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accom; the aging hippie as he goes back g:fe to face the music. And,‘ of course, the two men take the train. No Entertainment time anyone begins to suspect his true when John Buckner, the Sutherland charâ€" acter, is called into play. His job is to Flashback seems to be settling down into a combination of two recent movies, one good, one bad: Midnnight Run, where Robert DeNiro liad.to .return Charles (_.‘vl'odink crossâ€"country, nn‘n;‘.Rnye Awakenâ€" ing, where two aging 1960s hippies were dumped into 1989. But then, just when the movie seems content to settle into its formula, the screenplay by David Loughâ€" ery gets inventive instead. _ counterculture at the time, but now his hmehn logg_sjgee passed, and he is just another sad drifter, moving along every Huey, played on a perfect note of spacedâ€" out wackiness by Dennis Hopper, begins to The movie stars Dennis Hopper as Huey Walker, once famous, now forgotten, who once got his picture on the cover of Life magazine as an "activist clown," but has now been in hiding for 20 years. Kiefer Sutherland is the straightâ€"arrow young FBI man assigned to return him to Spoâ€" kane for trial. SpWh.'l'; was Huey Walket’;i:u-ime? When iro T. Agnew was on a whistleâ€"stop tour through the Pacific Northwest in 1968, Walker uncoupled his railroad car â€" so when the train pulled out, Agnew was left waiting at the station. This was a gag good enough to make Walker a hero of the I‘ve heard people complaining recently that once you‘ve seen the coming attracâ€" tions trailer for a movie, you‘ve seen the movie. That‘s the way I felt after seeing the trailer for Franco Amurri‘s Flashback, but the film itself is a pleasant surprise â€" deeper and more original than the formula the trailer seems to promise. Walker is betrayed to the FBI by fo Toree tae mon marp play psychological with Sutherland. *!ediwq'_emhel'gimm_ml:_%y@n old, and begins mumiamfm& his unwound enough to play a game of chess unwound enough to play a of chess withhiauptivo,mdthcnlmmvin- ces him he‘s slipped a tab of acid into his mm-mhog‘:-wtfipmn.udtho old hippie shaves his beard, cuts his hair it‘s Hopper wh;mnu himself as the agent and the z â€"out Sutherland who looks like the radical. This is all lots of fun, as Hopper and Sutherland develop an edgy oldh:n:;hlmhbeufl,cuuhum and che places with him â€" so that whu_:}hcyvnn:_iveatlnintgr_medi_gultqp. backâ€"andâ€"forth rivalry, but it‘s also all predicted in the trailer. In fact, on the basis of the trailer, you‘d predict that the movie would continue as a series of gags involyâ€" bush pilot in a remote mining town in Western Canada, and still feels the mysterious pull back to his roots. ‘‘That whole atmosphere of the isoâ€" lated community, of being a pioneer, has stayed with me," says the front man for one of the nation‘s most challenging and uncompromising rock gmug:.cRod Rider. From this background hrane has crafted music that is pure rock and roll. ‘We‘ve tried to keep the essence of the records and the approach to the songs simple," he says. " Quite a few of them were written on the acoustic quitar and preâ€"produced from there. So, in their own way, these are folk rock songs." In 1980, White Hot, Red Rider‘s first single from their album Don‘t Fight It, was a top 40 hit. Ten years later, White Hot, the first single from the band‘s latest release The Symphony Sessions, is back in the top 40. Since bein%:ifned to Capitol Records in 1980, the band has been a consistent artistic and commercial success, with hit singles and albums. _ o passion for music began with the Beaâ€" tles. He bought his first guitar when he Tom Cochrane was born the son of a As with many rockers, Cochrane‘s Kiefer Sutheriand and Dennis Hopper star in Flashback predictable levels of the plot continue, involving Paul Dooley as an FBI man with a good heart, and Cliff De Young playing another of his evil, smarmy local villains. The ending of the movie, a chase and shootâ€"out set on the train, is also fairly in‘fhn:tinnkanidenfity. 'nnotwhnthnpgu,nndl‘m relucâ€" tant to say what DOES happen, because the movie takes such an interesting Uâ€"turn into what develops into a halfway serious contrast between the values of the summer of love and the greed of the Me decade. The movie sounds its new note at about the time Maggie, an unreformed 1960s hippie picture. We learn some surprising things M&nhthnd,umbm'utothink o es naaas and there are shoments when is actually touching. In the background, of course, the more was 12, using the proceeds from selling his dad‘s model train set. Cochran and Carl Perkins. "I‘d go to school in tight jeans, work boots, black shirts done up at the neck. But Led Zeppelin was big at the time. My classmates didn‘t know where I was coming from." But unlike his peers, he also grew up on the soul music of Otis Redding and Ben E. King, and the earl rock of Eddie Soon influenced by Bob Dylan, he became the quintessential roving sinâ€" gerâ€"songwriter, complete with harmoniâ€" ca taped to a coat hanger around his ‘The songwriter has neverâ€"been more important than today," he says. "I‘m an educated rebel. I write with a reason. As Lenny Bruce once said, ‘You need me. I‘m the deviate.‘ That‘s what rock ‘n‘ roll started as and should be in its purest Tom Cochrane and Red Rider perform tonight at the Twist in Waterloo, with special guests Ray Lyell and The Storm and Chalk Circle. Tickets are $20 at the door. Photo I.D. required. Doors open at 7 p.m. WATERLOO CHRONICLE, WEDNESDAY, FEBRUARY 21, 1990 â€" PAGE 13 Tom Cochrane performs at The Twist Roger Ebert is an American film critic