____
taking a bold pro-choice stance. A feel-g<xxl
to draw any comparisons—because this film
slam dunk. A
belongs in a class all by itself. A+
—Floyd Sldaver ;
—JR
Abercrombie & Filch model Channing Tatum
makes his big-screen debut in Coach Carter
Fear and Trembling
Meet the Fockers
A Belgian woman signs a one-year contract
to work as an interpreter in Japan, where she
lived until the age of 5. Little does she know
what’s in store for her at Yumimoto
Corporation—a strong anti-foreigner atmosphere
(sample line: “Your odious pragmatism is like a
Westerner!”), an abusive chain of command
and a supervisor whose degradation borders on
sadism. Based on the too-good-to-be-true story
of Amélie Nothomb, this insightful film
belongs in the company of In the Company of
Men, Office Space, Haiku Tunnel and Working
Girl as another dysfunctional-workplace
masterpiece. A
—Jim Radosta
If you still titter at how “Focker” sounds like
“fucker,” if you never tire of jokes about
btxrbies, ptxipies and male nurses, then you
STILL won’t enjoy this disastrous sequel to
Meet the Parents starring Ben Stiller and Robert
De Niro. All the elements of comedy are in
place—including the dream team of Dustin
Hoffman and Barbra Streisand as the titular
couple—bur the laughs are MIA. Sure, it’s not
every day that you see Tootsie on the toilet or
Yentl’s breasts covered in whipping
cream...and let’s keep it that way. D-
Coach Carter
In Good Company
Despite recycled conventions from Hoop
Dreams and Lean (tn Me, only the most cynical
moviegoer could watch this inspirational and
life-affirming tale without being moved to
tears. Based on the true story of Ken Carter
(the commanding Samuel L. Jackson), the film
follows the high schixil basketball coach as he
whips into shape an angry and undisciplined
team from a California ghetto. With a fine cast
of newcomers (including Abercrombie &. Fitch
mtxlel Channing Tatum and rapper Ashanti),
Coach moves in unexpected directions, even
Who knew that the folks behind American
Pie and That ’70s Show would be responsible for
2004’s best film? Writer/director Paul Weitz
cements Topher Grace’s transformation from
TV to movie star in a challenging role: After a
Murdcxzh-esque magazine takeover, a shallow
twentysomething suddenly is bossing around a
man old enough to be his father (Dennis
Quaid)—and winds up dating the guy’s daugh
ter (Scarlett Johansson). Weitz establishes a
strong moral code that is reminiscent of Good
Will Hunting and Jerry Maguire, but I’m hesitant
Virgin
Move over, Mary. There’s a new immacu
late conception in town.
Virgin, a low-budget independent film writ
ten and directed by Deborah Kampmeier, is rhe
engrossing and often frustrating tale of a
teen-age girl named Jessie (Elisabeth Moss of
The West Wing). A stray sheep in a family of
Christian fanatics, Jessie drinks Jack Daniels,
shoplifts and throws crucifixes across her
bednxnn. She may seem beyond redemption,
but she’s the only one in town who’s kind
enough to listen to the mysterious prophecies
of a weird itinerant woman who would fit right
into a David Lynch film.
january 7. 2005 *
just out 31
One night she gets wasted at a school dance,
and she ends up alone in the woods with a
homy male classmate. She passes out, and the
fellow decides to have sex with her anyway.
Weeks later, Jessie hears G<xl telling her that
she’s carrying rhe Christ child. She tmly believes
that she is a virgin, for she has no recollection of
the drunken encounter in the wixxls.
Though it’s not saturated with queer con
tent, Virgin does have a compelling lesbian
twist. Jessie befriends Frances, a sensual older
woman who puts rhe moves on Jessie while
they’re out driving one night. Compared to the
earlier sex scene in which Jessie is basically
raped, this contact is tender and fulfilling for
both women. The Sapphic subplot is not
developed further, but it does represent a rare
moment of clarity and happiness for Jessie.
The rheme of love and solidarity between
women also emerges in a scene where Jessie
cheers up her despondent mother (Robin Wright
Penn) by kissing her and dancing with her.
Many of the unknown actors have a wixxJ-
en style that limits the impact of this provoca
tive material. But Moss—an Independent
Spirit Award nominee for Best Actress—has a
captivating screen presence, bringing to life an
off-kilter character who would seem absurd in
less talented hands.
The filmmaking has an amateurish quality
at times, especially when the camera shakes
like the cinematographer is on uppers. These
faults aside, Virgin is a challenging, worthwhile
film about religious conviction and its
consequences. B
—Stephen Blair jH
Funny, tragic, passionate
TJie .Lisbon
Xroviofo
by Terrence McNally
January 21 - February 20, 2005
Six Contestants, One Crown...you do the Math!
"Thl& (¡unfilled musical entertainment i& more than a glitzy drag ¿how: lt'& a devilishly
playful ¿end-up of) old-time, overproduced beauty conteAU." -The Oregonian
Pfrtieul
Friday Evenings Only • January 21st through February 25th
Scheduled performances: 7 pm - 9 pm, 10 pm - Midnight
$20 advance / $25 at door
(503) 242-0080
Profile Theatre Project ■ 3430 SE Belmont Street ■ www.profiletheatre.org
Call (503) 224-3900 or (800) 224-3901
Visit www.portlandspirit.com
Sponsored by The Janet and Mayer Schwartz Fund of the Oregon Community Foundation.
B
‘KS#-
.. a
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