The Alarmist starts as a modified Robin Hood where "the den" is a circa 1954 sushi restaurant, and the merry men have been compressed into several burglar alarm sales-people bent on income redistribution. Anyone familiar with Los Angeles will realize the timeliness of their "rob the rich" scam in which Heinrich Grigoris (Greg Tucci) boosts the sales of his alarms by staging robberies in the neighborhood of his potential clients. The twist in Grigoris' scheme is Tommy, the new salesman played with adorable, bumbling style by David Arquette. The real credit in The Alarmist must go to the actors. Like Mt. Rushmore, their place in the surroundings is hard to surmise, but they define it anyway. It is hard to sort out what was what and who was right, but in the end they're all endearing. If robbing the rich puts food on their tables, so be it. Carla A. Blackmar

ANTZ

From the Manhattan skyline to Woody driveling anxiety to his shrink, the first moments of Antz suggest a film destined to become another prototypical Woody Allen movie, until Woody (now an ant named "Z") gets off the psycho-analyst's couch and walks into "The Colony." The makers of Antz seem particularly interested in demonstrating their ability to depict water and human movement, disregarding the fact that the plot must make some rather forced detours in order to accommodate these animated showpieces. Though the character of Allen as well as those of the other actors (voiced by Dan Akroyd, Anne Bancroft, Sylvester Stalone and Jennifer Lopez, among others) take some of the edge of the hackneyed plot, "Antz" fails to fully engage.   Carla A. Blackmar

BELOVED

In Beloved, the highly-anticipated adaptation of Toni Morrison's novel, slavery is explored in a subtle, almost metaphorical fashion. It is an exercise in psychology, exploring the mind of Morrison's steel-willed protagonist Sethe (Oprah Winfrey), a former slave who now lives as a free woman in Ohio in the 1870s. Beloved is a handsome, classy production that is distinguished in every possible way, but it is also a cold film. The screenplay grapples admirably with Morrison's convoluted narrative but can never get to the heart of it. The saving grace of the movie is the renowned cast.   Bill Gienapp

LIFE IS BEAUTIFUL

Life is Beautiful is a truly rare and unexpected creation: a comedy about the Holocaust. One of several miracles that writer, director, and actor Roberto Benigni performs in this film is to convince the audience that this is not a contradiction in terms. Benigni believes in his film's title, and it is this optimism which makes the movie's unlikely concept work. This celebration of the imagination in the face of so much reality--not just in the movie's plot but in its whole visual and emotional style--is a brave choice that will make this film a classic. See this movie for a reminder of the wonderful heights that film can achieve and for the at-long-last American arrival of a major international talent.   Erwin R. Rosenberg

Pleasantville

Pleasantville charms, and on the visual level, it dazzles. Half comedy, half fable, it flips the premise of The Truman Show, presenting a TV world made up of potential Trumans who need an outsider to help transform the fake into reality. Brother and sister are transported into the 50s television show "Pleasantville." David tries to keep the show going as scripted while his sister Jennifer immediately rebels. As the semi-robotic citizens gradually come to life, splashes of color begin to permeate the black-and-white world. The process is best represented in the paintings of Jeff Daniels' inarticulate soda-shoppe proprietor, whose self-expression increases in richness and assurance as his palate of colors expands. Great drama it may not be, the movie is a unique experience.   Lynn Y. Lee

THE SIEGE

Billed as a "reality" movie, The Siege presents the all-too-plausible scenario of a group of terrorists wreaking havoc in New York City while our government leaders fumble and search for ways to cope. Following the bombing of American embassies in Africa by Muslim extremists and other escalating terrorist advances against the U.S., the film depicts events very similar to those that are happening around us, much as Primary Colors did about the Clinton sex scandal. An action film taught with suspense, The Siege has also raised the ire of Arab-American groups fuming at yet another portrayal of Arabs as crazed religious zealots and bombers. The Siege has many shortfalls, including two-dimensional characters. The Siege has its thrills and suspenses, and its big name cast shouldn't fail to lure the crowds, but don't expect much more than a typical action flick with the twist of modern day relevance.   Keith D. DesRochers

The Waterboy

After the highly successful romantic comedy The Wedding Singer, it appeared that Adam Sandler had reached a new level of maturity and subtlety. Appearances are often deceptive, and if you've seen Billy Madison, Happy Gilmore, and the recurring "S.N.L." skit "Canteen Boy," then you can piece together Sandler's stupid, bayou-bred mama's boy, Bobby Bouchet. Bouchet, after learning how to channel his aggression into solid hits, goes from being the village idiot/waterboy to being a tackle that makes William "The Refrigerator" Perry look like the Maytag repair man. The plot is weak, but Sandler's hilarious physical comedy is reminiscent of Jerry Lewis. You'll like it if you liked the others.   Christopher R. Blazejewski