Rubin hurricane carter is cut down in the prime of his boxing career and convicted of three murders he did not commit. Sentenced to life in prison carter writes a best-selling autobiography called the sixteenth round which inspires a young man to enlist the help of activists to make carter a free man. Studio: Uni Dist Corp. (mca) Release Date: 03/28/2006 Starring: Denzel Washington Deborah Kara Unger Run time: 146 minutes Rating: R Director: Norman Jewison

In his direction of The Hurricane, veteran filmmaker Norman Jewison understands that slavish loyalty to factual detail is no guarantee of compelling screen biography. In telling the story of boxer Rubin "Hurricane" Carter--who was wrongly convicted of murder in 1967 and spent nearly two decades in jail--Jewison and his screenwriters compress time, combine characters, and rearrange events with a nonchalance that would be galling if they didn't remain honest to the core truth of Carter's ordeal. Because of that emotional integrity--and because Denzel Washington brings total conviction to his title role--The Hurricane rises above the confines of biographical fidelity to embrace higher values of courage, compassion, and ultimate justice.

Jewison is woefully heavy-handed in his treatment of the fictionalized, absurdly villainous detective (Dan Hedaya) who zealously plots to keep Carter in jail, and anyone familiar with Carter's story may object to the film's simplified account. But what matters here is the shining star of hope that is Lesra (Vicellous Reon Shannon), the Brooklyn teenager who rejuvenates Carter's legal battle in the early 1980s. This surrogate father-son relationship is what revives Carter's hope for family and future, and makes The Hurricane so engrossing and emotionally effective. Lesra's real-life Canadian mentors are compressed from nine characters to three, but their efforts are superbly dramatized, and Jewison hits the small but important grace notes that make a good film even better. By its final scenes, The Hurricane conveys the rich, rewarding satisfaction of surviving a difficult but valuable journey of mind, body, and soul. --Jeff Shannon

In his direction of The Hurricane, veteran filmmaker Norman Jewison understands that slavish loyalty to factual detail is no guarantee of compelling screen biography. In telling the story of boxer Rubin "Hurricane" Carter--who was wrongly convicted of murder in 1967 and spent nearly two decades in jail--Jewison and his screenwriters compress time, combine characters, and rearrange events with a nonchalance that would be galling if they didn't remain honest to the core truth of Carter's ordeal. Because of that emotional integrity--and because Denzel Washington brings total conviction to his title role--The Hurricane rises above the confines of biographical fidelity to embrace higher values of courage, compassion, and ultimate justice.

Jewison is woefully heavy-handed in his treatment of the fictionalized, absurdly villainous detective (Dan Hedaya) who zealously plots to keep Carter in jail, and anyone familiar with Carter's story may object to the film's simplified account. But what matters here is the shining star of hope that is Lesra (Vicellous Reon Shannon), the Brooklyn teenager who rejuvenates Carter's legal battle in the early 1980s. This surrogate father-son relationship is what revives Carter's hope for family and future, and makes The Hurricane so engrossing and emotionally effective. Lesra's real-life Canadian mentors are compressed from nine characters to three, but their efforts are superbly dramatized, and Jewison hits the small but important grace notes that make a good film even better. By its final scenes, The Hurricane conveys the rich, rewarding satisfaction of surviving a difficult but valuable journey of mind, body, and soul. --Jeff Shannon