T.m. Doyle

A LONG TIME AGO, when even the brightest among us were cruising in our Big Wheels, Tim Rice and Andrew

I N THE PAST few years, Harvard's Mainstage has acquired a reputation for seriously strange and bizarre theater: from Paul

E VERY SO OFTEN, an epically bad film reaches the screen (indeed, usually just one screen) which is guaranteed to

A S THE DISCLAIMER at The Coca-Cola Kid's beginning so emphatically states, this is not really a film about Coke,

Seeing Better Off Dead is like looking at your high school yearbook picture--it's disturbingly familiar. Perhaps it's the plot of

S TEVE TESICH IS a master of the "sleeper" film. Such past screenplays of his like Breaking Away and Four

T HE WISE OFTEN remind us that when good things happen, we credit ourselves, but when bad things happen, we

O N PAPER, in some frenzied script development office, Creator could have been a good film--at least a bearable one.

IN A GENTEE1L CORNER of upper-class England in the 1920's the symptoms of ordinary Spring Fever erupt into a full