The Boston Globe from Boston, Massachusetts • 12

a 12 THE BOSTON GLOBE TUESDAY. MAY 13. 1980 V- at. i-akJ fc-i 7 777 1 Lvi- The Dead come back and put it all together Circle "Being There." 1:45. 4:30, 7:30, 10 Circle "Friday the 13th." 1:30, 3:40, 5:40, 7:50, 10 Circle "Where Buffalo Roam," 1:15, 3:15.

5:15. 7:20. 9:30 Coofidge "Can't Take II With You," 5:15, 9:40: "Man Came to Dinner," 7:35 Coolidge "New Age Animation," 6:15, 7:55, 9:35 Eieter "Tin Drum." 2, 4:30, 7:10. 9:45 Galeria "Norma Rae," 1:15, 3:20, 5:35, 7:45, 9:55 Newton Academy "Coal Miner's Daughter," 7:45, 9:55 Newton Academy "Black Stallion," 7 30 9'30 Orson Weilee "My Brilliant Career 2:30, 5, 7, 8:45. 10:30 Orson Welles "Best Boy." 1:45, 3:45 5:50, 7:45, 9:45 Orson Weilee "Wicker Man," 2-15 4:15.

6:15, 8:15, 10:15 Pi Alley "Die Laughing," 1, 3:15 5:30. 7:45, 10 Pi Alley "Nude Bomb," 1:30. 3:30, 5:45, 8, 10 Sack Pans "Being There," 1, 3:15. 5:30,7:45,10:15 Seion Bullitt." 1:30, 5:45, 10; "Thomas Crown Affair," 3:30. 8 Movie schedules ere subject to unexpected chongee.

FILM TIMES Alleton -Cruising," 1, 2:45, 4:30, 6:15, 8. 9:50 Allaton "Night Games," 2. 3:50, 5:40. 7:30. 9:20 Beacon Hill "Apocalypse Now," 1:30, 4:30, 7:30, 10:15 Beacon Hill "Black Stallion," 1, 3:15, 5:30, 7:45, 10 Beacon Hill "Night Games," 1:30, 3:30, 5:45, 10 Charles "All That Jaa," 1, 3:15, 5:30.

7:45, 10 Charles "Manhattan," 1:30, 3:30, 5:45. 8, 10 Charles "Cage aux Folles," 1:30, 3:30. 5:45, 8, 10 1 Cheri "Kramer vs. Kramer," 1:30, 3:30. 5:45.

8. 10 Chert "Changeling," 1:15, 3:30, 5:30, 7:45. 10 Chert "Rolling Stones," 1, 2:45, 4:30, 6:15, ft, 10 Chestnut Hill "Manhattan." 1:15, 3:15. 5:15, 7:45, 10 Chestnut Hill "Kramer vs. Kramer," 1, 3:05, 505, 7:30, 9:40 Chestnut Hill "All That Jazz," 1:45, 4:20, 7:20, 9:40 Cinema 57 "Where Buffalo Roam," 1:30, 3.30, 5:30, 7:45, 10 Cinema 57 "Friday the 13th," 1.

2:45, 4:30, 6:15, 8, 10 As the near-capacity congregation of 14,000 rose i -I 4.1 trx i i s(4 sir SACK atttmAi. cirtCMA CHERI 1-2-3 FRAMINGHAM sottow nt-nn I SHOWCASE 1 I SHOWCASE I DEDHAM WOBURN 326-4955 933-5330 I SOUTt I at IM lllllMUm REVIEW MUSIC ui auppiKsiuuH, uie ueaa piayea cneir traditional iwo u-minuie seis. liacn one was wen-conceived, with a minimum of nonsense and In the opener, they built patiently from "Jack Straw" through Jerrv Garcia 's new anrf "Alabama Getaway," to Bob Weir's send-up of Marty Robbins' hoary hit. "El Paso," and Garcia's CLOBE ADS PAY BEST ujimg suuica, a mrowoacK 10 nis style on the group American Beauty LP. New member Brent Mydland.

who stabilized the 1 1 111 i uanu iiac iormer Keyrioaraist Keith Godchaux was unable to do, assayed his new song, the Doobie-ish LoSS rar irum twe iwnicn is getting a lot ol local airplay). The tempo then soared as the band hit stride on "All New Mlnglewood Blues," the slinky "I Know GRATEFUL DEAD In concert at Boston Garden last night. By Steve Morse Globe Staff If there's anything spacier than the Grateful Dead, It's their true-blue audience. In fanaticism alone, the band's hard-core "Dead Head" followers would give the Hare Krishna sect a run for the roses. Last night was another night at the Grateful Dead temple.

Right next to me were two dlehards who like all self-respecting Dead Heads could immediately pick out what song the band was to play just from the tuning up between numbers. Mark Smith and Steve Haas, both from northern Vermont, had already traveled to four of the Dead's dates this tour (starting at Cornell University) and had three to go. As if speedily reciting a grocery list, they could rattle off the song lists for every show. They even imparted the wisdom that the band had played their ancient acid classic. "Morning Dew," during soundcheck in Hampton Roads, Va.

But Dead mania is nothing new; the Dead Heads are always lodged in the stratosphere. The really ou maer ana me veneraoie China Cat Sunflower." as Garcia, whose last solo tour was excellent as well, came to life and stomped around, contrary to ma ictiu-uctLti guru image. The second set was even tighter. Weir's "Feel Like a Stranger" led to the magical lilt of "Ship of fools, tollowed by Estimated Prophet, segueing into "He's Gone" and then a dissonant, acidic jam Grateful Dead leader Jerry Garcia. significant news last night had to do with the band.

Its last two area appearances at the Music Hall and the Cape Cod Coliseum were chaotic, wavering affairs. This time was markedly different from the outset, as the Dead firmly showed they could play with the flowing levitation of the past. (circa Golden Gate Park lree-concert days) and a eu phoric, malleted drum joust between Mickey Hart and Bui Kreutzmann. The Dead are alive and well again. May is a Special time at Howard Johnson REVIEW MOVIE SHOWCASE CINEMAS BARGAIN MATINEE FIRST SHOW 12.00 BARGAIN MATINEE DAILY-FIRST SHOW ONLY $2.00 Exeter St.Thcarre Bloody 'Friday' is nauseating ICIRCLE 1-2-3 CHESTNUT HH.L CLEVE.

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The problem with this murder mystery lies in the details. Director Cunningham wallows in violence. Each victim's demise is increasingly graphic. From drops of blood flowing from the side of the first unfortunate counselor to. the final decapitation, Cunningham's cinematic bloodlust seems insatiable.

He has obviously been influenced by "Dawn of the Dead" director George Romero. He even borrowed Tom Savini, the special effects man responsible for the realistic decapitations in Romero's films. But Cunningham missed one crucial lesson. He doesn't understand Romero's outrageous sense of humor. "Friday, the 13th" isn't funny.

It's disgusting. Cunningham's composer, Harry Manfredlnl, is a Bernard Herrmann clone. The soundtrack is liberally sprinkled with the screaming violins and pounding beat from "Psycho." It also telegraphs, rather than foreshadows each murder. Unless your idea of a good time is to watch a woman have her head split down the middle by an ax or a man stuck to a door with arrows, you should stay away from "Friday, the 13th." It's bad luck. FRIDAY, THE 13TH A Jllm produced and directed by Sean S.

Cunningham. Written by Victor Miller. Music by Harry Special effects by Tom Savtnt. Starring Betsy Palmer. At the Sack Cinema 57 and suburbs.

Rated R. By Michael Blowen Globe Correspondent I never believed that Friday the 13th was bad luck. Now, I do. Director Sean S. Cunningham has convinced me, beyond any doubt, that "Friday, the 13th" is a bad omen.

I left the theater feeling nauseated by the torrents of blood flowing over the screen. It's enough to make Dracula green with envy. The film has a promising beginning. The citizens of a rural New Jersey town warn a young woman that something is wrong at Camp Crystal Lake. Ralph, the "town crazie," tells her that the camp has a "death curse." Salph, It seems, isn't so crazy, because before you can check your hemoglobin count, the counselors are being knifed, axed and shot through the head with arrows.

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'Evita' tops Tony list Associated Press NEW YORK and "Talley's Folly" led the pack among musicals and plays respectively as nominations for Broadway's top honor, the Tony, were announced last night. "Evita," the hit musical about Argentina's Eva Peron, got 11 nominations, while "Folly." a love story set in rural Missouri, got five in voting for Broadway's 1979-80 season. The contenders were made public by the League of New York Theaters and Producers, whose 34th annual Tony awards show will be aired by CBS June 8. Nominations included: Betl Play: "Bent," Martin Sherman; "Chltdran of a Ltswr God," Mark ModoH; "Horn," Samm-Art Willlamt; "Taltoy't Folly." Lanlord Wllaon. Boat mutietl, bat muaical book, beat musical score (tr aarrw nomlrwea art In aacfi oalagory): "A Day In Hollywood, A Night tha Ukraina;" "Bar-num;" "Evita;" "Sugar Bablaa." Beat Actor, Play: Charles Brown, "Homa;" Garald Hlken, "Slridw;" Judd Hlrach, "Talley't Folly:" John Ruban-(tain, "Chlldran ol a Lesaar God." Beat Actreu, Play: Blyth Oan-nr, "Betrayal:" Phyllis French, "Lesser God:" Maggie Smith, "Night and Day;" Anna Twomey, "Nuls." Best Aclor, Musical: Jim Dale, "Bamum;" Gregory Hlnea, "Comln' Uptown;" Mickey Rooney, "Sugar Babies;" Onrglo TozH, "Moat Happy Fella." Beat Actrasa, Musical: Christina Andreas, "Oklahoma;" Sandy Duncan, "Paler Pan;" Paltl LuPona, "Evita;" Ann Miller, "Sugar Babies." Beet Featured Aclor, Play: David Dukes, "Bent;" George Haam, "Watch on tha fihme;" Earl Hyman, "Lady from Dubuque;" Joaaph Mahar, "Night and pay;" David Rounds, "Morning's at Seven.

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