INSIDE MAN

Spike Lee's Inside Man, with its script by Russell Gewirtz, might look like a conventional blockbuster, but it has been structured with incredible finesse. Ostensibly, the movie is a standard heist thriller: Clive Owen and a trio of accomplices take over a Manhattan bank, hold the tellers and customers hostage, and - after news of the robbery breaks - make demands to Denzel Washington's negotiator.

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.