Some critics complained that City of Angels could never compare to Wim Wenders's exquisite German film Wings of Desire, which served as the later film's primary inspiration. The better argument to make is that any such comparisons are beside the point, because Wings of Desire was a much more deeply poetic, artfully contemplative film, whereas City of Angels is an enchanting product of mainstream Hollywood. Meg Ryan stars as Dr Maggie Rice, a heart surgeon who is grieving over a lost patient when an angel named Seth (Nicolas Cage) appears to comfort her. She can see him despite the "rule" that angels are invisible and Seth's love for Maggie forces him to choose between angelic immortality and a normal human existence on earth with her. Featuring heavenly roles for TV veterans Andre Braugher and Dennis Franz, the film liberally borrows imagery from Wings of Desire, but it also creates its own charming identity. Cage and Ryan give fine performances as lovers convinced they are soul mates, and although the plot relies on a last-minute twist that doesn't quite work, this earnest love story struck a chord with audiences and proved to be one of the surprise hits of 1998. -Jeff Shannon.

Robin Williams and Annabella Sciorra star in this visually stunning metaphysical tale of life after death. Neurologist Chris and artist Annie had the perfect life until they lost their children in an auto accident; they're just starting to recover when Chris meets an untimely death himself. He's met by a messenger named Albert (Cuba Gooding Jr. ) and taken to his own personal afterlife-a freshly drawn world reminiscent of Annie's own artwork, still dripping and wet with paint. Meanwhile a depressed Annie takes her own life, compelling Chris to traverse heaven and hell to save Annie from an eternity of despair. The multitextured visuals seem to have been created from a lost fairy tale. Heaven recalls the landscape paintings of Thomas Cole and Renaissance architecture complete with floating cherubs, while hell is a massive shipwreck, an upside-down cathedral overgrown with thorns and a sea of groaning faces popping out of the ground (one of those faces is German director Werner Herzog). Williams is the perfect actor to play against the imaginative computer-generated imagery-he himself is a human special effect. But the lack of chemistry between Williams and Sciorra is painfully apparent, and the flashback plot structure flattens the story's impact despite its deeply felt examinations of the heart and the spirit. Still, there's no denying Eugenio Zanetti's triumphant production design and the Oscar-winning special effects, which create a fully formed universe that is at once beautiful, eerie, and a unique example of movie magic. [+]

When the theatrical release of James Cameron's Titanic was delayed from July to December of 1997, media pundits speculated that Cameron's $200 million disaster epic would cause the director's downfall, signal the end of the blockbuster era and sink Paramount Studios as quickly as the ill-fated luxury liner had sunk on that fateful night of April 14, 1912. Some studio executives were confident, others horrified, but the clarity of hindsight turned Cameron into an Oscar-winning genius, a shrewd businessman and one of the most successful directors in the history of motion pictures. Titanic would surpass the $1 billion mark in global box-office receipts (largely due to multiple viewings, the majority by teenage girls), win 11 Academy Awards including best picture and director, produce the bestselling movie soundtrack of all time and make a global superstar of Leonardo DiCaprio. A bona fide pop-cultural phenomenon, the film has all the ingredients of a blockbuster (romance, passion, luxury, grand scale, a snidely villain and an epic, life-threatening crisis), but Cameron's alchemy of these ingredients proved more popular than anyone could have predicted. His stroke of genius was to combine absolute authenticity with a pair of fictional lovers whose tragic fate would draw viewers into the heart-wrenching reality of the Titanic disaster. As starving artist Jack Dawson and soon-to-be-married socialite Rose DeWitt Bukater, DiCaprio and Kate Winslet won the hearts of viewers around the world and their brief but never-forgotten love affair provides the humanity that Cameron needed to turn Titanic into an emotional experience. Present-day framing scenes (featuring Gloria Stuart as the 101-year-old Rose) add additional resonance to the story and, although some viewers proved vehemently immune to Cameron's manipulations, few can deny the production's impressive achievements. Although some of the computer-generated visual effects look artificial, others-such as the sunset silhouette of Titanic during its first evening at sea, or the climactic splitting of the ship's sinking hull-are state-of-the-art marvels. In terms of sets and costumes alone, the film is never less than astounding. More than anything else, however, the film's overwhelming popularity speaks for itself. [+]

This emotionally moving romantic drama was adapted by William Nicholson from his own acclaimed play, based upon the real-life romance (during the 1950s) between the writer CS Lewis and a divorced American poet named Joy Gresham. Best known for writing The Lion, The Witch, and The Wardrobe, Lewis (Anthony Hopkins) is living comfortably as a respected Oxford don, his academic lifestyle a kind of shell protecting him from the emotional risk of love. Joy Gresham (Debra Winger) arrives at Oxford as an avid admirer of Lewis' writing, and the safety of his collegiate routine is quickly disrupted when Lewis realises he's fallen deeply and unexpectedly in love. Their courtship is uniquely engaging; he is shy and uncertain, she is outspoken and bold. But when Joy is diagnosed with cancer, Lewis' Christian faith is put to the test-he cannot fathom why their happiness together would be so drastically challenged. Together, they find a way to accept and honour the time they have shared together, and under the sensitive direction of Richard Attenborough, Shadowlands arrives at a conclusion that is both heartbreaking and uplifting at the same time. Hopkins and Winger are equally superb in this absorbing story of personal and spiritual transformation-a story previously filmed for television in 1985, with Joss Ackland and Claire Bloom. -Jeff Shannon.

Sometimes everything comes together in a movie and it becomes something so much greater than the sum of its parts that it can only be described as a miracle. That's the case with Tender Mercies, a quietly luminous character piece about an alcoholic, washed-up country singer named Mac Sledge (Robert Duvall in an Oscar-winning performance) who hits bottom in a motel room one night and then slowly finds his way back into the land of the living with the help of the widow (Tess Harper) and her young son. It's a low-key, contemplative film that feels like a rural American family comedy in the vein of the great Japanese director, Yasujiro Ozu. Tender Mercies was directed by Australian Bruce Beresford (Driving Miss Daisy, Breaker Morant), written by Horton Foote (To Kill a Mockingbird), who won an Oscar for his screenplay, and has an unbeatable cast. This is one of Duvall's most intimate and deeply personal performances, matched only by his debut 14 years later as actor-writer-director in The Apostle. -Jim Emerson.

French director Eric Rohmer, former critic and Cahiers du Cinema editor, created a very special romantic film series around the difficult choices men make when they fall in love with two women, called "Six Moral Tales. " My Night at Maud's was the third entry and it was so well received in 1969 that it gave Rohmer international prominence. To this day, it remains Rohmer's masterpiece, a brilliantly insightful and sublime meditation on adult indiscretions. Jean-Louis Trintignant plays a chaste engineer who thinks he has met his soul mate in church (Marie-Christine Barrault), yet winds up accidentally spending the night with the seductive Maud (Francoise Fabian), who is more his intellectual equal. Filmed in stark black and white by Nestor Almendros, this is one of those rare films in which questions about philosophy translate into unexpected answers about the heart. It's slow and methodical but well worth the experience. -Bill Desowitz.

Les Amants du Pont Neuf is a film that once more shows us Paris as a city of romance, but from a very different viewpoint than we might expect. The young lovers this time around are Alex and Michelle, two of the many homeless people sleeping rough on the streets of the capital. Their particular abode is the bridge of the title, the oldest such structure in the city, which they share with the older, wiser Hans. Gradually drawn together, they look for and find love in what is a particularly loveless and harsh environment. Director Leos Carax created a film that combined great beauty with an almost nightmarish reality, particularly in a gruesome opening image of a homeless hostel which seems to have a documentary feel to it. Juliette Binoche and Dennis Lavant are superb as the lovers, drawing us in to their world of joy, despair and anger. Ultimately, Les Amants du Pont Neuf manages to pull off that rare feat of being both visually stunning and emotionally engaging. On the DVD: Paris may have been filmed countless times before and since, but rarely has its beauty been so captured as here. With the action taking place mainly at night or twilight, the colours are rich and vivid or ghostly pale; both extremes are beautifully captured on this format. Resplendent with many stunning set pieces (noteably the fireworks that light up the city), this is one of the most visually sumptuous films of recent years. [+]

Demi Moore and Patrick Swayze are the passionate lovers whose romance is undone when the latter is murdered during a bungled hit arranged by a rival. The clever concept by screenwriter Bruce Joel Rubin extends into comedy (Swayze's character communicates through a sassy medium played by Whoopi Goldberg, who won an Oscar for this role), horror (the afterlife is populated by hell-bound demons and the like) and romantic complications (a handsome suitor, played by Tony Goldwyn, comes on to Moore while Swayze's spirit is still hanging around). Directed by Jerry Zucker, previously best known for co-directing Airplane! and similar broad comedies, Ghost is a careful balancing act of strong commercial elements, but at heart it is a timeless Hollywood tearjerker that easily gets under one's skin. -Tom Keogh, Amazon. com.

Martin Scorsese does not sound like the logical choice to direct an adaptation of Edith Wharton's novel about manners and morals in New York society in the 1870s. But these are mean streets, too, and the psychological violence inflicted between characters is at least as damaging as the physical violence perpetrated by Scorsese's usual gangsters. At the centre of the tale is Newland Archer (Daniel Day-Lewis), a somewhat diffident young man engaged to marry the very respectable May Welland (Winona Ryder). But Archer is distracted by May's cousin, the Countess Olenska (a radiant Michelle Pfeiffer), recently returned from Europe. As a married woman seeking a divorce, the countess is an embarrassment to all of New York society. But Archer is fascinated by her quick intelligence and worldly ways. Scorsese closely observes the tiny details of this world and this impossible situation; this is a movie in which the shift of someone's eyes can be as significant as the firing of a gun. The director's sense of colour has never been keener, and his work with the actors is subtle. That's Joanne Woodward narrating, telling us only as much as we need to know-which is one reason why the climax of The Age of Innocence comes as such a surprise. -Robert Horton Martin Scorsese does not sound like the logical choice to direct The Age of Innocence, an adaptation of Edith Wharton's novel about the manners and morals in New York society in the 1870s. [+]