Detroit Free Press from Detroit, Michigan • Page 32

6D DETROIT FREE PRESS THURSDAY, DECEMBER 24, 1998 'Lughnasa' fails to live up to its potential 'Dancing at Lughnasa' out of 4 stars Rated PG-13; language Opens Christmas Day 1 i afe BY TERRY LAWSON Free Press Movie Critic The life of poverty led by the five unmarried Mundy sisters in Donegal, Ireland, in 1936 in Pat O'Connor's film of Brian Friel's acclaimed memory play "Dancing at Lughnasa" doesn't exactly lead us to the pot at the end of the rainbow. Not only does the teacher's salary earned by eldest sister Kate (Meryl Streep), supplemented by the few pennies the others earn knitting woolen gloves, have to support the sisters, there's also Michael (Darrell Johnston), the illegitimate 8-year-old son of Christina (Catherine McCor-mack), to look after. And any thought that their older brother, Jack (Michael Gambon), a priest returning to Ballybeg after 25 years in Africa, will help out is dashed even before he settles in. Not only is Jack old and shaky, his Catholicism seems to have been supplanted by more primitive, pagan beliefs. Brian Friel's play, which won nearly every major award American theater had to offer, was about the spell that paganism threatened to cast on the stern, strict Kate; the winsome Christina; Agnes (Brid Brennan), the caretaker; Maggie (Kathy Burke), the level-headed joker, and Rose (Sophie Thompson), the "simple" one.

Its title, with that word no one quite knew how to pronounce (closest bet: Ix)o-NAH-sa), refers to the Celtic festival held for the pagan god of light, Lugh. And the dancing, which occurs often within the play and serves as both the sisters' bond and the symbol of their temptations Irish accent in "Lughnasa." Joe the gorilla takes on some LA traffic. Gorilla remake lands with a mighty big thud Meryl Streep, front, nails a perfect ecstatic exuberance that culminated in its showpiece, a scene in which the sisters, exhausted from coping with a crisis, are taken by a folk song called "The Mason's Apron" heard on their wireless. One by one they are swept away by the music, until they join together in a wild jig outside, one that the men can only watch wordlessly and with no small amount of fear. That scene is replicated here, but no connection is made with the primal emotions that are unleashed and the subsequent tragic events.

For some strange reason, O'Connor and scriptwriter Frank McGuinness have chosen to eliminate the symbolic climax, involving the group killing of a with powerful 'Delta' By Terry Lawson Free Press Movie Critic Remaking "Mighty Joe Young" is not exactly sacrilege; the 1949 movie about a giant ape who wreaks havoc when imported to America was basically an unofficial remake of 1933's "King Kong" that took advantage of the technological advances made in the intervening 16 years. It's the same story with the new "Mighty Joe Young," which makes excellent use of computer generated imagery. Unlike this year's "Godzilla" remake, "Mighty Joe Young" does not hide its monster in nighttime rainstorms or murky sewers. He stands proud in bright African and California sunshine, and he moves gracefully enough that; on occasion, you'll be hard-pressed to figure out which Joe was created on a computer and which is a man in a monkey suit. But the big ape does share one important thing in common with the now-disgraced lizard: It exists only because the technology makes it possible.

Though the film has been dutiful-y updated to reflect conservation onsciousness, it's even sillier than die original, with dialogue that may make even small children groan and human characters that seem far more computerized than Joe. The original movie had Joe kidnapped from his African mountain paradise and brought to America as a sideshow attraction. The update has him as the surrogate brother of Jill (Charlize Theron, in khaki and curls), the jungle-raised daughter of a Dian Fossey-like anthropologist who was slain, like Joe's mother, by an evil poacher (Rade Sherbedgia). As a result of one of those pesky mutant gene strains, Joe has grown to a strapping 15 feet, but Jill and the tribe she lives with have managed to mostly keep Joe hidden from the world. His cover is blown, however, with the arrival of Gregg (Bill Paxton), who tracks big game not for sport, but for science: He's in acquisitions for an endangered species preserve in Los Angeles.

'Mi, WIS Poet makes By Terry lawson I'Yce Press Movie Critic If "Down in the Delta" has the eyes-on-the prize pacing and the inspirational lilt of a made-for-TV family drama, it comes by it honestly. The directing debut of poet, author and educator Maya Angelou was originally produced for 'Showtime. But with some superior performances by the ever-underrated Alfre Woodard, the dependable Al Freeman Jr. and the late Esther Rolle added to the. star power of Wesley Snipes, "Down in the Delta" is gel-ting a theatrical release in larger cities, where backers hope that all those people who say there is a hunger for positive, nonviolent and thoughtful movies about real African-American families will put their money where their mouths are.

To its credit, "Down in the Delta" is neither sugar-coated nor simplistic; it addresses real issues in real ways. While the film is literally about one woman's journey from inner-city Chicago to the Mississippi hometown of her family. Reluctantly signing up for the ride is Iretla (Woodard), an unemployed, drugging and drinking single mother. She has left the care of her two children, a bright but troubled adolescent named Thomas (Mpho Koaho), and Tracy (Kulani Hassen), an autistic 5-year-old, to her mother, Rosa Lynn (Mary Alice). Nor is Lo-retta is above trading her son's Walkman for a rock of crack, or forgetting to come home to make dinner.

Determined to do something to save her family, Rosa Lynn pawns the I 'Mighty Joe Young' mil of 4 stars Rated PG; violence Opens Christmas Day Gregg convinces Jill that poachers will return for Joe unless he's placed somewhere safe, so off jungle Jill and Joe go to LA, where both experience culture shock. Joe at least is given a leafy outdoor park that approximates his former habitat. Jill gets a crummy one-bedroom apartment and a dose of big-city bureaucracy when she's presented with plans to use Joe as a fund-raising attraction. Ixing before the poacher reappears, we know where Joe is headed, and it isn't to Jungle Jim's for gourmet bananas. If the monkey doesn't go amok, we have no movie.

But while Joe, like any respectable tourist, is photographed at the HOLLYWOOD sign and does make a personal appearance at the former Grauman's Chinese Theater on Hollywood Boulevard, the climatic rampage takes place nowhere near the usual landmarks, but in a generic amusement park. A screenwriter with wit might have sent Joe to Brentwood, or the Getty Museum, or at the least the La Brea tar pits. But none of those have a Ferris wheel, which will play a large, sentimental part in the grand finale. Nor does director Ron Underwood seem aware that the casting of the sexy Theron and the sly Paxton has any possibilities. He just puts them through their action-movie paces.

Paxton does at one point call Joe "a big palooka," but I'd bel money that was improvised. Nor does the star himself have much personality, despite the fact that makeup and special effects whiz Rick Baker is the man behind (and occasionally, inside) the monkey. He is most effective in his numerous tender scenes, which may have small children feeling very, very sorry for Joe. The rest of us can just feel sorry for ourselves. stunts, which include riding on a mechanical bed and wearing grotesquely patterned polyester shirts.

Still, I came out feeling sorry for the stiff, while-coated establishment, which tried to achieve with Patch what director Shadyac didn't even attempt with Williams: tone him down just a bit. Shadyac, who scored at the box office by giving free rein to Jim Carrey in "Ace Ventura" and Eddie Murphy in "The Nutty Professor," lets Williams run wild, and the result isn't pretty. He lurns what could have been a funny and poignant treatise on medi -Mir Robin Williams well, that speaks for itself. The movie, however, is less mystical and more matter-of-fact Even as it retains its dramatic structure, the narrator is Michael remembering the summer long ago when "everything changed." Director O'Connor foreshadows Michael's impending loss of innocence in the film's first scene, in which Michael's kite is lost to the heavens. The Mundys' loss, however, is far less ethereal.

Not only is their matriarchal world upset by the arrival of Jack, who has obviously left the better part of himself in Africa, the old order is also challenged by two other male intruders: Gerry Evans (Rhys Ifans), Michael's father, who comes breezing into the village on a motorbike to charm Christina anew and see his son; and a local lout looking for a new wife, who has decided Rose will do. Rose may be mentally challenged, but she's smart enough to know that she doesn't want the loveless life endured by Maggie, plain, plump but plucky; or Agnes, whose sad eyes tell her entire story. As for Kate, who never met a living thing she didn't feel compelled to lecture or reprimand, she's made her own hard bed, but even she is not without longing. She knows that without her sisters, she will have no one. Friel's play had a lyrical wit and an her mark 'Down in the Delta' out of 4 stars Rated PG; drug use, language Opens Christmas Day only valuable thing she has, a candelabra with a complicated family history, and uses the money to buy bus tickets to send Loretta and the kids to spend the summer with her brother, Uncle Earl (Freeman).

When Io-retta balks, Rosa Lynn threatens to call child welfare, so off Loretta goes to a dry county, an unwelcoming uncle and what we already know is her best hope for salvation. Yet "Down in the Delta" has more than a few wild cards up its sleeve, notably its avoidance of the usual cliches. Uncle Earl turns out to be as complicated as he is crusty, with an Alzheimer's-afflicled wife (Rolle), a business that's on the verge of folding and a lawyer son, Will (Snipes), who seems willing to tromp on his roots to appease an ambitious wife. It also has Loretta, who, when given an alternative, deals with it without the usual emotional epiphanies or mind-opening tragedies. Though Angelou may be a novice director, she's blessed with a seasoned and talented cast.

She also gets convincing, natural performances from the child actors. And the acceptance and grace of her poetry can be found in the film's best moments, one of which simply sees loretta sharing a beer at the Monica Potter in "Patch Adams." health care center without spending the rest of his life dodging lawsuits. Friends who have met the real Patch Adams (he makes regular university appearances and wrote a 1993 book about his experiences) describe him as nothing short of inspirational. The "Patch Adams" movie only inspires me to steer clear of both hospitals and any movie that casts Robin Williams as a lovable clown. Consequently, "Dancing at Luglv-; nasa" seems unfinished, and its trag-; edy is diluted and diminished.

This is1 a pity considering the extremely higlji quality of the performances by Streep; (doing a perfect Irish accent, natural; ly), Brennan, Burke and especially Thompson, sister of Emma and one of the finest character actors work-H ing. Their commitment to Friel's intent; and their understanding of the char- acters is so deep that one almost wishes they had simply filmed the; play and abandoned O'Connor's obvi- ous effort to bring it down to earth. Like Kate, O'Connor's "Dancing at Lughnasa" is all too afraid of just where the magic might have taken us. i "Down in the Delta." ence when it shows up on "Down in the Delta" is drama deserv-j ing of a big screen treatment. The only way to ensure seeing more films like it at the multiplex is to buy a ticket.

Great Relationships Begin With The Nightline Voice Personals Placing ads il FREE for both men md Send and receive meisagee (rati i i i exciting people who Bnweemoueanda ol personal ada tor FREE. iS Over 5000 calls every day! I J-0 -ODOJ ntc Call rnemMm ler ttntaal ini Htn 1Mb brp Hi MM rr FREE Estimates EASY low Financing Guaranteed or Your Money Back mlahlt HiiBuah Sun National knfc ttttovta Urnt wmbti- grata bit pw itqiml A. UggfeWWl iuj ill ilJ i Hi lilt MKTtn TatcK suffers from an overdose of shriek Alfre Woodard plays a single mom in home of a woman who works with her at Uncle Earl's restaurant Screenplay author Myron Goble's real prize should be seeing it present- ed by such a prestigious company, While it will be assured of an audi- GOOF Subscribe by calling 313-222-6500. Detroit 4rce Dress www.frccp.com By John monaghan Free Press Special Writer In "Patch Adams," Robin Williams plays an unconventional medical student who surprises an elderly cancer patient with animated balloon animals and helps another realize her dream of wading in a pool of pasta. Sneaking into the children's ward, he flops around with bedpans on his feet No offense to the real Patch Adams, who apparently has the best of 'Patch Adams' out of 4 stars Rated PG-13; mild profanity Opens Christmas Day intentions with his patient-centered philosophy, but come at me at 2 a.m.

with an enema bulb on your nose, and I'm likely to shoot first and ask questions later. Williams is at his most cuddly and cloying in Tom Shadyac's feel-good fest, set in the late 1960s. It finds the aspiring doctor going up against the medical establishment with his concept of "treating the patient, not the disease." Defying an edict that says medical students can't interact with patients until their third year of study, Patch routinely invades patients' hospital rooms and becomes their pal, making their last days on Earth more enjoyable through his crazy antics. The movie relies on even the crankiest patients caving in to Patch's ftp. fl confers with fellow medical student 1 1A SEARS DIAMOND BSE3 ROOFING miKum, Nights," as a snooly roommate confounded by Patch's effortless success in the classroom.

By the end, he too goes all gooey on Patch. Eventually, Patch opens the Ge-sundheit Institute, a free clinic on a Virginia mountaintop. This is the reason why the movie remains set in the 1960s, probably the last time an idealistic doctor could pull off a grassroots cine into just another knee-jerk comic vehicle. There are, of course, requisite moments of dramatic soul-searching, the kind that copped Williams an Oscar in "Good Will Hunting." There also are countless bits you find in any Williams performance, where he sneaks in spontaneous antics and ad libs, as if the director turned his back for a second on his mischievous star. Better is Philip Seymour Hoffman FREE 15 Point Evaluation Satisfaction "rot quolilitrj purthaw in Won Horn IfflDiavimcnl hafl iitounK (mowiM PO'ded hi Donond W-vmi lw 0 Won ogrtwi(d iumti 1 4.