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On The Screen

HHHH: Excellent

HHH: Good

HH: Average

H: Poor

HHH1/2 Above the Rim

This is an intriguing film that, like its characters, overcomes many obstacles. With a plot that pits good against evil, it could have degenerated into a long, overwrought soap opera, but such is not the case. And while basketball is one of the underlying themes in this film, Above the Rim is not simply a collection of highlights. Instead of tumbling into these pitfalls, director Jeff Pollack and the talented cast have created a powerful drama without cliches. With its powerful themes, this may well be one of the finest films of the year. --Christopher Chiu. Cleveland Circle

HHHH In the Name of the Father

Daniel Day-Lewis offers a riveting portrayal of a young man named Gerry Conlon who is convicted, along with friends and family, of an IRA bombing of a British pub in 1974. The film addresses the grave injustice that the British government dealt the Conlons, but it uses the relationship in prison between Gerry and his father Guiseppe (an excellent Pete Postlethwaite) to carry the film's message of hope and redemption. Director Jim Sheridan's pro-Irish bias provides an effective retaliation against England's tendency to make Ireland a scapegoat for the IRA's actions. Quite simply, it ranks as one of the best films of 1993. --Scott Deskin. Loews Copley Place

HHH Naked Gun 331/3: The Final Insult

This film was anticipated as a letdown but proves every bit as enjoyable as the first Naked Gun. Leslie Nielsen reprises his role as the inept Lt. Frank Drebin, but he has retired from Police Squad to domestic bliss with his career-minded wife, Jane Spencer-Drebin (Priscilla Presley). The plot, as transparent as ever, centers around a terrorist (Fred Ward), his buxom accomplice (Anna Nicole Smith), and a scheme to neutralize the festivities at the Academy Awards. The film is merely a vehicle for the staggering number of lowbrow references, pratfalls, and sight gags, but nonetheless is a streamlined vehicle which can boast more hits than misses. Sometimes the acting appears more brainless than the plot, but Nielsen's mannerisms and the effective production values are appealing and transcendent of the material. For mindless entertainment, it's pretty impressive. --SD. Loews Cheri

HHH The Paper

This day-in-the-life look at a New York newspaper markets itself as a comedy, but credibly mixes elements of drama, mystery, and even romance. It captures the occasional hysteria of the newsroom, and the whole movie rushes forward as if in fear of the ever-present deadline. When Michael Keaton, as the manic metro editor, faces off against managing editor Glenn Close, sparks and stinging one-liners fly faster than newsy rumors. Under the masterful direction of Ron Howard, the star-studded cast shows us how to laugh and learn about life, just in time to get the news out. --Ann Ames. Loews Cheri

HHH Philadelphia

Hollywood's film "about" AIDS is really about discrimination and human dignity. Tom Hanks is the HIV-positive lawyer who alleges he was fired from his prestigious law firm because of AIDS discrimination, and Denzel Washington is the homophobic lawyer that agrees to take his suit to court. The film's power lies in its message, but at times it suffers from Jonathan Demme's heavy-handed direction, mistaking stilted sentiment for raw emotion. Still, the performances of Hanks, Washington, and a fine supporting cast carry the film to a near-triumphant conclusion. --SD. Loews Copley Place

HHH Reality Bites

Finally, here is a twenty-something movie with a message. Winona Ryder stars as a recent college graduate grappling with questions of identity. Following her dream of making documentary films, she interns with a television program and encounters a world of people too self-absorbed to pay much attention to her efforts. She meets a nice TV executive named Michael (Ben Stiller), doesn't fall in love, and is forced to choose between having fun with him and having a true connection with her old friend Troy (Ethan Hawke). Through all these trials, the movie still succeeds as a comedy, full of crazy details and witty one-liners. The actors' wonderful performances, as well as insightful writing by Helen Childress and directing by Ben Stiller, make this a very entertaining movie. --Gretchen Koot. Cleveland Circle

HHH The Ref

It isn't The Fugitive, but The Ref does okay in its own right. Denis Leary plays a man running from the law in this comedy by Ted Demme. After goofing up a burglary, Leary's character takes Caroline and Lloyd Chasseur (Judy Davis and Kevin Spacey) hostage while waiting for his escape. The film covers two hours of Leary's attempts to stay on top of his predicament, despite visits from the couple's son and various in-laws. Both the funny and the serious moments are well acted by the whole cast. --Kamal Swamidoss. Loews Copley Place

HHHH Schindler's List

Director Steven Spielberg triumphs in this historical drama about Oskar Schindler (Liam Neeson), who was responsible for saving the lives of more than a thousand Jews during the Holocaust. Shot almost entirely in black and white, the film takes you to the Poland of the late 30s and early 40s. Neeson is great, carefully portraying the slow change from a man who only cares about money to one who cares only about saving lives. Ben Kingsley perfectly plays Itzhak Stern, Schindler's Jewish accountant who cunningly sidesteps Nazi officials. Ralph Fiennes portrays the unswervingly-loyal Amon Goeth, the Commandant of the Nazi labor camp. Through Fiennes the audience is able to witness the hatred, brutality, and widespread death. Overall the movie is incredibly powerful, and brings to light one of the darkest periods of human history. --Patrick Mahoney. Loews Copley Place

H1/2 Threesome

Writer-Director Andrew Fleming tried to create a film about college life but ends up with a weak look at the struggle of one confused student who is trying to determine his sexual orientation. Eddy (Josh Charles) likes Stuart (Stephen Baldwin) who likes Alex (Laura Flynn Boyle) who likes Eddy. The film's premise, which finds Alex mistakenly placed as Eddy and Stuart's roommate, is overplayed in importance and only distracts from the initial presentation of the characters. Overall, the film would have been much better had Fleming either concentrated on the development of Eddy's character or on the interaction of all three characters. -- PM. Loews Harvard Square

HHH1/2 What's Eating Gilbert Grape

Bolstered by excellent performances by Leonardo DiCaprio, who received a Golden Globe nomination for his role, and Johnny Depp, this film may be the most honest and original film of the year. Gilbert Grape (Depp) is plagued through much of the film by a nagging ambivalence to his problems. The ways in which he eventually confronts these problems, however, are so subtlety reached that the story can never be accused of plot manipulation or cliche. --SD. Loews Copley Place