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MONEY FOR COLLEGE AETN (Comcast Ch. 3, Broadcast Ch. 2) 8 p.m. Thursday, Feb. 3 With tuition rising every year, it’s getting to the point that you have to actually own the restaurant in order to work your way through college there. And while the age of the self-made college student might be coming to an end, that doesn’t mean you have to sell a kidney to land your sheepskin. Here, in a one-hour call-in special, AETN tries to take the sticker shock out of funding a college education. Host Evangeline Parker, financial aid administrators, representatives from the Department of Higher Education, and IRS agents will be on hand to help talk prospective students down off the ledge. DOG DAY AFTERNOON (1975) 9:45 a.m. Wednesday, Feb. 9 American Movie Classics (Comcast Ch. 31) Considered by critics to be Al Pacino’s finest early work, “Dog Day Afternoon” might just be the strangest true story ever put to the screen (except maybe for that old guy who drove his lawnmower across Iowa in “The Straight Story”). Based on a real-life robbery in 1972, “Dog Day” is the tale of Sonny Wortzik (Pacino), a bumbling thief who sticks up a Brooklyn bank while trying to get money for his lover’s sex-change operation. The ensuing standoff, in which Wortzik takes eight hostages and humiliates the forces of the NYPD, is still a gripping work of cinema, one which helped “DDA” garner six Oscar noms that year, including Best Picture, Best Actor and Best Director. BRAVEHEART (1995) 11 p.m. Saturday, Feb. 5 Bravo (Comcast Ch. 50) Back before he went completely off his nut and made that snuff flick about Jesus, Mel Gibson used to be a damned fine director and one heck of a movie star. Case in point: “Braveheart,” which won the Oscar for Best Picture — and a Best Director Oscar for Gibson — in 1996. The story of William Wallace, the 13th-century Scottish rebel who helped turn the tide against the English occupation of Scotland, it’s a soaring work of art, part war epic, part love story (though according to some historians, it plays a little fast and loose with the historical record). Gibson himself does great work in the title role, using his stony features to great effect in an understated performance.
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