019235
ARE YOUR WEEKENDS
MISSING SOMETHING?
+ +
+ +
Join us on Sundays for worship services featuring
Holy Communion. We have traditional services on
Sunday mornings and Marty Haugen services on
Sunday evenings.
Sundays 9:00 am and 6:30 pm
Central Lutheran Church
Corner of 18th &. Potter • 345.0395
www.'.velcometocentral.org
All are welcome.
• Homemade Soups
• Fresh Salads
• Fresh Pizza • Hamburgers
Fish & Chips • Pastas • Ribs
Microbrewed Beer and full bar
(nr.??
Plus 2
W5S&
‘“t*^5888
E*f*es 8/3*00* Qff6r
Medi,
*uiutn 1 it
•• i^SESS*?®®®
E^s6/3y^ offer
ALICE
continued from page 7
"Every year the performances be
come bigger and more popular,"
Gilg said. "Each production draws a
couple of thousand people, with
about 250 to 280 attending each
performance. A performance of
"Charlotte's Web" earlier this month
drew 378 people, which was our
largest audience ever."
"Doing these performances
makes you feel good ...It
feels like you 're doing a
community service. It's also
so much more imaginative
than adult theater. "
— Elizabeth Helman
Director, Alice in Wonderland
Though the productions and
audiences have both increased in size,
the need to keep things entertaining has
stayed withthecastand crew of "Alice"
"Doing these performances makes
you feel good," Helman said. "It feels
like you're doing a community serv
ice. It's also so much more imagina
tive than adult theater."
"Alice in Wonderland" will be per
formed from July 27 to 31 and August
3 to 7. All performances are at 11 a.m.
ryannyburg@dailyemerald.com
Director Elizabeth
Helman looks
over a dress
rehearsal for the
Mad Duckling
Children’s Theatre
production
of 'Alice in
Wonderland.’
Erik R. Bishoff
Online & Photo Editor
1
f j ;
Courtesy Universal Studios
Jason Bourne finds himself in several exciting car chases in The Bourne Supremacy.'
IDENTITY
continued from page 7
working on an information purchase
in Berlin and frames Bourne with a
single faux thumbprint.
When the same assassin comes
looking for Bourne in paradise, he
packs up, assuming the killer is with
the CIA, and heads off to Europe. At
the same time hard-nosed CIA agent
Pamela Landy (Joan Allen), who was
in charge of the botched Berlin mis
sion, traces the fingerprint to Bourne
and gets busy scrabbling together old
cast members from "Identity" who
worked on "Treadstone," the now-de
funct CIA project that trained Bourne.
As Bourne is drawn closer to Berlin
while tracing Landy he comes closer
and closer to uncovering the truth
about part of his past that has been
haunting him in his dream montages:
a gruesome assassination he commit
ted that has been blocked out.
The film moves quickly and tries
hard to live up to the studio sequel
mantra of bigger, better and faster, but
sometimes this formula doesn't cut it.
"Supremacy" moves very fast compared
to the relatively slowly unraveling that
"Identity" used for suspense and this is
perhaps its greatest undoing.
The plot, for all its carefully
wrought clockwork intricacies, seems
to unwind uncontrollably, peaking
long before the end of the movie and
-providing too few surprises. After the
case of mistaken identity is resolved,
the whole film goes utterly limp, de
spite an unresolved subplot.
Surprisingly, especially for an ac
tion film, one of the bright spots in
"Supremacy" is the acting by a well
chosen ensemble cast. While Damon
comes across as proficient at playing
the sensitive, quick-witted Bourne, it
is the supporting cast that shines.
Brian Cox returns, reprising his role
as Ward Abbott, the corpulent shad
owy government man with sinister in
tent (he played the same role in
"Identity," literally, and similarly in
"X2" as well). Despite the fact that his
lines are horribly cliche, Cox is mas
terful in walking the line of good and
bad and knocks it out of the park with
a great performance.
Allen shows her talent once again
for enriching any film; she successful
ly sculpts some semblance of a char
acter out what would otherwise be an
action movie cardboard cut-out with
any other actress.
Julia Stiles returns too for a few
brief scenes as Nicky, who turns out to
be more than the secretary for
Bourne's old assassin troupe, but her
time on the screen is so limited that it
feels like a cop out.
Delightfully, "Supremacy" is
packed with gee-whiz spy moments
where Bourne dazzles the audience
with some cool new trick: A personal
favorite was opening the gas main in a
house and then putting a magazine in
a warming toaster to create a time fuse
for a bomb. These moments, along
with Bourne's ability to startle the
seemingly unflinching Landy, are
some of the best in the film.
However, the look of the film
seems to fall short of expectations. Di
rector Paul Greengrass has opted to
use ultra-fast editing combined with
steadicam shots that peer through
curtains and door cracks throughout
the movie. The technique gives "Su
premacy" a distinctly voyeuristic feel.
It suggests the notion of surveillance
very effectively, but during the intense
action sequences the camera becomes
a shaky mess that looks more akin to
the movies kids make at home with
their parent's camcorders, and leaves
the audience feeling queasy.
Despite the jiggling perspective,
the car and foot chases and fight
scenes are technically brilliant, zip
ping along at excessive speeds and
with brutal force; the realism is dash
ing. Yet they don't always seem to fit
with the pacing of the rest of the
film. Both Berlin and Moscow are
shown either streaking by at 95 mph
or in long, slow pan shots that revel
in the cites' architecture. This does
seem par for the course, because "Su
premacy" seems to be channeling
both "The French Connection" car
chase ethic and "The Ipcress File's"
European spy shtick.
Steven Neuman.is a freelance reporter
. for the BmeM'di f_