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- <text id=92TT1589>
- <title>
- July 13, 1992: Reviews:Short Takes
- </title>
- <history>
- TIME--The Weekly Newsmagazine--1992
- July 13, 1992 Inside the World's Last Eden
- </history>
- <article>
- <source>Time Magazine</source>
- <hdr>
- REVIEWS, Page 81
- SHORT TAKES
- MUSIC
- </hdr><body>
- <p> The Next Incarnation
- </p>
- <p> Call them the ever-shrinking group. In their earliest days
- the B-52S were a quintet riding the new-wave crest, but the
- death of guitarist Ricky Wilson and the recent resignation of
- vocalist Cindy Wilson have dwindled the group to a trio. Still,
- as their seventh album, Good Stuff, demonstrates, their talent
- has by no means diminished. What were once "rapid-fire three-way
- vocals," as singer Kate Pierson calls them, are now
- back-and-forth dialogues between Pierson and Fred Schneider.
- Familiar motifs abound: hot pants, UFOs and mother earth. The
- music on the album is just as colorful as its cover design, with
- lyrics full of sex and in-your-face politics. And, in true B-52s
- fashion, still as infectious, each tune inspiring a hip-shaking
- jig.
- </p>
- <p> TELEVISION
- </p>
- <p> League of His Own
- </p>
- <p> Sparky Smith (Joe Mantegna) is a hotheaded baseball
- manager who loses his job with the Seattle Mariners and winds
- up coaching a squad of inept Russians. But THE COMRADES OF
- SUMMER is more than just a Slavic Bad News Bears. Shot in the
- former Soviet Union, the HBO film nicely mixes savvy baseball
- comedy with post-cold war satire: Sparky has to scrounge for
- equipment on the black market, holds practices in a cavernous
- warehouse and listens sadly to Voice of America broadcasts as
- his Mariners head for the World Series. (It's a fantasy.)
- Mantegna is delightfully dour, and the film knows its
- capabilities: it doesn't swing for the fences, but gets a lot
- of sharp singles.
- </p>
- <p> THEATER
- </p>
- <p> Rash Impulses
- </p>
- <p> Without aiding Jesse Helms, might one advise performance
- artists that there are worthier topics than graphic details of
- sexual awakening? David Drake's THE NIGHT LARRY KRAMER KISSED
- ME comes from a radicalized gay who is too busy satirizing
- cruising in bars and gyms to define the thinking that shaped
- him. Josh Kornbluth's RED DIAPER BABY is less ably performed yet
- livelier because it recounts a more exotic upbringing -- as a
- son of doctrinaire U.S. communists. But Kornbluth barely hints
- at his own political evolution after an eye-opening trip to
- Russia, while devoting queasily explicit minutes to losing his
- virginity. Both off-Broadway shows squander serious
- opportunities in exchange for laughs or titillation.
- </p>
- <p> CINEMA
- </p>
- <p> Portrait of a Psycho in Blue
- </p>
- <p> UNLAWFUL ENTRY is a movie just waiting to be denounced by
- some presidential candidate. It's not completely anticop, but
- a desperate pol could read it that way. Rogue Los Angeles
- bluecoat Pete Davis (Ray Liotta) has some very weird ideas about
- protecting and serving Michael and Karen Carr (Kurt Russell and
- Madeleine Stowe). He comes to investigate a burglary at their
- house and stays to hit on her and harass him, after Michael sees
- through his bulletproof vest of politesse to the psychopath
- beneath. Liotta's chilly boyishness is hypnotic. Jonathan
- Kaplan's film is a little distant and a lot manipulative, as it
- reminds some of us paranoiacs that you don't have to be Rodney
- King to get more police attention than you really want or need.
- </p>
- <p> BOOKS
- </p>
- <p> Just for Kicks
- </p>
- <p> Stephen King returns from the crypt with GERALD'S GAME
- (Viking; $23.50) his 27th novel. The game begins on an average
- day in an airy summer house in Maine. Jessie Burlingame agrees
- to let her husband Gerald try a little bedtime bondage, but
- somewhere along the line he gets nasty -- and so does she,
- dispensing a vicious kick that leads to a fatal heart attack.
- Here lies Gerald, and so does Jessie, cuffed to the bedstead as
- a mad dog scratches at the door. Meanwhile, her mind and memory
- play hideous tricks, as the ghosts of her sexually abused
- childhood rise up to terrorize her. This is the old Helpless
- Woman in the Haunted House number, but refreshed by a
- combination King has rarely used before: subtle plotting and
- acute psychological insight.
- </p>
-
- </body></article>
- </text>
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