pain-killers. Serling, the Denzel Washington character, doggedly conducts his investigation by day and spends his nights boozing in hotel bars. He is being tracked by a reporter for The Washington Post (Scott Glenn), who suspects there was a cover-up of the tank destroyed by friendly fire. Serling tries to avoid him, but Serling is a man who desperately needs to tell the truth to someone, and the reporter is relentless. These interlocking investigatiojHns all take place under the thumb of the unrelenting Gen. Hershberg (Michael Moriarty), who wants the friendly fire incident kept quiet, and the Medal of Honor approved (there is urgent pressure from the White House). Hershberg turns the screws, threatening Serling's Army promotion path and hinting at reprisals ("I know about the drinking"). "Courage Under Fire" is Hollywood's first film about the Gulf War, and one of the rare films to deal with women in combat. But it is Inot simply a war film; there are also personal issues involved, and the story does a good job of dealing with the relationship between Col. Serling and his wife (Regina Taylor), who tells him she will wait for him -- but not forever. Washington's role is the central one, and he handles it well, playing a man who sticks to procedure and self- discipline even in the midst of emotional chaos (before the tank battle, he leads his men in prayer, and then adds: "Now let's kill 'emJjJ all!"). Meg Ryan's role is a different kind of challenge: In the flashbacks through the eyes of her men, she is seen in three or four entirely different styles of behavior. The movie doesn't give us one Capt. Walden but several, for us (and Serling) to choose between. Zwick's direction handles the many conflicting story possibilities with great clarity. And the opening sequence, involving the mistaken tank attack, makes it clear how confusing battle is, and how differently KCit will be perceived by each participant. The end of the film understandably lays on the emotion a little heavily, but until then "Courage Under Fire" has been a fascinating emotional and logistical puzzle -- almost a courtroom movie, with the desert as the courtroom. COPYRIGHT 1996 THE EBERT CO. LTD.jADirector: Edward Zwick. Starring: Denzel Washington, Meg Ryan, Lou Diamond Phillips, Michael Moriarty, Matt Damon , Seth Gilliam, Bronson Pinchot, Scott Glenn, Regina Taylor.@A A]COURAGE UNDER FIRE Director: Edward Zwick. Starring: Denzel Washington, Meg Ryan, Lou Diamond Phillips, Michael Moriarty, Matt Damon , Seth Gilliam, Bronson Pinchot, Scott Glenn, Regina Taylor. Photo credit: Merie W. Wallace. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. 20th Century-Fox ]@A*   *RdSMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNKkASport and Leisure BART,ART :Art,entertainment ABogus/21k@A  H9/9/96K0200ABOGUS by Roger Ebert * * * Harriet Franklin ....... Whoopi Goldberg Bogus .................. Gerard Depardieu Albert ................. Haley Joel Osment Mr. Antoine ............ Denis Mercier Lorraine ............... Nancy Travis Regency presents a film directed by Norman Jewison. Produced by Jewison, Arnon Milchan and Jeff Rothberg. Written by Alvin Sargent. Photographed by David Watkin. Edited by Stephen Rivkin. Music by Marc Shaiman. Running time: 112 minutes. ClassikBfied: PG (for thematic elements and some mild language). "Bogus" tells the story of a little boy who is orphaned and then finds his life filled with two unconventional parent-substitutes. How unconventional? They're played by Whoopi Goldberg and Gerard Depardieu -- Goldberg as the aunt he never knew about, and Depardieu as an imaginary friend, a large, shambling Frenchman, who bounces out of the pages of a coloring book. The little boy's name is Albert (Haley JoelC Osment), and he has grown up in Las Vegas, where his mother (Nancy Travis) was an assistant in the magic act of Mr. Antoine (Denis Mercier), who seems to be a cross between David Copperfield and Cirque de Soliel. It's not an ordinary childhood; he has a baseball autographed by Liza Minnelli. After his mother is killed in a traffic accident early in the film, Mr. Antoine and the other showbiz people meet to decide what is to be done with the child. But the mother has provided for tkDhat in her will, naming her African-American foster sister Harriet (Goldberg), who nobody knew about. Harriet is not thrilled to be given responsibility for a kid. She runs a restaurant supply business out east, knows nothing of showbiz and less about kids, and has a lot on her mind. But she accepts the responsibility because she must, and the morose little boy flies east to his destiny. It is then that Bogus (Depardieu) materializes from the coloring book to become his sidEekick, adviser and confidant. This mixture of the poignant and the mystical is not new to director Norman Jewison, who in films like "Moonstruck" and "Only You" has found a winsome romanticism that bypasses the pragmatic side of life. Here he works with a story by Alvin Sargent that seems contrived from unlikely inspirations. It is not enough to provide Albert with Whoopi Goldberg as a foster mother and Gerard Depardieu as an imaginary friend: The movie must also allow HarrkFiet to see Bogus, too -- and not just see him, but dance "The Continental" with him, in the unlikeliest pas de deux of our age. "Bogus" is light as a feather. It's a charming, inconsequential fantasy that sidesteps such matters as logic and motivation, and rightly so: This is the sort of beguiling fairy tale that needs as little reality as possible, and I thought it really took off after the stepmother finally saw Bogus, too. A few problems are provided in the thGird act, as when the homesick Albert travels all by himself to Atlantic City, where Mr. Antoine is performing, and of course there are manufactured moments when it seems the little boy is missing or lost. A crisis like that is necessary, I suppose, in order for there to be a happy ending. But essentially the movie is about the charm of the actors, especially Goldberg and Depardieu. And it adds still more wonder to the career of Depardieu, who increasingly seems to be costdkHumed in giant's overcoats and shirts made out of draperies. He is an unmade bed with a broken nose, and the biggest French star of his generation, which, in a way, is an even better trick than popping out of a coloring book. COPYRIGHT 1996 THE EBERT CO. LTD. ADirector: Norman Jewison. Starring: Whoopi Goldberg, Gerard Depardieu, Haley Joel Osment, Denis Mercier, Nancy Travis. Photo credit: Suzanne Hanover.@A A BOGUS Director: Norman Jewison. Starring: Whoopi Goldberg, Gerard Depardieu, Haley Joel Osment, Denis Mercier, Nancy Travis. Photo credit: Suzanne Hanover. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. Regency Entertainment. USA  @A*   *ROkSMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNKlASport and Leisure BART,ART :Art,entertainment ABogus/3@A  H9/9/96K0201ABOGUS by Roger Ebert * * * Harriet Franklin ....... Whoopi Goldberg Bogus .................. Gerard Depardieu Albert ................. Haley Joel Osment Mr. Antoine ............ Denis Mercier Lorraine ............... Nancy Travis Regency presents a film directed by Norman Jewison. Produced by Jewison, Arnon Milchan and Jeff Rothberg. Written by Alvin Sargent. Photographed by David Watkin. Edited by Stephen Rivkin. Music by Marc Shaiman. Running time: 112 minutes. ClassilBfied: PG (for thematic elements and some mild language). "Bogus" tells the story of a little boy who is orphaned and then finds his life filled with two unconventional parent-substitutes. How unconventional? They're played by Whoopi Goldberg and Gerard Depardieu -- Goldberg as the aunt he never knew about, and Depardieu as an imaginary friend, a large, shambling Frenchman, who bounces out of the pages of a coloring book. The little boy's name is Albert (Haley JoelC Osment), and he has grown up in Las Vegas, where his mother (Nancy Travis) was an assistant in the magic act of Mr. Antoine (Denis Mercier), who seems to be a cross between David Copperfield and Cirque de Soliel. It's not an ordinary childhood; he has a baseball autographed by Liza Minnelli. After his mother is killed in a traffic accident early in the film, Mr. Antoine and the other showbiz people meet to decide what is to be done with the child. But the mother has provided for tlDhat in her will, naming her African-American foster sister Harriet (Goldberg), who nobody knew about. Harriet is not thrilled to be given responsibility for a kid. She runs a restaurant supply business out east, knows nothing of showbiz and less about kids, and has a lot on her mind. But she accepts the responsibility because she must, and the morose little boy flies east to his destiny. It is then that Bogus (Depardieu) materializes from the coloring book to become his sidEekick, adviser and confidant. This mixture of the poignant and the mystical is not new to director Norman Jewison, who in films like "Moonstruck" and "Only You" has found a winsome romanticism that bypasses the pragmatic side of life. Here he works with a story by Alvin Sargent that seems contrived from unlikely inspirations. It is not enough to provide Albert with Whoopi Goldberg as a foster mother and Gerard Depardieu as an imaginary friend: The movie must also allow HarrlFiet to see Bogus, too -- and not just see him, but dance "The Continental" with him, in the unlikeliest pas de deux of our age. "Bogus" is light as a feather. It's a charming, inconsequential fantasy that sidesteps such matters as logic and motivation, and rightly so: This is the sort of beguiling fairy tale that needs as little reality as possible, and I thought it really took off after the stepmother finally saw Bogus, too. A few problems are provided in the thGird act, as when the homesick Albert travels all by himself to Atlantic City, where Mr. Antoine is performing, and of course there are manufactured moments when it seems the little boy is missing or lost. A crisis like that is necessary, I suppose, in order for there to be a happy ending. But essentially the movie is about the charm of the actors, especially Goldberg and Depardieu. And it adds still more wonder to the career of Depardieu, who increasingly seems to be costdlHumed in giant's overcoats and shirts made out of draperies. He is an unmade bed with a broken nose, and the biggest French star of his generation, which, in a way, is an even better trick than popping out of a coloring book. COPYRIGHT 1996 THE EBERT CO. LTD. ADirector: Norman Jewison. Starring: Whoopi Goldberg, Gerard Depardieu, Haley Joel Osment, Denis Mercier, Nancy Travis. Photo credit: Suzanne Hanover.@A A BOGUS Director: Norman Jewison. Starring: Whoopi Goldberg, Gerard Depardieu, Haley Joel Osment, Denis Mercier, Nancy Travis. Photo credit: Suzanne Hanover. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. Regency Entertainment. USA  @A*   *RPlSMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNKmASport and Leisure BART,ART :Art,entertainment ABogus/4@A  H9/9/96K0202ABOGUS by Roger Ebert * * * Harriet Franklin ....... Whoopi Goldberg Bogus .................. Gerard Depardieu Albert ................. Haley Joel Osment Mr. Antoine ............ Denis Mercier Lorraine ............... Nancy Travis Regency presents a film directed by Norman Jewison. Produced by Jewison, Arnon Milchan and Jeff Rothberg. Written by Alvin Sargent. Photographed by David Watkin. Edited by Stephen Rivkin. Music by Marc Shaiman. Running time: 112 minutes. ClassimBfied: PG (for thematic elements and some mild language). "Bogus" tells the story of a little boy who is orphaned and then finds his life filled with two unconventional parent-substitutes. How unconventional? They're played by Whoopi Goldberg and Gerard Depardieu -- Goldberg as the aunt he never knew about, and Depardieu as an imaginary friend, a large, shambling Frenchman, who bounces out of the pages of a coloring book. The little boy's name is Albert (Haley JoelC Osment), and he has grown up in Las Vegas, where his mother (Nancy Travis) was an assistant in the magic act of Mr. Antoine (Denis Mercier), who seems to be a cross between David Copperfield and Cirque de Soliel. It's not an ordinary childhood; he has a baseball autographed by Liza Minnelli. After his mother is killed in a traffic accident early in the film, Mr. Antoine and the other showbiz people meet to decide what is to be done with the child. But the mother has provided for tmDhat in her will, naming her African-American foster sister Harriet (Goldberg), who nobody knew about. Harriet is not thrilled to be given responsibility for a kid. She runs a restaurant supply business out east, knows nothing of showbiz and less about kids, and has a lot on her mind. But she accepts the responsibility because she must, and the morose little boy flies east to his destiny. It is then that Bogus (Depardieu) materializes from the coloring book to become his sidEekick, adviser and confidant. This mixture of the poignant and the mystical is not new to director Norman Jewison, who in films like "Moonstruck" and "Only You" has found a winsome romanticism that bypasses the pragmatic side of life. Here he works with a story by Alvin Sargent that seems contrived from unlikely inspirations. It is not enough to provide Albert with Whoopi Goldberg as a foster mother and Gerard Depardieu as an imaginary friend: The movie must also allow HarrmFiet to see Bogus, too -- and not just see him, but dance "The Continental" with him, in the unlikeliest pas de deux of our age. "Bogus" is light as a feather. It's a charming, inconsequential fantasy that sidesteps such matters as logic and motivation, and rightly so: This is the sort of beguiling fairy tale that needs as little reality as possible, and I thought it really took off after the stepmother finally saw Bogus, too. A few problems are provided in the thGird act, as when the homesick Albert travels all by himself to Atlantic City, where Mr. Antoine is performing, and of course there are manufactured moments when it seems the little boy is missing or lost. A crisis like that is necessary, I suppose, in order for there to be a happy ending. But essentially the movie is about the charm of the actors, especially Goldberg and Depardieu. And it adds still more wonder to the career of Depardieu, who increasingly seems to be costdmHumed in giant's overcoats and shirts made out of draperies. He is an unmade bed with a broken nose, and the biggest French star of his generation, which, in a way, is an even better trick than popping out of a coloring book. COPYRIGHT 1996 THE EBERT CO. LTD. ADirector: Norman Jewison. Starring: Whoopi Goldberg, Gerard Depardieu, Haley Joel Osment, Denis Mercier, Nancy Travis. Photo credit: Suzanne Hanover.@A A BOGUS Director: Norman Jewison. Starring: Whoopi Goldberg, Gerard Depardieu, Haley Joel Osment, Denis Mercier, Nancy Travis. Photo credit: Suzanne Hanover. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. Regency Entertainment. USA  @A*   *RQmSMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNKnASport and Leisure BART,ART :Art,entertainment ABogus/5@A  H9/9/96K0203ABOGUS by Roger Ebert * * * Harriet Franklin ....... Whoopi Goldberg Bogus .................. Gerard Depardieu Albert ................. Haley Joel Osment Mr. Antoine ............ Denis Mercier Lorraine ............... Nancy Travis Regency presents a film directed by Norman Jewison. Produced by Jewison, Arnon Milchan and Jeff Rothberg. Written by Alvin Sargent. Photographed by David Watkin. Edited by Stephen Rivkin. Music by Marc Shaiman. Running time: 112 minutes. ClassinBfied: PG (for thematic elements and some mild language). "Bogus" tells the story of a little boy who is orphaned and then finds his life filled with two unconventional parent-substitutes. How unconventional? They're played by Whoopi Goldberg and Gerard Depardieu -- Goldberg as the aunt he never knew about, and Depardieu as an imaginary friend, a large, shambling Frenchman, who bounces out of the pages of a coloring book. The little boy's name is Albert (Haley JoelC Osment), and he has grown up in Las Vegas, where his mother (Nancy Travis) was an assistant in the magic act of Mr. Antoine (Denis Mercier), who seems to be a cross between David Copperfield and Cirque de Soliel. It's not an ordinary childhood; he has a baseball autographed by Liza Minnelli. After his mother is killed in a traffic accident early in the film, Mr. Antoine and the other showbiz people meet to decide what is to be done with the child. But the mother has provided for tnDhat in her will, naming her African-American foster sister Harriet (Goldberg), who nobody knew about. Harriet is not thrilled to be given responsibility for a kid. She runs a restaurant supply business out east, knows nothing of showbiz and less about kids, and has a lot on her mind. But she accepts the responsibility because she must, and the morose little boy flies east to his destiny. It is then that Bogus (Depardieu) materializes from the coloring book to become his sidEekick, adviser and confidant. This mixture of the poignant and the mystical is not new to director Norman Jewison, who in films like "Moonstruck" and "Only You" has found a winsome romanticism that bypasses the pragmatic side of life. Here he works with a story by Alvin Sargent that seems contrived from unlikely inspirations. It is not enough to provide Albert with Whoopi Goldberg as a foster mother and Gerard Depardieu as an imaginary friend: The movie must also allow HarrnFiet to see Bogus, too -- and not just see him, but dance "The Continental" with him, in the unlikeliest pas de deux of our age. "Bogus" is light as a feather. It's a charming, inconsequential fantasy that sidesteps such matters as logic and motivation, and rightly so: This is the sort of beguiling fairy tale that needs as little reality as possible, and I thought it really took off after the stepmother finally saw Bogus, too. A few problems are provided in the thGird act, as when the homesick Albert travels all by himself to Atlantic City, where Mr. Antoine is performing, and of course there are manufactured moments when it seems the little boy is missing or lost. A crisis like that is necessary, I suppose, in order for there to be a happy ending. But essentially the movie is about the charm of the actors, especially Goldberg and Depardieu. And it adds still more wonder to the career of Depardieu, who increasingly seems to be costVnoBDFHSpBDFHSrStVxPzH|A~S€S€S€S€S€O€A€S€P€B€S€P€P€P€P€O€V€S€P€W€W€B€S€S€S€P€A€K€A€A€S€S€P€O€A €O €P €S €S €SAAA+b@ACEGIKMOQ S!U"W#Y$[%]&_'a(c)e*g+i,k-m.o/q0s1u2w3y4{5}6B8D9F:H;JP?R@TAVBXCZD\E^F`GbHdIfJhKjLlMnNpOrPtRvSxTdnHumed in giant's overcoats and shirts made out of draperies. He is an unmade bed with a broken nose, and the biggest French star of his generation, which, in a way, is an even better trick than popping out of a coloring book. COPYRIGHT 1996 THE EBERT CO. LTD. ADirector: Norman Jewison. Starring: Whoopi Goldberg, Gerard Depardieu, Haley Joel Osment, Denis Mercier, Nancy Travis. Photo credit: Suzanne Hanover.@A A BOGUS Director: Norman Jewison. Starring: Whoopi Goldberg, Gerard Depardieu, Haley Joel Osment, Denis Mercier, Nancy Travis. Photo credit: Suzanne Hanover. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. Regency Entertainment. USA  @A*   *RSnSMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNKoASport and Leisure BART,ART :Art,entertainment ABogus/6@A  H9/9/96K0204ABOGUS by Roger Ebert * * * Harriet Franklin ....... Whoopi Goldberg Bogus .................. Gerard Depardieu Albert ................. Haley Joel Osment Mr. Antoine ............ Denis Mercier Lorraine ............... Nancy Travis Regency presents a film directed by Norman Jewison. Produced by Jewison, Arnon Milchan and Jeff Rothberg. Written by Alvin Sargent. Photographed by David Watkin. Edited by Stephen Rivkin. Music by Marc Shaiman. Running time: 112 minutes. ClassiL nSoBfied: PG (for thematic elements and some mild language). "Bogus" tells the story of a little boy who is orphaned and then finds his life filled with two unconventional parent-substitutes. How unconventional? They're played by Whoopi Goldberg and Gerard Depardieu -- Goldberg as the aunt he never knew about, and Depardieu as an imaginary friend, a large, shambling Frenchman, who bounces out of the pages of a coloring book. The little boy's name is Albert (Haley JoelC Osment), and he has grown up in Las Vegas, where his mother (Nancy Travis) was an assistant in the magic act of Mr. Antoine (Denis Mercier), who seems to be a cross between David Copperfield and Cirque de Soliel. It's not an ordinary childhood; he has a baseball autographed by Liza Minnelli. After his mother is killed in a traffic accident early in the film, Mr. Antoine and the other showbiz people meet to decide what is to be done with the child. But the mother has provided for toDhat in her will, naming her African-American foster sister Harriet (Goldberg), who nobody knew about. Harriet is not thrilled to be given responsibility for a kid. She runs a restaurant supply business out east, knows nothing of showbiz and less about kids, and has a lot on her mind. But she accepts the responsibility because she must, and the morose little boy flies east to his destiny. It is then that Bogus (Depardieu) materializes from the coloring book to become his sidEekick, adviser and confidant. This mixture of the poignant and the mystical is not new to director Norman Jewison, who in films like "Moonstruck" and "Only You" has found a winsome romanticism that bypasses the pragmatic side of life. Here he works with a story by Alvin Sargent that seems contrived from unlikely inspirations. It is not enough to provide Albert with Whoopi Goldberg as a foster mother and Gerard Depardieu as an imaginary friend: The movie must also allow HarroFiet to see Bogus, too -- and not just see him, but dance "The Continental" with him, in the unlikeliest pas de deux of our age. "Bogus" is light as a feather. It's a charming, inconsequential fantasy that sidesteps such matters as logic and motivation, and rightly so: This is the sort of beguiling fairy tale that needs as little reality as possible, and I thought it really took off after the stepmother finally saw Bogus, too. A few problems are provided in the thGird act, as when the homesick Albert travels all by himself to Atlantic City, where Mr. Antoine is performing, and of course there are manufactured moments when it seems the little boy is missing or lost. A crisis like that is necessary, I suppose, in order for there to be a happy ending. But essentially the movie is about the charm of the actors, especially Goldberg and Depardieu. And it adds still more wonder to the career of Depardieu, who increasingly seems to be costdoHumed in giant's overcoats and shirts made out of draperies. He is an unmade bed with a broken nose, and the biggest French star of his generation, which, in a way, is an even better trick than popping out of a coloring book. COPYRIGHT 1996 THE EBERT CO. LTD. ADirector: Norman Jewison. Starring: Whoopi Goldberg, Gerard Depardieu, Haley Joel Osment, Denis Mercier, Nancy Travis. Photo credit: Suzanne Hanover.@A A BOGUS Director: Norman Jewison. Starring: Whoopi Goldberg, Gerard Depardieu, Haley Joel Osment, Denis Mercier, Nancy Travis. Photo credit: Suzanne Hanover. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. Regency Entertainment. USA  @A*   *RToSMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNKpASport and Leisure BART,ART :Art,entertainment ABogus/7@A  H9/9/96K0205ABOGUS by Roger Ebert * * * Harriet Franklin ....... Whoopi Goldberg Bogus .................. Gerard Depardieu Albert ................. Haley Joel Osment Mr. Antoine ............ Denis Mercier Lorraine ............... Nancy Travis Regency presents a film directed by Norman Jewison. Produced by Jewison, Arnon Milchan and Jeff Rothberg. Written by Alvin Sargent. Photographed by David Watkin. Edited by Stephen Rivkin. Music by Marc Shaiman. Running time: 112 minutes. ClassipBfied: PG (for thematic elements and some mild language). "Bogus" tells the story of a little boy who is orphaned and then finds his life filled with two unconventional parent-substitutes. How unconventional? They're played by Whoopi Goldberg and Gerard Depardieu -- Goldberg as the aunt he never knew about, and Depardieu as an imaginary friend, a large, shambling Frenchman, who bounces out of the pages of a coloring book. The little boy's name is Albert (Haley JoelC Osment), and he has grown up in Las Vegas, where his mother (Nancy Travis) was an assistant in the magic act of Mr. Antoine (Denis Mercier), who seems to be a cross between David Copperfield and Cirque de Soliel. It's not an ordinary childhood; he has a baseball autographed by Liza Minnelli. After his mother is killed in a traffic accident early in the film, Mr. Antoine and the other showbiz people meet to decide what is to be done with the child. But the mother has provided for tpDhat in her will, naming her African-American foster sister Harriet (Goldberg), who nobody knew about. Harriet is not thrilled to be given responsibility for a kid. She runs a restaurant supply business out east, knows nothing of showbiz and less about kids, and has a lot on her mind. But she accepts the responsibility because she must, and the morose little boy flies east to his destiny. It is then that Bogus (Depardieu) materializes from the coloring book to become his sidEekick, adviser and confidant. This mixture of the poignant and the mystical is not new to director Norman Jewison, who in films like "Moonstruck" and "Only You" has found a winsome romanticism that bypasses the pragmatic side of life. Here he works with a story by Alvin Sargent that seems contrived from unlikely inspirations. It is not enough to provide Albert with Whoopi Goldberg as a foster mother and Gerard Depardieu as an imaginary friend: The movie must also allow HarrpFiet to see Bogus, too -- and not just see him, but dance "The Continental" with him, in the unlikeliest pas de deux of our age. "Bogus" is light as a feather. It's a charming, inconsequential fantasy that sidesteps such matters as logic and motivation, and rightly so: This is the sort of beguiling fairy tale that needs as little reality as possible, and I thought it really took off after the stepmother finally saw Bogus, too. A few problems are provided in the thGird act, as when the homesick Albert travels all by himself to Atlantic City, where Mr. Antoine is performing, and of course there are manufactured moments when it seems the little boy is missing or lost. A crisis like that is necessary, I suppose, in order for there to be a happy ending. But essentially the movie is about the charm of the actors, especially Goldberg and Depardieu. And it adds still more wonder to the career of Depardieu, who increasingly seems to be costdpHumed in giant's overcoats and shirts made out of draperies. He is an unmade bed with a broken nose, and the biggest French star of his generation, which, in a way, is an even better trick than popping out of a coloring book. COPYRIGHT 1996 THE EBERT CO. LTD. ADirector: Norman Jewison. Starring: Whoopi Goldberg, Gerard Depardieu, Haley Joel Osment, Denis Mercier, Nancy Travis. Photo credit: Suzanne Hanover.@A A BOGUS Director: Norman Jewison. Starring: Whoopi Goldberg, Gerard Depardieu, Haley Joel Osment, Denis Mercier, Nancy Travis. Photo credit: Suzanne Hanover. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. Regency Entertainment. USA  @A*   *RU9pSMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNKqASport and Leisure BPRE,OVR :Press and media CAtlanta Olympics ArcheryH12/9/96K0206OChina Times ExpressP"KEYWORDS: Gallery Atlanta OlympicsRfSMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNKrASport and Leisure BPRE,OVR :Press and media CAtlanta Olympics JavlinH12/9/96K0207OChina Times ExpressRgrSMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNKsASport and Leisure BPRE,OVR :Press and media CAtlanta Olympics AthleticsH12/9/96K0208O Corriere 1996RhSMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNKtASport and Leisure BPRE,OVR :Press and media C Globe TheatreH12/9/96K0209OEthnos Globe TheatreRiSMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXtVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNKvASport and Leisure BPRE,OVR :Press and media CAtlanta OlympicsH12/9/96K0211OEthnos Sports InjuriesRjSMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNKwASport and Leisure BPRE,OVR :Press and media CTWA800 DisasterH12/9/96K0212OEthnos Plane crash RkSMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNKxASport and Leisure BPRE,OVR :Press and media C WimbledonH12/9/96K0213OEthnos, Greece 1996xPPage uses tabloid graphic to fill the whole page with the insertion of sponsors logo in one corner. Text translated into Greek. KEYWORDS: Gallery, sponsorship languageRlSMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNKyASport and Leisure BPRE,OVR :Press and media C Gobe TheatreH12/9/96K0214O)Le Figaro, Paris, France August 22 1996 PSPage uses Globe Theatre graphic with text translated into French. KEYWORDS: GalleryRmSMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNKzASport and Leisure BPRE,OVR :Press and media C SmartcardzH12/9/96K0215O>The Philadelphia Inquirer, U.S. Sunday July 21 1996 Smart CardPPage shows use of graphic with elements rearranged and graphic redesigned to conform to in-house style Compare with other gallery page to see alternative. KEYWORDS: Gallery Smart Card Atlanta OlympicsRoSMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK{ASport and Leisure BART,ART :Art,entertainment C100 Years Motor IndustryH1/10/96K0216O(AS, Spain February 8 1996 100 Years CarsP Board to latsSMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK||ASport and Leisure BART,ART :Art,entertainment CAtlanta Olympics Grace & PoiseH1/10/96K0217OPage shows satellite, surface of Jupiter and Columbia as supplied by Graphic News but new elements and words added. Compare with other gallery pages to see how other newspapers have modified this graphic. KEYWORDS: Gallery Flexibility NOTE: Credit GN should not be used except where insufficient space for GRAPHIC NEWS>SMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK€AScience and Technology BSPA,OVR :Space C Rope TrickH3/10/96K0231O9The Observer, London, UK February 18 1996 GN Rope Trick PPage shows graphic with few modifications. Compare with other gallery pages to see how other newspapers have modified this graphic. KEYWORDS: Gallery Flexibility NOTE: Credit should be GRAPHIC NEWS not Graphic News€SMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK€AScience and Technology BSPA,OVR :Space C Rope TrickH3/10/96K0232O9The Guardian, London, UK February 27 1996 GN Rope Trick PPage shows modified graphic. Compare with other gallery pages to see how other newspapers have modified this graphic. KEYWORDS: Gallery Flexibility SMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK€ASport and Leisure BSPO,SPO :Sports C SuperbowlH3/10/96K0233O&Evening News Cambridge January 27 1996€PPage shows page design using graphic as supplied. Compare with other gallery page to see alternative. KEYWORDS: Gallery Flexibility SMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK€ASport and Leisure BSPO,SPO :Sports C SuperbowlH3/10/96K0234O/Rotterdams Dagblad, Netherlands January 27 1996PPage shows modified graphic and text translated into Dutch. Compare with other gallery page to see alternative. KEYWORDS: Gallery Flexibility LanguageSMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK€AScience and Technology J€BSCI,OVR :Science C Rogue ProteinH3/10/96K0235O%The Guardian, London, UK April 5 1996PPage shows graphic modifed to complement page design. Compare with other gallery page to see alternative. KEYWORDS: Gallery Flexibility SMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK€AScience and Technology BSCI,OVR :Science C Rogue ProteinH3/10/96K0236O%Le Figaro, Paris, France April 2 1996PPage shows graphic modifed to complement page design and text translated into French. Compare with other gallery page to see alternative. Graphic uses inset photographic image. KEYWORDS: Gallery Flexibility Language€SMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK€ASport and Leisure BSPO,SPO :Sports CGrand Prix MontageH3/10/96K0237OHull Daily Mail, UK July 6 1996PPage shows photomontage modified for front cover of supplement for Silverstone Grand Prix Also used for poster. Compare with other gallery page to see alternatives. KEYWORDS: Gallery Flexibility Grand Prix Board to LATSSMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK€ASport and Leisure BSPO,SPO :Sports H3/10/96K0238€PPage shows photomontage used on motoring page at the beginning of Grand Prix season. Compare with other gallery page to see alternatives. KEYWORDS: Gallery Flexibility Grand PrixSMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK€ASociety BELE,XEL :Elections CLocal ElectionH3/10/96K0239O%Evening News, Cambridge UK May 3 1996P@Page shows use of local election theme block. KEYWORDS: Gallery SMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK€ASport and Leisure BSPO,SPO :Sports H3/10/96K0240€P}Page shows use of kit to illustrate movement in game. See also examples of Football Kit. KEYWORDS: Gallery Rugby Five NationsSMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK€ASport and Leisure BART,ART :Art,entertainment H3/10/96K0241PrPage shows use of kit to show players. See also other examples of Football Kit. KEYWORDS: Gallery Euro 96 FootballSMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK€ASociety BPOP,OVR :Population C StatisticsH3/10/96K0242O*Evening News, Cambridge UK January 25 1996€PPage shows use of graphics produced to complement Social Trends report from UK Goverments Central Statistical Office. KEYWORDS: GallerySMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK€ASport and Leisure BSPO,SPO :Sports CAlan Shearer caricatureH3/10/96K0243OSports Echo August 10 1996PKPage shows use of graphic containing caricature. KEYWORDS: Gallery FootballSMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK€ASport and Leisure BART,ART :Art,entertainment CAtlanta OlympicsH3/10/96K0244OHull Daily Mail, UK July 6 1996€PPage shows use of Why? cartoons by Larry with words by Maris Ross in Olympic supplement. KEYWORDS: Gallery History Atlanta OlympicsSMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK€ASport and Leisure BSPO,SPO :Sports CAtlanta OlympicsH3/10/96K0245OEthnos, Greece 1996PxPage shows use of graphic filling the whole page. Text translated into GreekKEYWORDS: Gallery Atlanta Olympics High JumpSMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK€ASport and Leisure BPRE,OVR :Press and media C SmartcardH3/10/96K0246€O*Evening Standard, London, UK July 11 1996 PPage shows use of graphic essentially as supplied together with background story. Compare with other gallery page to see alternative. KEYWORDS: Gallery Smart Card Atlanta OlympicsSMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK€ASport and Leisure BSPO,SPO :Sports CAtlanta OlympicsH3/10/96K0247OEthnos July 15 1996PPage shows graphic used to fill a whole page as well as as element within the index. Text translated into Greek. KEYWORDS Gallery Language Atlanta Olympics SailingSMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXX^€VAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK€ASport and Leisure BSPO,SPO :Sports CAtlanta OlympicsH3/10/96K0248OVG, Norway August 4 1996PPage shows double-page spread using modified graphic with TV viewing times. Text translated into Norwegian. KEYWORDS Gallery Language Atlanta Olympics BasketballSMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK€ASport and Leisure BART,ART :Art,entertainment CAtlanta OlympicsH3/10/96K0249OVG, Norway 1996PPage design using elements bicycle graphic and flags. Text translated into Norwegian. KEYWORDS Gallery Language Atlanta Olympics Basketball€SMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK€ASport and Leisure BSPO,SPO :Sports CAtlanta OlympicsH3/10/96K0250OCorrera, Italy 1996PPage from Atlanta Supplementdesign using two graphics modified to suit house style and page design. Compare with other gallery page to see alternative. Text translated into Italian. KEYWORDS Gallery Language Atlanta Olympics CyclingSMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK€ASport and Leisure BSPO,SPO :Sports C 100 MetresH3/10/96K0251O(Evening Standard, London, UK July 2 1996€PfPage shows use of graphic on page sponsored by Visa KEYWORDS: Gallery 100 metres Athletics sponsorshipSMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK€ASport and Leisure BART,ART :Art,entertainment C Grand Prix H3/10/96K0252O(Evening Standard, London, UK July 5 1996PPage produced before Silverstone Grand Prix. Advert not associated with motor racing. Compare with page from Journal de Notcias. KEYWORDS: Gallery F1 Grand Prix Motor racing. NOTE: Graphic should have included credit GRAPHIC NEWSSMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPL€WGNK€ASport and Leisure BART,ART :Art,entertainment C Grand Prix H3/10/96K0253O/Journal de Notcias, Portugal September 19 1996PPage produced before Portugese Grand Prix. Compare with page from Evening Standard. Text translated into Portugese. KEYWORDS: Gallery F1 Grand Prix Motor racing SMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK€ASport and Leisure BSPO,SPO :Sports CTour de FranceH3/10/96K0254O Sport Bild, Germany June 26 1996P6Page uses overall map of Le Tour 96 KEYWORDS: GallerySMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPL€WGNK€ASport and Leisure BSPO,SPO :Sports CCricket World CupH3/10/96K0255O&Evening News Cambridge February 7 1996PEPage uses display graphic for coverage World Cup. KEYWORDS: Gallery SMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK€ASport and Leisure BART,ART :Art,entertainment CCycling Tour de FranceH3/10/96K0256O+Rotterdams Dagblad, Netherlands July 1 1996POPage uses Le Tour stage graphic for daily update of progress. KEYWORDS: GallerySMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK€ASport and Leisure €BART,ART :Art,entertainment CDunblane TragedyH3/10/96K0257O-Rotterdams Dagblad, Netherlands March 14 1996A$Page used graphic produced by Graphic News in collaboration with The Scotsman, Edinburgh. The Police made available the school picture to newspapers in the UK. Graphic News made the picture available to complement the graphic for overseas subscribers. KEYWORDS: Gallery Disaster Collaboration$SMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK€ASport and Leisure BART,ART :Art,entertainment CBSE BeefH3/10/96K0258O%Evening News Cambridge March 21 1996PqPages uses graphic originally produced in 1994 but updated to reflect new findings KEYWORDS: Gallery Agriculture €SMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK€ASport and Leisure BART,ART :Art,entertainment CBSE BeefH3/10/96K0259O&Evening Standard, London March 26 1996P(Page shows graphic... KEYWORDS: Gallery SMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK€ASport and Leisure BART,ART :Art,entertainment CFA Cup Final SoccerH3/10/96K0260O$The News, Portsmouth, UK May 10 1996PDPage shows tabloid graphic with changes...KEYWORDS: Gallery Football€SMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK€ASport and Leisure BART,ART :Art,entertainment CIsrael ElectionH3/10/96K0261O(Jewish Chronicle, London, UK May 24 1996PrPage uses graphic from package prepared prior to the election and Israel Flag. KEYWORDS: Gallery Election PoliticsSMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK€ASport and Leisure BART,ART :Art,entertainment CIra bomb LondonH3/10/96K0262O$Bolton Evening News February 10 1996PYPage uses 1 column response graphic showing location of docklands bomb. KEYWORDS: Galleryc€SMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK€ASport and Leisure BART,ART :Art,entertainment CLocal Elections UKH3/10/96K0263OSouth Wales Echo, UK May 3 1996P@Page uses 1 column summary of election result. KEYWORDS: GallerySMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK€ASport and Leisure BART,ART :Art,entertainment CRussian ElectionH3/10/96K0264O)Jewish Chronicle, London, UK June 14 1996€PPage uses clip of Russian election candidates as Russian dolls taken from graphic see other gallery page. KEYWORDS: Gallery Clip Russian DollSMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK€ASport and Leisure BART,ART :Art,entertainment CDunblane disasterH3/10/96K0265O$Evening News Cambridge March 13 1996PPage shows 1 column locator on the front page on the days a gunman shot the children in a primary school in Dunblane, Scotland. KEYWORDS: Gallery Disaster Response graphicSMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK€€ASport and Leisure BART,ART :Art,entertainment CLocal elections UKH3/10/96K0266OBolton Evening News May 1, 1996PCPage uses large graphic prior to local election. KEYWORDS: Gallery SMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK€ASport and Leisure BART,ART :Art,entertainment H3/10/96K0267PyPage uses two one column graphics to summarise the options and spread of the export ban of British beef KEYWORDS: GallerySMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK€ASport and Leisure BART,ART :Art,entertainment C Scott ReportH3/10/96€K0268O'Evening News Cambridge February 15 1996P@Page uses Scott Report Theme block KEYWORDS: Gallery Theme blockSMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK€ASport and Leisure BART,ART :Art,entertainment CDrinksH3/10/96K0269O)The Observer, London, UK February 18 1996PPage uses graphic containing Graphic News clips originally intended to be used at a fraction of the size. KEYWORDS: Gallery Clip alcohol Credit NOTE: The Credit GRAPHIC NEWS should have been includedSMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK€€ASport and Leisure BART,ART :Art,entertainment C Sport DiaryH3/10/96K0270O&Evening News Cambridge January 31 1996PPage uses diary graphic to summarise events in coming month. See other gallery page for use of icons separately KEYWORDS: Gallery IconSMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK€ASport and Leisure BART,ART :Art,entertainment C Sport DiaryH3/10/96K0271O#Evening News Cambridge April 3 1996PGPage uses graphic sports icons and logo . KEYWORDS: Gallery Icon ColourSMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK€4€ASport and Leisure BART,ART :Art,entertainment CRussian ElectionH3/10/96K0272O,Rotterdams Dagblad, Netherlands June 15 1996PUPage uses graphic of russian election. Text translated into Dutch. KEYWORDS: GALLERY SMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK€ASport and Leisure BART,ART :Art,entertainment CScotland v England RugbyH3/10/96K0273O0Evening Express, Aberdeen, Scotland March 1 1996PPage uses Rugby kit, rugby ball clip, flags and Caricature from Graphic News. Roddie Reid, Editorial Artist at Aberdeen produced matching caricature of the Scottish captain.€SMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK€ASport and Leisure BART,ART :Art,entertainment CEuro 96H3/10/96K0274ODe Gooi-en Eemlander 1996PgPage uses Tabloid page graphic translated into Dutch plus graphics of stadia KEYWORDS: Gallery FootballSMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK€ASport and Leisure BART,ART :Art,entertainment C SuperfoodH3/10/96K0275O/Rotterdams Dagblad, Netherlands January 22 1996P[Page design uses graphic with text translated into Dutch. KEYWORDS: Gallery Language Design€SMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK€ASport and Leisure BART,ART :Art,entertainment CEuro 96 FootballH3/10/96K0276OThe Guardian, London, UK 1996PA full broadsheet double page spread using graphic news football clip, map from other graphic, strips with logos KEYWORDS: Gallery DesignSMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK€ASport and Leisure BART,ART :Art,entertainment CObesityH3/10/96K0277O,Rotterdams Dagblad, Netherlands March 7 1996€PPage uses science graphic with text translated into Dutch. Graphic available as metric or imperial alternative. KEYWORDS: Gallery SMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK€ASport and Leisure BART,ART :Art,entertainment CEuro 96H3/10/96K0278O(The Sentinel, Stoke, England May 25 1996PoDouble page spread using graphics of each of the grounds with inserted photographs and logos. KEYWORDS: GallerySMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK€ASport and Leisure BART,ART :Art,entertainment CEuro 96H3/10/96K0279 €O$The Observer, London, UK June 2 1996PPage designed using parts from different graphics to produce eclusive version. Supplement used footballer clip as icon at the top of each page. KEYWORDS: GallerySMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK€ASport and Leisure BART,ART :Art,entertainment CFive Nations RugbyH3/10/96K0280O(South Wales Evening Post January 22 1996PqDouble page spread using graphics. Patch A Rugby CV uses fold corner design used with Graphic News sports iconsSMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK€ €ASport and Leisure BART,ART :Art,entertainment C WimbledonH3/10/96K0281OChine Times Express 1996PUPage uses full Wimbledon graphic with text translated into Chinese. KEYWORDS: GallerySMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK€ASport and Leisure BART,ART :Art,entertainment C Grand PrixH3/10/96K0282OSports Echo July 13 1996PGDouble page spread with photomontage across the width KEYWORDSL GallerySMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK€ASport and Leisure BART,ART :Art,entertainment C Grand PrixH3/10/96K0283  €OLe Figaro May 19 1996PNPage uses circuit and graphic in monochrome on yellow paper. KEYWORDS: GallerySMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK€ASport and Leisure BART,ART :Art,entertainment CHorses: Grand NationalH3/10/96K0284OAS, Spain March 23 1996PhFull double page spread using material from a range of graphics. KEYWORDS: Gallery Design board to LATSSMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK€ASport and Leisure BART,ART :Art,entertainment C Grand PrixH3/10/96K0285O$Evening Herald, Dublin, Ireland 1996  €P,Double page spread. Design KEYWORDS: GallerySMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK€ASport and Leisure BART,ART :Art,entertainment CAtlanta Olympics AthleticsH3/10/96K0286OCorriere Date? 1996PSFull double page spread using elements from many graphics KEYWORDS: Gallery Design SMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK€ASport and Leisure BART,ART :Art,entertainment CAtlanta Olympics AthleticsH3/10/96K0287OEthnosP$Double page spread KEYWORDS: Gallery  €SMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK€ASport and Leisure BART,ART :Art,entertainment CAtlanta Olympics BombH3/10/96K0288O%The News, Portsmouth, UK July 27 1996PADouble page spread for the day the bomb went off KEYWORDS GallerySMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK€ASport and Leisure BART,ART :Art,entertainment CTaiwan disputeH3/10/96K0289O Main Post, Germany March 13 1996P3Page uses current affairs graphic KEYWORDS: Gallery ;€SMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK€ASport and Leisure BART,ART :Art,entertainment CDow Jones AnniversaryH3/10/96K0290ORotterdams Dagblad May 25 1996P Board to LATSSMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. Photo credit: NASA/JPLWGNK€ASport and Leisure BART,ART :Art,entertainment C Grand PrixH3/10/96K0291OHull Daily Mail July 61996PPage from special supplement €SMOVIE TITLE HERE Director: XXXXXXXX Starring: XXXXXXXX Photo credit: XXXXXXXX. For editorial use only for advertising, promotion, publicity or reviews of this specific motion picture. XXXXXXXXXXVAPICTURE TITLE HERE For editorial use only. 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