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About Just out. (Portland, OR) 1983-2013 | View Entire Issue (Nov. 15, 2002)
nminmhnr Ti TfìTT J— l — 1 _| 1 <£%> <Xf- A u to F ocus Video killed the TV star in this un settling hiopic about Hogan’s Heroes actor and homemade pom addict Boh Crane (Greg Kinnear)—a sad, voyeuristic E! True Hollywood Story dramatization. My major gripe is that the ending—much like the unsolved murder that ended Cranes life— is abrupt and unsatisfying. with a trailer trash mama (Kim Basinger) who enters talent shows in which contestants cut down on their opponents’ masculinity to gain audience approval. It’s unfortunate that there isn’t much more to this Rocky/Purple Rain clone than predictable posturing, sullen sulk ing and misguided misogyny. -J R —Jim Radosta < 0 > < & <%><£> B ow ling for C olumbine Rather than jumping on an anti-gun soapbox, renegade filmmaker Michael Moore instead delves deeply into the roots of the problem: W hy the hell do so many Americans shoot each other? His evaluation reveals a country immersed in hateful xenophobia, corporate domination and paralyzing fear. O f course, one can’t help hut wonder whether a great deal of that paranoia stems from watching documentaries like this. F rida A t least it looks good. Director Julie Tay- mor’s take on the life of the famous painter and her husband, Diego Rivera, has loads of visual pizzazz, effortlessly evoking the feel, color and sounds of Old Mexico. But the overwrought acting and soap opera script are in constant battle with the film’s more thoughtful impulses. Frida (Salma Hayek) was indeed a hellcat in real life, but here she’s the dreaded cliched Latin spitfire brawling in cantinas, noisily swapping tongue with the fetching Ashley Judd and generally screaming and car rying on. Edward Norton apparently rewrote the script— more evidence that actors should he barred from becoming screenwriters. — Gary Morris W hit's popped and what's flopped, In a theater near you. <g> <£> dud, bottom of the bag only if you’re really hungry good effort, pass the salt J ackass the M ovie Sure, 1 could go on and on about how this big-screen version of M TV ’s “don’t try these stunts at hom e” program hardly qualifies as a movie. I could chastise these dudes for the utter lack of respect they show their digestive systems, their bodies, their fellow hum an beings. But why bother? It’s strangely entertaining, and the homophobic subtext (can you say “anal fixation”?) makes it worth the nausea. mmmm, tasty! < £ > < §> < £> get the big tub o’ com loser in love (Emily W atson) while being pursued by the M orm on Phone Sex Mafia. -JR R eal W omen H ave C urves -J R - JR <&> 8 M ile P u n c h -D runk L ove T h ere’s silly, and th en there’s stupid. T h ere’s quirky, and then th ere’s absurd. W riter/director Paul Thom as A nderson (Boogie Nights) bravely walks this tightrope hut ends up splattered all over the concrete in his pointless exercise about a loose cannon (an impressive A dam Sandler) who falls for a fellow It’s hard to keep track of the rapid evolution of Eminem. W ithin two years he’s gone from Vanilla Ice wannabe to G LA A D pariah to critics darling to Oscar candidate. His first lead role is a kinder, gentler version of himself—Jimmy Smith Jr., aka “Bunny Rabbit,” an aspiring Detroit rapper Alternatively bittersweet and hilarious is this first feature from archaeologist-tumed-filmmaker Patricia Cardoso about Mexican immigrants and their first-generation daughters. America Ferrera makes an unforgettable debut as Ana, an 18-year- old who wants to go to college hut whose mother (Lupe Ontiveros of Chuck & Buck) has serious plans for her to work in her older sister’s sweatshop. Cross-generational issues, body image and culture clashes all col lide in a refreshingly unforced way. — Lisa Bradshaw - J i l - c £ e ¿ ^ió tro V Ìlo n ta ffe 301 S S . W orrison Open S$v»n S)ayi a l/Ùiel aò in n sr: S u n - S lu tr. 6p.m .- 2 a m. U ri. & S a t. 6p 4 a .m. JL n c iv W o n .- U i. 11 : 30-2 5 0 3 .2 3 4 .1 3 2 4 m ontale. cityóearcL. com FOR A GREAT STEAK, LOOK FOR THE REVOLVING STEAK SIGN SalaV EXCEPT IN BEAVERTON, WHERE THE CITY W OULDN’T LET US IK HAVE ONE f/fa /ta n New Fall/W inter M enu £ ° O o m „ , es stnce 1946 .. ^ Our revolving steak sign has become a landmark in Portland Wf* A sign o f quality. Where you know you can get a great steak dinner at a fair price. Unfortunately, we couldn t get that same sign in Beaverton But honestly, we re not that hard to find 105th & SE Stark • SaylerM OLD COUNTRY KITCHEN home o f the 72 oz. steak 503-252-4171 - Beaverton-Hillsdale Hwy at Griffith Dr. - 503-644-1492 « i/f/w u a /a e tC* SSotoe// S O tS - 2 ^ 6 - Ó f t f t 'ó to roto. tta /a A ittfro . c o o t Keep Strollin’! More wonderful restaurants to discover on page 42.
