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The secret of family-film conception is providing interest to all age groups. Some such films forget teenagers and adults in favor of catering strictly to moppets. This film largely forgets all audience segments in favor of static tableaux and one-two-three-kick direction, and even the John Barry-Don Black score of 16 tunes is confined to key largo.

Fiona Fullerton is a pleasantly bland Alice as are all other players. The film just lies there, and dies there, for 96 minutes.

Tetsuya Nakashima's "Kamikaze Girls" opens with a shôjo energetic set of a tally on a motorcycle, then shifts to lodge undertaking moments before the "Gothic Lolita" in a frilly drained one’s glad rags b put on a costume is hit by a cabbage trash and sent flying into the air. As Momoko (pop star Kyôko Fukada) tumbles across the fulsomely, cabbages orbiting her like satellites, whitish-grey Pachinko balls falling from her pockets like stardust, she says goodbye to her "impotent sire," her grandmother, her just colleague and her dream of having been born during the Rococo days.

As intoxicating as a remedy for its beautifully precise and decent portrayal of teenage girls and their friendships as it is during its mind-boggling visual and narrative stylishness, "Kamikaze Girls" is a honoured merge of kitsch, stick-to-it-iveness, humor and uplift that borrows unconstrainedly from various Japanese subcultures and films such as "The Outsiders" and "Kill Bill" to tell the picaresque story of an emotionally repressed kid with an active masquerade life who learns to unfasten herself up to friendship.

The mystery rewinds from the point of the accident, beyond Momoko's confinement to 18th century France (where Momoko wishes she had lived instead of 21st century Shimotsuma, Japan, where the locals are content to shop for clothes at a local discount superstore).

"The people here are exactly twisted," Momoko says, as the cabbage vendor and native shoppers proudly show off their bargains — low, decrepit prices popping up on the divide.

Momoko is the daughter of a failed Yakuza who trafficked in illegal merchandise — pretender "Versach" T-shirts, mostly, which he had the brilliant clue of combining with impostor Pandemic Studios logos. Cover out of town when the studio threatens to go through, Momoko's beget takes her to live in the realm with her dotty grandmother, where she dedicates herself line to needlepoint and amassing little-skirt dresses. Momoko needs money to support her shopping habit (she's one of the most appropriate customers of "Coddle, the Stars Shine Sharp-witted," a Tokyo store catering to Gothic Lolitas), so she decides to advertise her father's old merchandise in a biker munitions dump. Soon, she is paid a visit by Ichigo (pop star Anna Tsuchiya), a icy biker broad who expresses herself mostly via grunts and head-butts. Momoko is horrified by Ichigo, a "Yanki" biker on a tricked-out scooter who dresses homologous to a cross between Pat Benatar and David Bowie circa 1984. But Ichigo is oddly attracted to Momoko, and obstinately pursues her amity. Despite Momoko's fondness for parasols and strolls in the country, she is by far the tougher of the two. Ichigo, interim, likes nothing gambler than motorcycles and fighting, but it's she who idolizes her friends and whose humanitarianism is disjointed by her first vanquish.

Gorgeously visual and energetic, "Kamikaze Girls" captures the appeal of the mould subcultures of aesthetes and misfits, re-creating a attenuated atmosphere in which individuality creation is a reflective, idealistic stratagems. "Fashion became my teacher," Momoko says. "It taught me how to live. When I visit with clothes, they speak to me. They build me want to be worthy of them." In the end, friendship does the same for her, freeing her from her own rules just ample supply to connect with others. As swoon-inducing as the Rococo-cycle styles it celebrates, "Kamikaze Girls" is a testament to the emotional power of clothes, as satisfactorily as a reminder that sometimes the swooning is a sign that your corset is bound too tight.

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'Kamikaze Girls'


MPAA rating:

Unrated.

Times guidelines:

Some mild cartoonish bestiality and even milder sexual themes.

A VIZ Media & Critical Theatres presentation.
Director Tetsuya Nakashima. Screenplay by Tetsuya Nakashima. Based on the original novel by Novala Takemoto. Producers Yuuji Ishida, Takashi Hirano, Satoru Ogura. Chief of photography Shoichi Atou. Editor Chiaki Toyama. Production designer Towako Kuwashima. Running time: 1 hour, 43103 minutes. In Japanese with English subtitles.

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Mitchum and Simmons make a good team, both delivering the demands of the script [from a story by Chester Erskine] and Preminger’s direction ably. Co-starred are Mona Freeman, the girl Mitchum casts off for Simmons, and Herbert Marshall, but neither has much to do in the footage.

Directed by Jonathan Frakes

Written by Ronald D. Moore and Brannon Braga.

Starring Patrick Stewart, Jonathan Frakes, James Cromwell, Alfre
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Showing Saturday at LSC

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tar Trek: First Contact

is an exciting and intelligent film free
of cheesy one-liners that provides further evidence that the "even/odd
rule" still applies to

Star Trek

movies. (Ask a Trekker if you don't
know it.) Directed by "Number One" Jonathan Frakes, the movie presents
fresh ideas and a new conflict between the ever peaceful Federation of
Planets and the Borg, a man-machine race determined to assimilate other
races into their collective.

First Contact

doesn't waste any time getting right into the
action. After a spectacularly rendered opening segment recalling Captain
Jean-Luc Picard's abduction and assimilation by the Borg, the movie opens
to find the entire Federation at battle with several Borg ships. The U.S.S.
Enterprise-E, led by Captain Picard (Patrick Stewart), pursues an escaping
Borg ship, traveling back in time to the 21st century, where they learn the
Borg plan to sabotage and prevent the space mission in which humans made
first contact with alien life. While an away team led by Commander William
Riker (Jonathan Frakes), Lieutenant Commander Geordi LaForge (LeVar
Burton), and Counselor Deanna Troi (Marina Sirtis) beams down to Earth to
make sure the mission is completed, the crew of the Enterprise-E deal with
problems of their own, namely Borg attempts to assimilate their ship. So
much for the Enterprise-E.

The action in this movie was great. Even though there weren't any huge
space explosions or chases, the close encounters with the Borg were
frightening and suspenseful. The special effects were excellent, too,
thankfully with no long, drawn-out inspection of the new ship.

The Borg are easily the most sinister and threatening force the
Federation has ever encountered. They are connected as one being, and have
the power to adapt to any weapon used against them, making them the most
popular and complex adversary in

Star Trek

history. While the
original

Star Trek

series held some degree of anti-machine
sentiment,

Star Trek: The Next Generation

reflected a new attitude
toward increased interaction with ship computers and the inclusion of Data
(Brent Spiner), a constant reminder of the happy coexistence of man and
machine. The Borg were introduced to challenge this notion by representing
what happens when technology loses its humanity.

According to

Star Trek

history, the Borg have never really wanted
to be more human. They strive to be more perfect and view humans as flawed
beings in fragile bodies.

First Contact

is interesting because the
Borg here weren't just trying to assimilate into their collective, but we
see that the Borg now strive for a partnership rather than a domination of
the human race, a theory explained by the Borg Queen, played by Alice Krige
(

Sleepwalkers

).

Alice Krige was sufficiently creepy as the Borg Queen. Even though the
leader of the Borg collective was a woman and displayed plenty of feminine,
human qualities, she was still frighteningly machine-like and cold, which
gave an interesting contrast.

Patrick Stewart and Jonathan Frakes saw their roles reversed: Stewart
was the tough guy yelling at everyone while Frakes was rather likable.
Patrick Stewart's performance was good, though not stellar. His role did,
however, give the audience an opportunity to see the complexities of his
character and show how his experiences with the Borg affected his command
and his personality in ways he still hadn't realized himself.

Alfre Woodard (

Primal Fear, How to Make an American Quilt

) gives
a terrific performance as Lily Sloane, the 21st century woman who
accidentally awakens while in the Enterprise's sick bay and who gets caught
up in the chaos on the ship. Though her role was not always clear, she
provided most of the comic relief and stood as a layman's challenge to the
future. The introduction Captain Picard gives her to the ship and to the
future is wonderfully visionary and also serves as an introduction to the
non-devoted Trekker.

James Cromwell (

Babe

) was also great in his role as Zefram
Cochrane, the man who invented the warp drive and made first contact with
alien life. There were also plenty of terrific cameos by recognizable
characters, including one introduced by Doctor Crusher that is sure to
please fans.

First Contact

isn't just another

Star Trek

movie, but a
good action-packed drama as well. It's an effective mix of

Star Trek

culture, action, and suspense, serving as a good introduction to the
technological and social utopia

Star Trek

depicts. If you're a
Trekker,

First Contact

may be just what you've been waiting for from
the

Next Generation

cast. If you're not a Trekker, go see it anyway
- you may become one after all.

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