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On The Screen





HHH1/2 Antonia's Line

Antonia's Line A magnificently open-hearted feminist vision of a way the world could be if men were not always struggling to dominate it. This epic magical-realist story begins just after World War II and culminates the day after tomorrow. It's not some matriarchal never-never land, however - the roses in this paradise still hold thorns. As the seasons turn over, friends and lovers grow older and die, and those who are left behind have to mix some sadness with their satisfaction. But its vision is inspired, and it plants hope in our hearts that what has had to be separated in the past can be brought together again. -Stephen Brophy. Kendall Square.

HHH1/2 The Birdcage

The American version of the French farce La Cage aux Folles succeeds on many levels, thanks in part to the ebullient performances of Robin Williams and Nathan Lane. Armand (Williams) is the owner and musical director of a nightclub in Miami's South Beach section, while his lover Albert (Lane) is the diva-in-drag who's the star performer at the club. The trouble starts when Armand's son (Dan Futterman) starts courting the daughter of a conservative U.S. Senator (Gene Hackman) whose election platform is steeped in "moral order" and "family values." By the time the film reaches its climactic, comic showdown between the two families, the message of "family" and the characters' foibles are so skillfully exploited that one overlooks the expected degrees of slapstick, even when resorting to gay stereotypes. Director Mike Nichols and screenwriter Elaine May have struck the appropriate comic and social chords for this film to be a witty, beguiling, and relevant film. -Scott C. Deskin. Sony Cheri.

HH1/2 Broken Arrow

John Travolta and Christian Slater play Vic Deakins and Riley Hale, two Air Force pilots who fly a Stealth bomber on a predawn run over the Utah desert. Travolta is the older, wiser mercenary who steals the two nuclear warheads from the bomber's cargo bay; Slater is the young, idealistic whipper-snapper who enlists a spunky park ranger (Samantha Mathis) to foil the plan. The action sequences shouldn't disappoint fans of director John Woo - they're all executed with humor and finesse, with people leaping across the screen in slow-motion with both barrels blazing. But the story is trite and predictable in comic-book fashion (it's basically a rewrite by Graham Yost of his own script for Speed), and the pivotal fight scenes feel staged and choreographed. But you don't get to see an exploding nuclear warhead (below-ground) everyday, and more often than not the special effects team delivers the goods. -SCD. Sony Copley.

HHHH Dead Man Walking

Dead Man Walking, directed by Tim Robbins and starring Sean Penn and Susan Sarandon, addresses the death penalty issue unflinchingly and comprehensively. It follows convicted killer Matthew Poncelet (Penn) from the murders, through his several appeals, and finally to his execution in excruciating detail, escorted by his spiritual adviser, Sister Helen Prejean (Sarandon). Don't look to this movie for much action, adventure, or excitement. This emotionally brutal film challenges you to think about the issues surrounding the death penalty. You'll walk away from the theater with a profound sense of the tragedy that any murder is, whether it is committed by a person or by the government. And you will leave with a bitter sense of pity both for the original victims and the convicts on death row. -Audrey Wu. Sony Nickelodeon.

HH1/2 Executive Decision

In Executive Decision, Muslim terrorists threaten to crash a passenger plane loaded with DZ-5, a lethal nerve toxin, killing all the passengers aboard, most of Washington, and sending a deadly plume of gas over much of the eastern seaboard. Enter Kurt Russell and Steven Segal, who must sneak aboard the plan to stop them. Although we know how it will turn out, Executive Decision keeps us hooked from one climax to the next with surprising efficiency. -Yaron Koren. Sony Cheri.

HHH Fargo

Joel and Ethan Coen revisit familiar territory, both personal and professional, in this tale of crime in the heartland. Set in the wintry Minnesota landscape from which the two brothers escaped a few years ago, this story of a kidnapping plot gone bad retreads the success of the Coen's first movie, Blood Simple. This revisiting is underlined by the casting of Frances McDormand, Blood Simple's femme fatale, but in a very different role - a pregnant police chief with more brains, determination, and grit, not to mention moral sense, than anyone else in the movie. -SB. Sony Nickelodeon.

HHH If Lucy Fell

If Lucy Fell doesn't begin like your typical love story. Lucy (Sarah Jessica Parker) starts off reminding her college friend, Joe, of the death pact they made while in college. If they haven't found their true loves by the age of 30 (which is one month away for Lucy) they are to jump off the Brooklyn Bridge together. The next two hours are spent reaching the expected, but still satisfying, conclusion. -Charlene Chen. Sony Copley.

HHHH Leaving Las Vegas

This sometimes-harrowing, often-redemptive look at a relationship between a destructive alcoholic (Nicholas Cage) and a prostitute (Elisabeth Shue) could be a spiritual antidote to the excesses of Showgirls. Cage is a newly-fired screenwriter whose vices have torn apart his family and led him to Las Vegas, where he resolves to drink himself to death. Shue falls in love with him for his lack of pretense, and both embark on a journey of love and self-revelation. Director Mike Figgis completely redeems himself for the pathetic Mr. Jones; here, he paints the characters with warm, natural emotions and uses the garish backdrop of the Vegas Strip (where even the golden arches of McDonald's are adorned with a multitude of flashing lights). The soundtrack of soulful contemporary songs by Sting, Don Henley, and other performers is hypnotic and artfully used. It's definitely worthwhile and uplifting for those who can take it. -SCD. Sony Copley.

HHH1/2 Sense and Sensibility

Director Ang Lee (The Wedding Banquet) and screenwriter-actress Emma Thompson present one of the newest Jane Austen adaptations this year. Despite the similarities to BBC television's Pride and Prejudice, the film is a treat to watch. Thompson plays Elinor, the older, more sensible sister of the family, while Kate Winslet plays Marianne, her younger, more passionate sister. When struck by the loss of their father, the family must look to its daughters to seek out prospective husbands; through their trials and misfortunes (including liaisons with prospective suitors Hugh Grant and Alan Rickman), the family stands together and never forsakes its honor. The dialogue and ruminations on sexual impropriety may seem quaint by today's standards, but Thompson's screenplay does justice to 18th-century romance and chivalry. -SCD. Sony Harvard Square.

HH Starmaker

A disappointing new film from the maker of Cinema Paradiso, tells the story of a con-man travelling through Sicily selling dreams of international movie stardom. Two things make this movie watchable - the magnificent location photography and the way people reveal themselves before the con-man's camera. When they can't remember the words from Gone With the Wind that he wants them to spout, they fill in with the contents of their own psyches - fears, desires, and the rest. But the central story was much better told in Fellini's La Strada. -SB. Kendall Square.

HHH1/2 White Balloon

A gently-told little gem of a story of a little Tehran girl who wants to get a special goldfish for her families Naw-Ruz, or New Year's celebration. Razieh's story is filmed in real time; we experience with her the countdown to the New Year as she struggles first to convince her mother to let her buy the fish, then sets out on the adventurous journey to fulfill her mission. This simple story enables its director, Jafar Panahi, to capture a large slice of contemporary urban Persian life. -SB. Kendall Square.