Academy Screens

The origin of the Olympic Games is linked with many myths referred to in ancient sources, but in the historic years their founder is said to be Oxylos whose descendant Ifitos later rejuvenated the games. According to tradition, the Olympic Games began in 776 B.C. when Ifitos made a treaty with Lycourgos the king and famous legislator of Sparta and Cleisthenes the king of Pissa. The text of the treaty was written on a disc and kept in the Heraion. In this treaty that was the decisive event for the developement of the sanctuary as a Panhellenic centre, the "sacred truce" was agreed. That is to say the ceasing of fighting in all of the Greek world for as long as the Olympic Games were on. As a reward for the victors, the cotinus, which was a wreath made from a branch of wild olive tree that was growing next to the opisthodomus of the temple of Zeus in the sacred Altis, was established after an order of the Delphic oracle. More on The Olympic story

When Michael Douglas cracks under the
pressures of society and lashes out with vio-
lence and rage, his actions should provide the
basis for an intense and important movie, but
this is an inane attempt to comment on the
problems of America today, a thriller that is
laughable at best, and a film that deserves to
be deplored for the enjoyment it derives from
the violence it claims to be critical of. Rather
than strive for scathing realism, the story
bloats into a ludicrous cartoon by portraying
all of Douglas' victims as caricatures that
offer mostly comic relief. And Douglas is
really nothing more than a psychotic control
freak, not a normal person the audience can
feel empathy towards. - CR. Loews Cheri
 

***1/2 A Few Good Men
Nearly every element of director RobReiner's adaptation of the military murder/courtroom
drama clicks into place withthe efficiency of a finely tuned machine designed tochum out entertainment. Sureit's unoriginal, but it's also
extremely effective. The per-formances byTomCruise and Jack Nicholson are stir-
ring, and the photography,M : with crrvstl clarity and fre-quent symmetry in itsimages, is polished until it shines. For the officers in the
story, precision leads totragedy, but for the film it
leads to a triumph of sorts.-CR. Loews Copley Place

Atlantic


***!/' Groundhog Day
Phil Connors (Bill Mur-ray) is an arrogant, self-cen-
tered weatherman for a Pitts-
anything he can think of. Credit is due to
director Harold Ramis who manages to keep
the premise fresh through hundreds of repeat-
ed Groundhog Days. This is one of the fresh-
est comedies to come out in recent memory.
-Douglas D. Keller. Loews Cheri
 

Southeast

'***1/2 Homeward Bound
Despite being aimed at a juvenile audi-
ence, the latest Disney release about two dogs
and a cat traveling cross country to find their
family is sophisticated enough to appeal to
even a college audience. Michael J. Fox and
Don Ameche provide the voices of the two
dogs and Sally Field provides the voice of the
cat as all three pets think aloud while matking
their perilous journey. The script is well writ-
ten and is quite funny overall, despite the
corny morals that are presented. The hilarious
and amazing footage of the animals in action
truly makes this film, though. -Joshua
Andresen. Loews Copley Place
 

Central

-**** Howards End
The filmmaking trio of James Ivory, Ismail
Merchant, and Ruth Prawer Jhabvala have
translated E. M. Forster's novel of class strug-
gles in 20th-century England into a brilliant
film that is an astonishing achievement. The
screen is filled with contrasting elements such
as the rich and the poor, the romantic and the
pm:nm._atic, and the urhan and the pasteral. The
alternately funny and moving story considers
which group will ultimately inherit the nation.
Anthony Hopkins, Helena Bonham Carter,
and Samuel West are excellent, and Vanessa
Redgrave and Emma Thompson are outstand-
ing. --CR. Loews Charles
 

Pacific

**** Unforgiven
One of the better westerns ever made,
David Webb People's story about a retired
gunslinger (Clint Eastwood) who agrees to
hunt down two men for reward money is a
richly written deconstructionist work that rel-
ishes its elliptical morality. In this version of
the west, "sheriffs" beat men to keep violence
out of their towns, "villains" are remorseful
for what they've done, "heroes" only feel
alive when killing, and no one can be forgiven
when no one can really define a sin. East-
wood, Gene Hackman, Morgan Freeman, and
Richard Harris are all excellent, and East-
wood's direction has a slowly building pace
that allows even the most minor characters
and events to be embellished with fine detail.
-CR. LSC Friday

Southwest


**** The Crying Game
Neil Jordan's story of an IRA terrorist
(Stephen Rea) is a remarkably well-written
piece of work that at first seems to follow its
protagonist in aimless yet intriguing direc-
tions, but eventually reveals itself to be a per-
fectly structured look at violence, race, love,
and sexuality. Rea is ordered to guard a kid-
napped British officer (Forest Whitaker), but
he begins to care for the hostage and later
flees to London, where he meets the officer's
girlfriend (Jaye Davidson). The two halves of
the film, which contain some completely
unpredictable plot twists, become mirrors of
one another, reflecting how understanding and
compassion may be a means of salvation.
-CR. Loews Harvard Square

Northwest

*** Aladdin
Never less than enormously entertaining,
Disney's latest animated delight is a hilarious
musical adventure based loosely on the Arabi-
an Nights tale of a peasant boy and a magical
lamp. Thanks to the vocal talents of comedi-
ans Robin Williams and Gilbert Gottfried and
:lever animation by Disney artists, this is
probably the funniest animated film ever, but
it never loses sight of the exuberant sense of
wonder that permeates all of Disney's best
works. And with a breakneck pace and an
abundance of wonderful images, only a sec-
ond viewing reveals most of the background
gags and beautiful artistry that went into pro-

 


 

 


 

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