JARHEAD

In movies, nothing is harder to define than tone, and the tone of Sam Mendes' Jarhead, based on Tony Swofford's Gulf War memoir, is so elusive that, hours after it ends, you might still not know what to make of it. In many ways, the movie is like a two-hour expansion of Full Metal Jacket's first 40 minutes, as the 20-year-old Swofford (Jake Gyllenhaal) and his fellow Marine recruits, pumped up to an almost insane degree, train for their mission in the unbearable desert heat and prepare for battle. In Mendes' film, however, there is no battle for his protagonists to respond to; the war ends while the Marines' bloodlust is still reaching a boil. The film is, in many ways, about the maddening banality of service, and it has resulted in an occasionally maddening movie, but its shifting tones and air of unpredictability make it impossible to shake off; at the finale, you might not know exactly what you've seen, but you certainly know you've seen something.

THE STATION AGENT

After spending 90 minutes with the cast of Tom McCarthy's The Station Agent, I believe I would, à la The Purple Rose of Cairo, have eagerly leapt right into the screen and been content to spend the rest of my life in their company.

FAR FROM HEAVEN and THE PIANIST

While huge movie markets such as New York and L.A. had to content themselves with only one major new release this past weekend - Cradle 2 the Grave, featuring the long-awaited pairing of Jet Li and Tom Arnold - we're being treated to the area debuts of Far from Heaven and The Pianist, two of 2002's greatest achievements and the recipients of 11 Oscar nominations between them. Both movies are so good that it's almost churlish to recommend one over the over - by all means see both - but if pressed, I gotta give the edge to Todd Haynes' Far from Heaven, which is unlike anything I've ever seen before.