Part of me feels like I didn't really get The Limey. Though it's a spare 85 minutes, director Steven Soderbergh always has a trick or two up his sleeve, and I was sure some twists were in store for me.

Witness Out of Sight, with criminal and cop falling into an unlikely romance. Witness Sex, Lies, and Videotape, which broke the indie film scene wide open. Witness Schizopolis - you know, all of it.

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Vanishing Point Review

By Christopher Null

Good

A cult classic, Vanishing Point is a pre-Smokey and the Bandit road trip film with Barry Newman's benny-fueled driver attempting to get from Denver to San Francisco in one night. Considerably stilted and random, the movie is still gritty and mannish, though the jumble of side stories like an encounter with a travelling snake handler make the movie feel padded. Fun, though that "surprise ending" isn't exactly a shock or very satisfying.

40 Days & 40 Nights Review

By Rob Blackwelder

Good

One of the more gratifying feelings a movie critic can have is the feeling of going into a picture expecting tiresome clichés of an overplayed genre, only to discover delightfully surprising freshness and soul where all the hackneyed conventions usually are.

"40 Days and 40 Nights" is such a movie. Misleadingly marketed as just another misogynistic romp through the young male libido, this often ribald comedy about a frustrated 20-something giving up sex for Lent is what the puerile, simplistic "American Pie," "Tomcats" and "Saving Silverman" might have been, had they been made by people with imagination and wit.

Directed by Michael Lehmann -- the man behind the twisted teen angst and irony of the subversive '80s cult hit "Heathers" -- "40 Days" finds many new and inventive ways to make sexual frustration funny.

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What The #$*! Do We Know?! Review

By Rob Blackwelder

Good

Reminiscent of Carl Sagan's PBS series "Cosmos" in its disposition and its tone of wonderment, "What the #$*! Do We Know?!" is a fascinating, nearly uncategorizable movie hybrid. A documentary about the theoretical inter-relationship of spirituality, biology and quantum physics, its intricate existential concepts are wrapped around a fictional story, used to illustrate and make comprehensible all the heavy-thinking wild notions proffered by enthusiastic science wonks and philosophers interviewed in non-fiction portions of the picture.

It's a film that fires the mind with scores of terrific, circular scientific quandaries, such as the fact that experiencing, remembering and imagining an event all trigger the exact same signals in the exact same areas of the brain. So, the movie asks, what is reality and how can one tell? It also delves into under-examined notions of biology (heroin uses the same receptors on human cells as the chemicals triggered by emotions), physics (the fundamental laws of which don't recognize time), and even religion. Jesus' preaching about the mustard seed being larger than the kingdom of heaven is "pure Quantum physics" says one interviewee. Another adds, "We're living on the tip of the quantum iceberg."

By loosely tying all this into the interwoven narrative about a deaf photographer (Marlee Matlin from "Children of a Lesser God") slowly emerging from a deep and bitter post-divorce funk, writer-directors William Arntz, Betsy Chasse and Mark Vicente provide an affecting accessibility that gradually paints a very large picture of a universe more ordered and interconnected -- and yet more mysterious -- than mankind has hitherto imagined.

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