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On the surface, a mathematical thriller with religious overtones.or is it a religious thriller with mathematical overtones? Or is it an analysis of the nature of sanity, a consideration of how we fit in and find a place in the world where we live? See it and decide for yourself. The black-and-white cinematography is somehow simultaneously both subtle and lurid. "Pi" defies description; it is imaginative, engrossing, and shocking, easily the most daring and outrageous film I've seen this year. Writer-director Darren Aronofsky deservedly won the Directing Award at this year's Sundance Film Festival.

What were William Shakespeare's inspirations? Who was his muse? These are questions that have occupied the thoughts of scholars and lovers of literature down the centuries. This raunchy, brilliantly witty film suggests sly answers to these questions by showing us Will Shakespeare as a very real young man, with a very real, very bad case of writer's block. His new play, "Romeo and Ethel, the Pirate's Daughter," is not going well. He has been paid for the play already, and has debts beside. He badly needs for inspiration to strike, for his muse to grant him a vision. The fates are kind, and inspiration does strike in the form of Viola, a beautiful young courtesan who loves the theater and wants nothing more than to act on the stage--in an age when women are forbidden to do so. Viola's gender-bending deception initiates an avalanche of riotous activity as well as a torrent of literary brilliance for Will. Romeo remains, but Ethel disappears forever, her place taken by Juliet, and pirate adventures on the high seas give way to the greatest love story of all--one mirrored by the love between Will and Viola, and just as impossible. Joseph Fiennes is wonderful as Will Shakespeare, bemused and befuddled, passionate and brilliant, clear-eyed and heart-breakingly beautiful. Gwyneth Paltrow continues to surprise and delight with the depth of expression and emotion in her performances. The supporting cast is dependable and solid--standouts are Judi Dench as a crusty, scathing Queen Elizabeth and Rupert Everett as competing playwright Christopher Marlowe. There are plenty of in-jokes and references to Shakespeare's work for the literate crowd, but this rollicking funfest can be enjoyed by more than just English Lit majors. Perhaps the best thing of all is that, as my friend Jeff said, the story ends well. After all, what else could a good film about Shakespeare do?

This is not your mother's costume drama. From the very beginning, when the opening titles run over a psychedelic montage of religious iconography, you know that something different is happening here.and it isn't Masterpiece Theater. Dark and brutal, lurid and violent, this film unfolds like bloody flower. Religious intrigue, political machinations, sexual scheming--it's like an Umberto Eco novel. Cate Blanchett is an astonishing actress, a truly startling screen presence. She inhabits the body, mind and soul of the Virgin Queen with an ethereal grace underlain by steely resolve. Her portrayal of Elizabeth's inevitable transformation from a clear-eyed, idealistic girl with love in her heart to a coldly practical monarch who will be married always and only to England is heart-breaking--all the more so as the practicality is born only out of absolute necessity. Joseph Fiennes is dark and brooding, smolderingly sexual as the poor, sincere, doomed Lord Robert, who does all the wrong things for the right reason: his love for a girl who has become a woman. But that love is returned to him by a woman who has become a queen, and, as Robert himself says, "That love could corrupt the soul of any man." In the end, Robert's corrupted soul undoes them all.