An All Time High by Robert Waldman Every once in a while a quirky film comes along that deserves to be seen by the masses. And especially the high-purpose elites charged with running things. This year that film is GRASS, a bang-on docu- mentary from Vancouver's own pioneering Lions Gate Films that explores the hysteria behind marijuana, the “weed from hell." Toke up at Vancouver's Fifth Avenue Cinemas. Under the able narration of the world's num- ber one pot crusader, actor Woody Harrelson (Cheers), GRASS takes a light-hearted look on the war of drugs in the hippest terms possible. Thanks to old newsreel footage audiences are exposed to the roots of this age- old dilemma. Blame it on the Mexicans who brought the “killer weed" from across the border. Or was it the cowboys who were guilty of “toking" up while out on the range. No matter who were the original culprits, it wasn't long for Uncle Sam to get his hooks into this major public health issue with wreckless abandon. Like a bull in a china shop GRASS reveals the hysteria surrounding American political efforts to nip this subversive element in the bud before any more of it's children would succumb to its "dangerous" effects - seduction, loss of control and murder. With bright colourful imagery intercut with great captions and unbelievable film footage taken from newsreels and American political training films audiences are taken on a joy ride that chronicles the rise of marijuana's popularity and the relentless non- stop efforts from a bureaucracy gone mad in it's efforts to stamp it out, for good. American presidents play a prominent role in this movie, which exposes the way a bureaucratic zealot was able to steamroll through Congress legisla- tion "criminalizing" marijuana possession with not a shred of scientific evidence to back-up their subversive effects. Flashes of brilliance heap scorn on the authori- ties as time and time again their so-called sincere efforts to “save" the youth of the nation prove laugh- able. Stark footage of classic exploitation films like Reefer Madness combined with shots of Cab Calloway and other music greats performing while allegedly under the influence draw attention to this war on drugs. A hysterical running financial total of the cost on the war of drugs by the decade coincide with mem- orable footage of massive political rallies calling for the legalization of pot and the growing unrest in the coun- try over President Nixon's draconian measures to out- law it make GRASS an important document on the way a powerful administration can hoodwink a nation into believing whatever they want. Nowadays, with the growing busts on Canadian grow-operations and the never-ending costs of enforcing a political policy that seems to be in dis- favour with the vast majority, costing billions in the process, perhaps it's "high" time to rethink this entire issue. GRASS doesn't take a stand one way or the other when it comes to what to do about marijuana today. Instead it lets the politicians cut their own heads with their personal actions, showing that they deliber- ately misled the public on the issue of marijuana. Perhaps now, with it's huge growth into one of the world's biggest natural resources, the public is having it's final revenge. Better Watch Out! by Robert Waldman For a "slasher" movie to be successful it must be full of suspense. Perhaps it is unfair to compare all “psychopathic killer" movies to the classic Seven. What a suspense thriller must have with it, though, is an exciting story that makes the adrenalin flow. The Watcher, the latest would-be thriller from Universal Studios, attempts to "excite" audiences but unfortu- nately falls a bit short on that score. Where the film should get top marks, though, is in showcasing Canadian raised superstar Keanu Reeves (Speed) as a killer whose rotten to the core. Call this typecasting in reverse. Chicago, the windy city, is the scene for a series of ghastly murders of innocent young girls. We've seen this abduct the girls plot so often it's hard to make such scenarios original. Credit the screenwrit- ers here for at least trying to inject some interesting characters into the pending carnage. A washed-out drugged-up former FBI agent named Jack Campbell gets the surprise of his life when while living in a flop-house, suddenly murders begin occurring. More surprising is that the disorganized for- mer Los Angeles G-man has been receiving letters from the apparent killer. Now, with Chicago's finest on edge and its citizens in complete dissarray, Campbell signs onto the case despite certain misgivings of the local police establishment. Through a series of flashbacks we learn of Campbell's rather rocky relationship with the killer who has travelled to Chicago to continue his merry ways. Stalking takes on a new form when David Allen Griffin begins to ply his trade again. Heaven help any single woman caught in his bizarre trap. There's method to this maniac's madness and he's the ultimate "tracker" who manages to keep a city on edge and his victims at wit's end. Only Campbell can get under his skin as the killer has a particular, rather sordid, fondness for his arch home-sick rival. Keanu Reeves is quite good as the charismatic long hair loner who makes a habit of befriending young women and then strangling them with piano wire while doing some bizarre fitness ritual. James Spader (Sex, Lies and Videotape) is extremely effective as the down on his luck FBI man who gets rejuvenated when the killings*begin all over again. Academy Award winning actress Marisa Tomei (My Cousin Vinny) completes the cast as a psychologist who some- how figures rather prominently in the main characters’ bitter rivalry. A few common car chases, some good sus- pense and two rather engaging lead performers try to make up for a pretty standard script that offers nothing really new or that original. Fans of both James Spader and Keanu Reeves should, however, enjoy their strong performances which are a complete departure from anything they've previously done. At the very least their work here just goes to show how gifted both of these actors are, and their able to overcome a fairly lame plot proves their versatility. Stills The Watcher, Universal Studios An All Time High by Robert Waldman Every once in a while a quirky film comes along that deserves to be seen by the masses. And especially the high-purpose elites charged with running, things. This year that film is GRASS, a bang-on docu- mentary from Vancouver's own pioneering Lions Gate Films that explores the hysteria behind marijuana, the “weed from hell." Toke up at Vancouver's Fifth ‘Avenue Cinemas. Under the able narration of the world's num- ber one pot crusader, actor Woody Harrelson (Cheers), GRASS takes a light-hearted look on the war of drugs in the hippest terms possible. Thanks to old newsreel footage audiences are exposed to the roots of this age~ old dilemma. Blame it on the Mexicans who brought the "killer weed" from across the border. Or was it the cowboys who were guilty of “toking” up while out on the range. No matter who were the original culprits, it wasn't long for Uncle Sam to get his hooks into this ‘major public health issue with wreckless abandon. Like a bull in a china shop GRASS reveals the hysteria surrounding American political efforts to nip this subversive element in the bud before any more of it's children would succumb to its “dangerous” effects - seduction, loss of control and murder. With bright colourful imagery intercut with great captions and unbelievable film footage taken from newsreels and American political training films audiences are taken on a joy ride that chronicles the rise of marijuana’s popularity and the relentless non- stop efforts from a bureaucracy gone mad in it's efforts to stamp it out, for good. ‘American presidents play a prominent role in this movie, which exposes the way a bureaucratic zealot was able to steamroll through Congress legisla- tion “criminalizing" marijuana possession with not a shred of scientific evidence to back-up their subversive effects. Flashes of brilliance heap scom on the authori- ties as time and time again their so-called sincere efforts to “save” the youth of the nation prove laugh- able. Stark footage of classic exploitation films like Reefer Madness combined with shots of Cab Calloway and other music greats performing while allegedly under the influence draw attention to this war on drugs. A hysterical running financial total of the cost on the war of drugs by the decade coincide with mem- orable footage of massive political rallies calling for the legalization of pot and the growing unrest in the coun- try over President Nixon's draconian measures to out- law it make GRASS an important document on the way a powerful administration can hoodwink a nation into believing whatever they want. Nowadays, with the growing busts on Canadian grow-operations and the never-ending costs of enforcing a politcal policy that seems to be in dis- favour with the vast majority, costing billions in the process, perhaps it's *high" time to rethink this entire issue GRASS doesn't take a stand one way or the ‘other when it comes to what to do about marijuana today. Instead it lets the politicians cut their own heads with their personal actions, showing that they deliber- ately misled the public on the issue of marijuana Perhaps now, with it's huge growth into one of the world's biggest natural resources, the public is having it's final revenge. @° Better Watch Out! by Robert Waldman For a “slasher” movie to be successful it must be full of suspense. Perhaps it is unfair to compare all “psychopathic killer" movies to the classic Seven. What a suspense thriller must have with it, though, is an exciting story that makes the adrenalin flow. The Watcher, the latest would-be thriller from Universal Studios, attempts to “excite” audiences but unfortu- nately falls a bit short on that score. Where the film should get top marks, though, is in showcasing Canadian raised superstar Keanu Reeves (Speed) as a Killer whose rotten to the core. Call this typecasting in reverse Chicago, the windy city, is the scene for a series of ghastly murders of innocent young gifs. We've seen this abduct the girls plot so often it's hard to make such scenarios original. Credit the screenwrit- ers here for at least trying to inject some interesting characters into the pending carnage. ‘A washed-out drugged-up former FBI agent named Jack Campbell gets the surprise of his life when while living in a flop-house, suddenly murders begin occurring. More surprising is that the disorganized for- mer Los Angeles G-man has been receiving letters from the apparent killer. Now, with Chicago's finest on edge and its citizens in complete dissarray, Campbell signs onto the case despite certain misgivings of the local police establishment. Through a series of flashbacks we learn of Campbell's rather rocky relationship with the killer who has travelled to Chicago to continue his merry ways. Stalking takes on a new form when David Allen Griffin begins to ply his trade again. Heaven help any single woman caught in his bizarre trap. There's method to this maniac's madness and he's the ultimate “tracker* who manages to keep a city on edge and his victims at wit's end. Only Campbell can get under his skin as the killer has. particular, rather sordid, fondness for his arch home-sick rival. Keanu Reeves is quite good as the charismatic long hair loner who makes a habit of befriending young women and then strangling them with piano ‘wire while doing some bizarre fitness ritual. James Spader (Sex, Lies and Videotape) is extremely effective as the down on his luck FBI man who gets rejuvenated when the killings‘begin all over again. Academy Award winning actress Marisa Tomei (My Cousin Vinny) completes the cast as a psychologist who some- how figures rather prominently in the main characters’ bitter rivalry ‘A few common car chases, some good sus- pense and two rather engaging lead performers try to make up for a pretty standard script that offers nothing. really new or that original. Fans of both James Spader and Keanu Reeves should, however, enjoy their strong performances which are a complete departure from anything they've previously done. At the very least their work here just goes to show how gifted both of these actors are, and their able to overcome a fairly lame plot proves their versatility. Stills The Watcher, Universal Studios