THE DA VINCI CODE

Throughout Ron Howard's The Da Vinci Code - based, of course, on Dan Brown's staggeringly successful novel - Tom Hanks and Audrey Tautou continually find themselves in dimly lit rooms, gloomy cathedrals, and the occasional underground tomb. When the characters finally do venture outdoors, their visibility doesn't much improve, as almost the entire movie takes place at night. And during the film's two-and-a-half-hour running length, deprived of nearly all natural (and even artificial) light, I never craved a nap so badly in my life.

CRASH

Crash, the magnificent drama by Million Dollar Baby screenwriter Paul Haggis, fits alongside such sprawling, ensemble-driven works as Grand Canyon, Short Cuts, and Magnolia, movies in which plotlines dovetail within one another and themes enmesh, and where bitter, dissatisfied characters might not wind up more content than before - some might not even wind up alive - but they will definitely have shared, for better or worse, An Experience. (These characters might not receive traditional happy endings, yet they almost invariably find degrees of solace and a measure of hope.) Moviegoers who crave a clearly delineated moral to their stories can be driven batty by films of this ilk; more than once I've heard someone ask, apropos of one of these works, "But what was its point?" Crash, like its predecessors, explores characters so hungry for contact and meaning and understanding in a chaotic universe that they're ready to explode, and oftentimes do. That hunger becomes the point.

VAN HELSING

Stephen Sommers' action thriller Van Helsing, the first of 2004's torrent of summer blockbusters, is big, loud, frenetic, and almost no fun at all. For those who've missed the omnipresent previews, the film is a special-effects bonanza featuring Hugh Jackman as the titular character, a taciturn growler who spends 130 minutes attempting to rid his corner of Europe from a series of CGI-created monsters, and it's all treated with such solemnity that I wouldn't have been surprised to see Henrik Ibsen listed as a screenwriter.

THE HOURS

Stephen Daldry's The Hours is so meticulously crafted, so assured in its conception, and so insistent on its themes and motifs that it's bound to drive a lot of people bananas.