Patterns exist everywhere: in nature, in science, in religion, in business. Max Cohen (played hauntingly by Sean Gullette) is a mathematician searching for these patterns in everything. Yet, he's not the only one, and everyone from Wall Street investors, looking to break the market, to Hasidic Jews, searching for the 216-digit number that reveals the true name of God, are trying to get their hands on Max. This dark, low-budget film was shot in black and white by director Darren Aronofsky. With eerie music, voice-overs, and overt symbolism enhancing the somber mood, Aronofsky has created a disturbing look at the world. Max is deeply paranoid, holed up in his apartment with his computer Euclid, obsessively studying chaos theory. Blinding headaches and hallucinogenic visions only feed his paranoia as he attempts to remain aloof from the world, venturing out only to meet his mentor, Sol Robeson (Mark Margolis), who for some mysterious reason feels Max should take a break from his research. Pi is complex-occasionally toocomplex-but the psychological drama and the loose sci-fi elements make this a worthwhile, albeit consuming, watch. Pi won the Director's Award at the 1998 Sundance Film Festival. -Jenny Brown.

Extreme Measures loses credibility near the climax when it sacrifices its hold on reality, but this entertaining, intelligent thriller effectively applies a formulaic plot to the complicated ethics of medical research. It also gives Hugh Grant an opportunity to break free from lightweight comedy by playing an emergency room surgeon who discovers that a renowned neurologist (Gene Hackman) has been conducting secret experiments on patients. When Grant fails to save a patient whose body later mysteriously disappears from the morgue, his investigation leads to an underground community of healthy homeless people, some of whom have been test subjects in Hackman's revolutionary, but criminal research toward a cure for paralysis. Co-produced by actor-model Elizabeth Hurley and capably directed by Michael Apted, this otherwise conventional thriller rises above its limitations by asking morally complex questions that give its far-fetched plot an extra kick of dramatic impact. -Jeff Shannon.

A welcome throwback to the spooky traditions of Jack Clayton's The Innocents and Robert Wise's The Haunting, Alejandro Amenábar's The Others favours atmosphere, sound, and suggestion over flashy special effects. Set in 1945 on a fog-enshrouded island off the British coast, the film begins with a scream as Grace (Nicole Kidman) awakens from some unspoken horror, perhaps arising from her religiously overprotective concern for her young children, Anne (Alakina Mann) and Nicholas (James Bentley). The children are hypersensitive to light and have lived in a musty manor with curtains and shutters perpetually drawn. With Grace's husband (Christopher Eccleston) presumably lost at war, this ominous setting perfectly accommodates a sense of dreaded expectation, escalating when three strangers arrive in response to Grace's yet-unposted request for domestic help. Led by housekeeper Mrs Mills (Fionnula Flanagan), this mysterious trio is as closely tied to the house's history as Grace's family is-as are the past occupants seen posthumously in a long-forgotten photo album. With her justly acclaimed performance, Kidman maintains an emotional intensity that fuels the film's supernatural underpinnings. And while Amenábar's pacing is deliberately slow, it befits the tone of penetrating anxiety, leading to a twist that extends the story's reach from beyond the grave. Amenábar unveiled a similarly effective twist in his Spanish thriller Open Your Eyes (remade by Cameron Crowe as Vanilla Sky), but where that film drew debate, The Others is finely crafted to provoke well-earned goose bumps and chills down the spine. -Jeff Shannon, Amazon. com.

The Terrorist is a remarkable Indian portrait of a suicide bomber. Ayesha Dharker (who appears in Star Wars, Episode II) gives a heart-rending performance as Malli, a 19-year-old girl whose loved ones have died in an unnamed conflict. From the harsh opening, in which Malli executes a traitor, the film follows her river journey-evoking thoughts of Apocalypse Now-and preparations to turn herself into a human bomb. Then Malli learns something that makes her question her assumptions, and as she rediscovers her humanity the drama builds to one of the most nerve-wracking conclusions in recent cinema. By using generic names such as the Leader and the VIP the film assumes universal relevance, depicting how violence and expediency can turn people into terrorist killing machines. Yet despite the material there is extraordinary poetic beauty in writer, cinematographer and director Santosh (Asoka) Sivan's presentation. He fills the screen with astounding images, precisely composed, focused and lit, while incorporating haunting symbols of love and hate, life and death, memories and dreams. The evocative use of sound also contributes to an extremely atmospheric experience and the result is an intense, subtly powerful film which will appeal to anyone entranced by Picnic at Hanging Rock (1975) or Three Colours Blue (1993). -Gary S Dalkin.

Mother Night is the third movie from director Keith Gordon (The Chocolate War, A Midnight Clear). The 35-year-old director who started as an actor (Christine) has turned into one of the more assured directors working today. His films are ambitious in plot and tone. With Mother Night he works with his first major star, Nick Nolte. In 1961, the fictitious Howard W Campbell Jr. , an American by birth, shares the same deserted prison with Adolph Eichmann. As he prepares to stand trial for war crimes, the former playwright scribes his memoirs. Now this is the same Howard W. Campbell Jr. who was a notorious voice on German radio during the war, tearing into American policy and spreading Nazi propaganda. [+]

In Kiss of the Dragon, Chinese undercover agent Jet Li chops his way through Paris after he's framed in some sketchily defined drug sting operation. The fight sequences are tough and quite brutal, and the over-the-top finale is arguably worth the price of admission, wherein an implacable Li takes on the entire Paris Police Bureau, working his way up toward police chief Tchéky Karyo's office through cops, a pair of peroxide-blond twin henchmen, and a whole class of kung fu cadets. Coscreenwriter Luc Besson (La Femme Nikita) should know by now what makes for a nifty genre piece, but the woeful dialogue is a shame, and there aren't nearly enough action sequences to get your blood boiling. Poor Bridget Fonda gives it the old-school try in a thankless role as an ex-junkie prostitute from the Midwest whose young daughter is being held captive by duplicitous police chief/drug lord/pimp Karyo (who fairly inhales the scenery). Director Chris Nolan might have pushed further the strangers-in-a-strange-land camaraderie between Li and Fonda, but the script still would've sunk him. -Steve Wiecking On the DVD: Kiss of the Dragon is a film that relies on its superbly choreographed fight scenes, so luckily the anamorphically enhanced 2. 35:1 widescreen presentation is spotless. The Dolby Digital 5. 1 audio track positively shakes the room in the action sequences and atmospheric music by Craig Armstrong perfectly underscores the highs and lulls in the drama. Extras are plentiful: the audio commentary from Director Chris Nahon with Jet Li and Bridget Fonda is informative. [+]

Claude Chabrol's nervy and nasty little 2001 thriller Merci Pour le Chocolat is based on Charlotte Armstrong's novel The Chocolate Cobweb. In Chabrol's hands it becomes a vehicle of considerable power for the unsettling, disturbed qualities of actress Isabelle Huppert, who has been one of his most important muses over the years (their other collaborations include La Cérémonie and Rien ne va Plus). Huppert plays Mika, the owner of a Swiss chocolate factory, now married to a world-class concert pianist (Jacques Dutronc) and with a stepson who is obsessive about making the family's drinking chocolate every day. As the clues unravel, it soon becomes clear that Mika is damaged goods. When Dutronc acquires a piano student (Anna Mougalis) in curious circumstances, Mika is forced to escalate her secret agenda. Huppert is fascinating throughout and the film is sinewy and, for the most part, rather clever, evoking shades of Hitchcock and Clouzot. Liszt's Les Funérailles is the ominous leitmotif, worked on by Dutronc and his protégé, and the Lausanne setting creates an other-worldliness which seems almost sterile. Only at the end does the picture dwindle into an almost Strindbergian inertia as Mika's motivation seems to evaporate in a rather unsatisfactory way. Until then it is spellbinding. -Piers Ford.