“What Lies Beneath” (2000) Director: Robert Zemeckis Starring: Harrison Ford, Michelle Pfeiffer Rating: (4.0/5)

The director of "Forrest Gump" (1994) does it again. This time, his work is not entirely original, as "What Lies Beneath" is reminiscent of many old-time horror classics — most notably Hitchcock's "Psycho" (1960) — although Zemeckis's take on the bathtub scene is slightly different. That said, this film is a masterful example of what a supernatural suspense thriller is supposed to be.

Harrison Ford stars as an accomplished geneticist Norman Spencer, perfectly complemented by Michelle Pfeiffer as his wife Claire. The film begins with the couple's daughter departing for college, and Claire, who now has too much time on her hands, goes a little stir-crazy. The filmmakers set the stage for what's to come perfectly, with Claire showing signs of hysteria when she suspects a reclusive neighbor of murdering his always-crying wife. We then find out that Claire had a serious car accident a year earlier, all of which leads to the natural conclusion that there is a good chance she isn't all there. By the time she starts hearing voices and sensing a ghostly female presence in her own house, you are likely to believe that she needs psychiatric help. Yet Pfeiffer's performance keeps you guessing, as she puts forth a picture of a woman who is fully aware of how insane she must sound.

What Claire doesn't know is that Norman had a fling with a young woman who has since disappeared. Ford's casting in this role is perfect; he is the completely believable husband who is human, after all. He'd do anything to keep his marriage, including bear with Claire's seemingly crazy behavior as she sets out to investigate their supernatural houseguest.

The film's charmingly blissful initial setting quickly turns scary, as Pfeiffer's character pieces together what's really happening to her and her marriage. The last hour of the film is on-the-edge-of-your-seat suspense. And just when you think you finally understand it. Surprise! All in all, this one should prove thoroughly enjoyable. –J.D-P

“Gossip” (2000) Director: Davis Guggenheim Starring: James Marsden, Lena Headey, Kate Hudson, Joshua Jackson Rating: (3.0/5)

Yes, this was yet another teen movie. It also bombed at the box office. Despite this, I thought it was worth watching. No, that's not fair; I have to admit I actually liked it, although it had a few flaws. Since these have already been pointed out by others, I'll concentrate on the good things.

First, the premise of the film is intriguing: This drama (or dark comedy, depending on your view) explores the power of words, as the film's title suggests. Three college roommates, headed by the rich and disowned Derrick Webb who shares his stylin' digs with the less fortunate Cathy and Travis, start a rumor about another student, Naomi Preston (Kate Hudson). Naomi, the resident rich-but-nice girl, has a bit too much to drink at a party and proceeds to engage in some heavy petting with her date, Beau Edson (Joshua Jackson). The next day, the entire student populace is talking about the two having had sex, and Naomi, who is just "not that kind of girl" and can't remember it happening, makes the leap from sex to date rape, which turns a rumor into a police investigation. While Derek is reveling in the success of his plot, Cathy and Travis become more and more disturbed by the nasty turn their little joke has taken. Before you know it, someone is dead, and things get even worse.

Sleek and flashy, the film has a nice look. All of the young actors give credible performances, supported quite nicely by appearances of more familiar faces. Eric Bogosian, a multitalented comic, writer, and actor (if you watch Steven Segal movies, you'll remember him as the villain of "Under Siege 2: Dark Territory," 1995), delivers his trademark social satire and nastiness as the communications professor of the one class students actually attend. Edward James Olmos, the police chief from the late 80s television show Miami Vice and an Oscar-nominated film actor ("Stand and Deliver," 1986), gives another turn as a detective in a fashion reminiscent of Mr. Columbo.

The story of "Gossip" develops nicely, with something new and mostly unexpected happening all the time. If you overlook the facts that everyone seems to be rich and nobody actually studies in this college, the plot is plausible. Even the ending doesn't disappoint; although some of it can be foreseen, much of it is surprising and inventive. –J.D-P

“Angel Eyes” (2001) Director: Luis Mandoki Starring: Jennifer Lopez, James Caviezel Rating: (1.0/5)

For the record: There is nothing wrong with Jennifer Lopez's ass. Or with the fact that she chooses to appear in public half-naked. Or with her and Puff Daddy. OK, perhaps there is something wrong with her latest reinvention as a singer, but who am I to argue with the public which made her a "pop singing sensation?" That aside, it would be nice if the media would concentrate on her work more than her behind, because Ms. Lopez remains underrated for the most part. She is really not a bad actress.

From "Money Train" (1995) to "Selena," "Blood and Wine," "U Turn" (1997), "Out of Sight" (1998), "The Cell" (2000), and "The Wedding Planner" (2001), she has delivered performances ranging from capable to strong. In "Angel Eyes," she is completely believable as a tough cop with personal issues. James Caviezel ("G.I Jane," 1997; "The Thin Red Line," 1998; "Ride with the Devil," 1999; "Frequency," 2000) is also a pleasure to watch, but that about does it for the good things I have to say about this film.

Little did I know it was supposed to capture both male and female audiences by presenting the former with a "gritty cop thriller" (and Lopez's ass) and the latter with a weepy romance. Initially, what interested me was the definitively supernatural feel of the trailers - contrary to popular belief, not all women love weepy romances. This tone was carried out in the first half of the movie: A mysterious stranger named Catch (Caviezel), who seemingly has no past, no job, and no idea who he is, saves Sharon (Lopez) from certain death for reasons unknown, supporting the "guardian angel" theme. The two characters get involved, and it remains interesting up until the point you realize there is nothing here but a stereotypical post-traumatic-heal-each-other-through-unconditional-love drivel. Halfway through the script, it goes from promising to laughable.

The Toronto Globe and Mail described "Angel Eyes" as a film which had "the discipline to avoid . 'otherworldly forces' (ghosts, angels) which have infected recent popular romances." Hmmm. Bull. "Angel Eyes" didn't avoid this at all; its very name and the carefully crafted mystery surrounding the character of Catch misled the audiences (or, perhaps, just me), resulting in a let-down. Frankly, I expected more from director Luis Mandoki, a master of the romance genre best known for "When a Man Loves a Woman" (1994), a real-life love story that had a purpose beyond making the audience feel good. "Angel Eyes," on the other hand, is very poorly conceptualized. The only noteworthy thing about it is the non-stereotypical role reversal of male and female characters, with Lopez cast in a role usually written for and played by men. –J.D-P