Richard Linklater goes off-kilter with his sixth film, Waking Life. Without a linear plot line, stable images and offering the kind of conversations you normally only find in a University seminar, it's clear that Linklater--despite his commercial success with independent films--is determined not move into the mainstream. By taking Wiley Wiggins away from his Dazed and Confused life into a dream which has no structure, and flitting from one philosophical question to another, Linklater presents a filmic discussion into the nature of physical awareness, consciousness and unconsciousness that most surrealist artists would be proud of. However, Linklater goes one step further and removes all notions of the real world by filming the actors then transferring them into animation, employing 31 artists to input their vision onto the film.

The result is a startlingly honest portrayal of the confusion we all face about the difference between life and death, dreaming and awareness, and the unknown as a whole. All the characters Wiggins meets seem to have their own thesis on the unknown, just as in life we are all aware or feel differently about our own self. In addition there are discussions regarding film as a dream-like form, with theorists aligning the sensation of watching a film to that of dreaming, taking your own consciousness into the lives of others. This is what makes Waking Life such a brave and well-structured film. By breaking down the barriers of narrative and reality, Linklater has probably made one of the most realistic films in recent history.

On the DVD: Waking Life transfers well onto to DVD but disappointingly has no extra features. With just a language selection, scene selection and play all section the only real added advantage of the DVD format is the ability to play back the dream sequences to allow for greater understanding, something impossible to do in the "waking life". --Nikki Disney

When local wag Jackie O'Shea (Ian Bannen) discovers that one of his neighbours in the village of Tulaigh Mohr is a lottery winner he sees a chance to share in the wealth. Things get complicated when Jackie and his pal Michael O'Sullivan (David Kelly) discover that the winner, Ned Devine, died of shock at the very moment he learned of becoming a millionaire. Undaunted, Jackie and Michael dispose of the lucky stiff and hatch a plot to impersonate him and claim the prize. Soon the whole village is involved and the plot rapidly thickens.

This film has been compared to The Full Monty, but it lacks the vein of desperation that added depth to that film. Instead, Waking Ned is closer in tone to classic British comedies like Whisky Galore!, with its cast of eccentrics gleefully conspiring to outwit the authorities. Those with a low tolerance for twinkly eyed Irish charm might be tempted to steer clear, although the movie is saved, for the most part, by its central performances. Bannen is superb as an old man who is clearly hungry for any excitement he can drum up and David Kelly is remarkable as his scrawny sidekick. Kelly has had a long career as a character actor in film and television, but here he has a chance to really let loose. His naked motorcycle ride is a marvellous set-piece and in all of his other scenes his twitchy, perfectly timed performance quite simply steals the movie. --Simon Leake, Amazon.com

Waking the Dead, like director-writer Keith Gordon's earlier films (The Chocolate War, A Midnight Clear, Mother Night), is based on a well-regarded modern novel (by Scott Spencer) and has a great many quiet virtues: a genuine engagement with near-contemporary America, complicated characters well-played by a cast of perfectly selected not-quite-star performers and a questioning approach that sits ill with the too-easy answers of most contemporary films. The complex story opens in 1974 with the death in a car bomb explosion of Sarah Williams (Jennifer Connelly), a radical working with a faction of left-wing Catholics to rescue dissidents from Chile. This has a devastating effect on her straighter boyfriend, Fielding Pierce (Billy Crudup), who is working within the system with an eye on rising in the Democratic Party through the patronage of a senior figure (Hal Holbrook), the man who is eventually to become the President.

We flash back to 1972 and Fielding's intense relationship with Sarah, marked by romantic and political differences that feel far more real than the contrived oppositional arguments in most political movies. Then skip 10 years forward to find a sleeker, hollow-faced Fielding running for Congress, tormented not only by memories of Sarah but her actual or phantasmal appearances. Another film might play this as a paranoid mystery thriller, but this goes for psychology, and Crudup delivers an intense portrait of a man cracking up by the loss of his ideals as much as his life's love--climaxing in a terrific restaurant outburst to his needy, congratulatory family. Unreleased theatrically in the UK, this outstanding film has award-quality performances from Crudup and Connelly, both doing their best screen work to date.

On the DVD: The picture is presented in 1.85.1 anamorphic widescreen, with Dolby Digital sound. You get the usual trailer, filmographies and puff piece featurette, but also three superb extras: a commentary from Gordon that passionately and intelligently addresses the thematic material and production circumstances of the film; a package of deleted scenes that goes well beyond the usual irrelevant snippets--everything here offers additional insights into the plot and character; tracks from the composers Tomandandy which play over the menus--a rare feature that's liable to become more common. --Kim Newman