Keanu Reeves

Kenneth Branagh's 1993 production of Shakespeare's Much Ado About Nothing is a vigorous and imaginative work, cheerful and accessible for everyone. Largely the story of Benedick (Branagh) and Beatrice (Emma Thompson)--adversaries who come to believe each is trying to woo the other--the film veers from arched wit to ironic romps, and the two leads don't mind looking a little silly at times. But the plot is also layered with darker matters that concern the ease with which men and women fall into mutual distrust.

After returning from World War II, a young G.I. named Paul Sutton (Keanu Reeves) finds he has little in common with the wife he left behind. Disillusioned, he heads north to work as a traveling salesman. There he meets the daughter (Anita Sanchez-Gijon), of a wealthy vineyard owner (Giancarlo Giannini). On her way home, she's terrified of what her domineering father will do when he learns she's unmarried and pregnant. The young man gallantly offers to help by posing as her husband for one night, unaware that doing so will change both their lives forever.

As upscale sitcoms go, Something's Gotta Give has more to offer than most romantic comedies. Obviously working through some semi-autobiographical issues regarding "women of a certain age," writer-director Nancy Meyers brings adequate credibility and above-average intelligence to what is essentially (but not exclusively) a fantasy premise, in which an aging lothario who's always dated younger women (Jack Nicholson, more or less playing himself) falls for a successful middle-aged playwright (Diane Keaton) who's convinced she's past the age of romance, much less sexual re-awakening.

This disturbing little film is even more unsettling when you think about the fact that it's based on an actual case. Troubled teen Samson murders his girlfriend Jamie for no particular reason, leaves her nude body by the river's edge, then brings his friends to see the corpse to prove he did it. They look at her, prod her, and talk about her, but no one seems to manage to feel anything. River's Edge is ultimately a study of kids who are so numbed by drugs, casual parenting, and the ever present threat of nuclear war that not even death can get a rise out of them.

Despite the inevitable law of diminishing returns, The Matrix Revolutions is quite satisfying as an adrenalized action epic, marking yet another milestone in the exponential evolution of computer-generated special effects. That may not be enough to satisfy hardcore Matrix fans who turned the Wachowski Brothers' hacker mythology into a quasi-religious pop-cultural phenomenon, but there's no denying that the trilogy goes out with a cosmic bang instead of the whimper that many expected.

Considering the lofty expectations that preceded it, The Matrix Reloaded triumphs where most sequels fail. It would be impossible to match the fresh audacity that made The Matrix a global phenomenon in 1999, but in continuing the exploits of rebellious Neo (Keanu Reeves), Morpheus (Laurence Fishburne), and Trinity (Carrie-Anne Moss) as they struggle to save the human sanctuary of Zion from invading machines, the codirecting Wachowski brothers have their priorities well in order.

Perception: Our day-in, day-out world is real. Reality: That world is a hoax, an elaborate deception spun by all-powerful machines of artificial intelligence that control us. Whoa. Mind-warp stunts. Techno-slammin' visuals. Mega-kick action. Keanu Reeves and Laurence Fishburne lead the fight to free humankind in The Matrix, the see-and-see-again cyberthriller written and directed by the Wachowski brothers (Bound). The story sears, the special effects stake out new moviemaking territory - the movie flat-out rocks.

Too old for Hamlet and too young for Lear--what's an ambitious actor to do? Play the Devil, of course. Jack Nicholson did it in The Witches of Eastwick; Robert De Niro did it in Angel Heart (as Louis Cyphre--get it?). In The Devil's Advocate Al Pacino takes his turn as the great Satan, and clearly relishes his chance to raise hell. He's a New York lawyer, of course, by the name of John Milton, who recruits a hotshot young Florida attorney (Keanu Reeves) to his firm and seduces him with tempting offers of power, sex, and money.

A sumptuously mounted and photographed celebration of artful wickedness, betrayal, and sexual intrigue among depraved 18th-century French aristocrats, Dangerous Liaisons (based on Christopher Hampton's Les Liaisons Dangereuses) is seductively decadent fun. The villainous heroes are the Marquise De Merteuil (Glenn Close) and the Vicomte De Valmont (John Malkovich), who have cultivated their mutual cynicism into a highly developed and exquisitely mannered form of (in-)human expression.

Gary Oldman, Winona Ryder and Anthony Hopkins star in director Francis Ford Coppola's visually stunning, passionately seductive version of the Dracula legend. In Bram Stoker's Dracula, Coppola returns to the original source of the Dracula myth, and from that gothic romance, he creates a modern masterpiece. Gary Oldman's metamorphosis as Dracula - who grows from old to young, from man to beast - is nothing short of amazing. Winona Ryder brings equal intensity to the role of a young beauty who becomes the object of Dracula's devastating desire.