Women in Love. A Ken Russel extravaganza. The taste of movie lovers generally can be calculated along an axis: those who like Women in Love intersects the line of those who don't. Those who like it usually don't like Godard, Resnais, exponents of the New Sensibility; they prefer Elvira Madigan to The Emigrants, Tolstoy to Proust, Flaubert to Gide. They choose oreos over hydrox, Pepsi over Coke, The Beatles over Traffic, Ritz over Saltines, Lily Pulitzer over Design Research, Cliffie peaches over Cliffie limes, and so on and so forth. Allston Cinema 2, 4:40, 7, 9:30.

Boys in the Band. More of a filmed play than a 'movie version,' a movie carried almost entirely by its dialogue. And it's quite a dialogue. It has to do with the love-hatreds between a group of gay friends. Not a very pretty picture of male homosexuality, and hopefully a dated one. Cinema 733 Fri. 3:20, 7:35.

Cabaret. with Liza Minelli, Joel Grey, Michael York. Another movie about German decadence, but this one plays cleaner than most. Which isn't saying much. Its Germans are on the whole a piggish disreputable bunch. There is your bisexual decaying aristocrat, your mother loving young men, the soldiers who seem to like each other better than the women. Joel Grey is terrific, and Minelli's "Money, Money" would make just about anything worthwhile. Cinema Kenmore Square.

Two English Girls. directed by Francois Truffaut. Here he reverses the sexes of his Jules et Jim trio--two sisters fall for the same shyster. It is absolutely disappointing, one of the few movies ever that I have walked out on. Harvard Square 4:10, 7:55. E.A.F.

The Harder They Come. Starring Jimmy Cliff. The movie is already something of a cult phenomenon. And why shouldn't it be? It's got everything: Set in a Jamaican ghetto under sunny blue skies, the movie looks like a rough etching for a travelogue; a reggae singer on the up and up is bullied and spat down by the local fat king of the record business; he falls for a young sweet 'n innocent ward of the neighborhood preacher, and then shows up all preacher's God-stricken ranting and moaning and raving and groaning as simple lechery; his ambition as a rock star thwarted, he joins the genga trade--shots of blitz-eyed traders; wearing sunglasses and a leopard skin vest he twirls two pistols in parody--the old Hollywood style Western hero has become the outcast; on the run, a wanted man, his record becomes a super hit; a doomed man, he reaps a martyr's glory--at this point the movie gets boring--he makes fools out of the cops a bit longer and then gets shot up on the beach. Orson Welles, 4, 6, 8, 10.

Millhouse: A White Comedy. A brace of embarrassing Richard Nixon film clips, put together by Emile de Antonio, the man who did Point of Order, the fine documentary film of the McCarthy hearings. Although the Nixon appearances are amusing and sometimes hilarious, de Antonio fails to find a toehold on the personality of this slipperiest of politicians. The film becomes nothing more than a disconnected sequence of Nixon statements, and some of Antonio's forays--like cutting from a determined Nixon campaign speech directly to Pat O'Brien's famous "win one for the Gipper" speech in the Notre Dame locker room, simply fall flat. Antonio has all the material to finish off Nixon, but he is unable to put it together. See the film if you're prepared to edit it in your head, or if you have a sudden urge to see the Checkers speech. At the Video Theatre.