#8 Park & Tilford Cineplex
200 — 333 Brooksbank,
North Vancouver (985-3911)
Here on Earth (PG) — 1:10,
3:15, 7:15 pam.

Black and White (18A) —
1:25, 3:40, 7:20, 9:45 p.m.

Beauty (14A) — 1,

American

3:35, 6:50, 9: 20% p.m.

The Skulls (PG) — 1:05,

3:25, 7:10, 9:30 p.m.

Whatever it Takes (14A) —

9:25 p.m

The Road to Eldorado (G)
1:15, 3:20, 6:45, 8:45

Erin Brockovich (14A) —
12:50, 3:30, 7, 9:40 p.m.

@ Esplanade 6 Cinemas
200 W. Esplanade, North
Vancouver (383 -2762)

les of Engagement
— Fri, Mon-Thu 7, 9:45 p.m.
Sat/Sunl:30, 4:15, 7, 9:45

p.m.
Cider House Rules —Fri,
Mon-Thu 7:20 p.m. Sat/Sun
4:20, 7:20 p.m.

Final Destination — Fri,
Mon-Thu 16 p.m., Sat/Sun
1:55, 10 p.m.
High Fidelity — Fri, Mon-
Thu 7:16, 9:35 p.m. Sat/Sun
1:40, 4:10, viv, 9:35 p.m.
Return to Me -—— Fri, Mon-
Thu 7:35, 9:40 p.m. Sat/Sun
2, 4:30, 7; 15, 9:40 p.m.

See Showtimes Page 3

@ A Map of the World * * (out of 5) Starring Sigourney
Weaver, David Strathairn, Julianne Moore and Chloe
Sevigny. Directed by Scott Eltiott.

THOSE actresses who say there are no good roles for
women in Hollywood weren’t sent the script for A Map
of the World, and should fire their agents.

However, as much as I wanted Sigourncy Weaver to succeed in the
coniplex role of Alice, she never quite
pulls it off.

It’s a difficult role, one that elicits
mixed amounts of sympathy from the
audience. Alice is an enigma at times:
she’s uncomfortable in her role as a
mother, homemaker and farm wite,
yet she’s equally dissatisfied with her
work. When a tragedy occurs on her
farm, Alice finds herself the victim of
small-minded, smali-town malice but
her straightforward, often tactlcss
manner makes her unlikeable at times.

And Weaver doesn’t effectively convey the terrific sense of guilt that
most ¢ of us would feel after having such an accident happen on our
watc

Julianne Moore’s performance as Theresa, a grieving mother and
Alice’s best friend, is also lacking. Other than onc teary scene, there
was no sense of real loss— at the hospital, at the funeral~ when
Theresa loses her child.

Not to mention that scene where Theresa calmly allows her daugh-
ter to play at the scene of the accident, which is wholly unlikely.

The close bond between Alice and Theresa too, came as something
of a surprise, making Theresa’s willingness to testify on Afice’s behalf a
bit of a stretch.

It’s difficuit not to compare Map of the World to Atom Egoyan’s
superior The Sweet Hereafter, which also looks at how a small town
deals with the loss of a child/children.

Egoyan’s film is pared down, getting to the raw humanity beneath
the everyday lives of his characters. In contrast, the pace in Map is
plodding, despite a dearth of plot elements: Alice’s inability to adapt
to farm ie, and how small towns ostracize outsiders; Alice’s frustrat-
ing, sometimes detached, relationship with her children; the death of a
child and the resulting grief and foss; charges of sexual abuse and
Alice’s stint in prison; infidelity; and the requisite courtroom climax.

The movement from one of these scenarios to another is often
bumpy, apparently due to some choppy editing. We know Alice is
headed for trouble from the beginning. Lines deliberately dangled,

See Film Page A

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CHLOE Sevigny (right) and Marc Donato In a scene from A Map of the
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