Angel Eyes (2001) - IMDb IMDb Doctor Strange Confirmed to Appear in ‘Thor: Ragnarok’ 7 hours ago There was an error trying to load your rating for this title. Some parts of this page won't work property. Please reload or try later. X Beta I'm Watching This! Keep track of everything you watch; tell your friends. Error A mysterious man is drawn to a feisty female police officer and a unusual relationship ensues, as not everything is as it seems. Director: From $2.99 (SD) on Amazon Video ON DISC a list of 28 titles created 08 Aug 2011 a list of 42 titles created 18 Jan 2012 a list of 21 titles created 19 Jan 2015 a list of 31 titles created 10 Feb 2015 a list of 38 titles created 8 months ago Search for " Angel Eyes " on Amazon.com Connect with IMDb Want to share IMDb's rating on your own site? Use the HTML below. You must be a registered user to use the IMDb rating plugin. 3 wins & 5 nominations.

See more awards » Videos After running away fails, a terrified woman (Jennifer Lopez) empowers herself in order to battle her abusive husband (Billy Campbell). Director: Michael Apted A journalist investigates a series of murders near American-owned factories on the border of Juarez and El Paso. Director: Gregory Nava A senatorial candidate falls for a hotel maid, thinking she is a socialite when he sees her trying on a wealthy woman's dress. Director: Wayne Wang The love life of Charlotte is reduced to an endless string of disastrous blind dates, until she meets the perfect man, Kevin. Unfortunately, his merciless mother will do anything to destroy their relationship. Director: Robert Luketic The life story of Hector Lavoe who started the salsa movement in 1975 and brought it to the United States. Director: Leon Ichaso Mary Fiore is San Francisco's most successful supplier of romance and glamor. She knows all the tricks. She knows all the rules. But then she breaks the most important rule of all: she falls in love with the groom. Director: Adam Shankman A romantic comedy where a bored, overworked Estate Lawyer, upon first sight of a beautiful instructor, signs up for ballroom dancing lessons.

Director: Peter Chelsom A woman conceives twins through artificial insemination, only to meet the man of her dreams on the very same day. Director: Alan Poul The true story of Selena Quintanilla-Perez, a Texas-born Tejano singer who rose from cult status to performing at the Astrodome, as well as having chart topping albums on the Latin music charts. Director: Gregory Nava Desperate to provide care for her daughter, down-on-her-luck Jean moves in with her father in-law from whom she is estranged. Through time, they learn to forgive each other and heal old wounds. Director: Lasse Hallström The violent story about how a criminal lesbian, a tough-guy hit-man with a heart of gold, and a mentally challenged man came to be best friends through a hostage. Director: Martin Brest An FBI agent persuades a social worker, who is adept with a new experimental technology, to enter the mind of a comatose serial killer in order to learn where he has hidden his latest kidnap victim. Director: Tarsem Singh Edit Storyline While pursuing a suspect one night, Chicago Police officer Sharon Pogue nearly becomes the victim of a fatal ambush.

A mysterious stranger, Catch intervenes, disarms the assassin and saves Sharon's life. Is it a stroke of luck? A twist of fate? Or just a concerned citizen who happened to pass by at the right time and wasn't afraid to get involved? Maybe, but Sharon and Catch have met once before. As the two fall in love, they discover the truth about each other and are forced to deal with the secrets from their past. Written by <Laffz00@aol.com> The Deeper You Look. The More You Will Find. See more » Genres: Rated R for language, violence and a scene of sexuality | See all certifications » Parents Guide: 18 May 2001 (USA) See more » Also Known As: Heart of Town See more » Filming Locations: $9,225,575 (USA) (18 May 2001) Gross: Ben Affleck and Aaron Eckhart were considered for the role of Catch. See more » Goofs When Jim Caviezel plays trumpet, he breathes incorrectly and also fingers the valves incorrectly for the notes we hear in the musical cue.

See more » Quotes [first lines] Sharon Pogue : We have multiple vehicles. Possible DOAs, multiple injuries. In contact major accident. We're gonna need some more ambulances over here. Radio Dispatcher: All units have been deployed. I don't have an ETA. Credits list Connor McAuley's character as Max Pogue instead of Max Lambert. See more » Connections ANGEL EYES / (2001) *** (out of four) By Blake French: Luis Mandoki's "Angel Eyes" begins as a melodramatic tragedy that feels as if it's missing something. Its centerpiece is a love story between an unlikely couple who save each other's lives under different circumstances. At first, the film plays with interesting ideas about fate, love, destiny, mystery, and the past, but does so with stunning blandness. The male lead, James Caviezel, plays Catch, a mysterious character with an absorbing, revealing past. But his inceptive existence switches back and forth between two negative impressions: Catch is either a balmy character, or Caviezel delivers a boring, uninteresting performance.

To my pleasant surprise, however, by the time the movie reaches its emotionally effective climax, it proves these original perceptions to be wrong. Jennifer Lopez stars as a tough Chicago cop named Sharon Pogue. She patrols the crime-ridden South Side of Chicago with her police buddies, including her partner and friend Robby (Terrence Dashon Howard). In the same neighborhood lives Catch-who sleeps in an empty apartment and delivers goodwill to many around him. He wanders around the area as if he is in some kind of existential daze, thus some believe him to be a lunatic, but for most, he appears to be a peculiar but harmless figure. Both of these characters have undergone deep emotional struggles. The vast majority of the conflict in "Angel Eyes" lies inside the characters. I do not want to give away any of the movie. Therefore, I must be terse in my explanation. Experiencing violence early in her childhood, Sharon has taken a stand against her father's abusive ways and is still paying the price; her entire family disowned her. However, her parents have invited Sharon to an upcoming marriage celebration. Should she attend, forcing her to come to terms with inner demons and face her father for the first time in years?

"Angel Eyes" provides no easy answers for its characters. Sharon's private and public lives are well developed and intriguing. The film gives her a lot of dimension-I especially like her family related aspects. I will not reveal any more information about Catch; based on the advertisements, his different people will have different expectations of his identity. By explaining anymore about him, I risk giving away a large portion of the movie. Although the film does not contain startling identity twists or surprising ninety degree turns, it is very deliberate about what information is revealed at what time-thus the lack of information in the beginning. "Angel Eyes" deserves to reveal itself on a full scale, rather than me giving its plot away right here and now. Luis Mandoki has a certain knack with directing love stories that disclose their plot at the perfect moment. In 1999, his film "Message in a Bottle" examined another troubled soul coming to terms with his future. He does the same kind of thing with "Angel Eyes." "He's keeping a lid on his demons as Sharon does with hers, explains Mandoki about the character's behaviors.

"It's only when they fall in love and then risk losing that love that they are forced to examine who they really are, present and past." Screenwriter Gerald DiPego creates character's who connect with the audience. The story is about "the conflict between isolation and connection," says DiPego. "We become isolated because we're afraid of opening up to each other, especially these days. On the other hand, there's a longing inside of us to connect. I think our salvation lies in keeping connected." As "Angel Eyes" concludes, each of the two character's has come to terms with their troubles and past. What they discover, I will leave up to you to find out. This is an uncommonly absorbing picture because we believe these characters live in our world, not in face their most private and deepest fears, and, although nothing is truly solved by the end of the movie, for Sharon and Catch, for better or worse, their problems become a different, more fulfilling internal battle. some movie fantasy. So often movies end with a fluffy, soft attitude for their characters-but not in "Angel Eyes." 42 of 52 people found this review helpful. Was this review helpful to you?

Yes FilmHead.com Starring: Jennifer Lopez, James Caviezel. MPAA Rating: R for language, violence and a scene of sexuality. Review by Eugene Kopman < eugene@filmhead.com > June 1, 2001 I have said it before and I'll say it again, Jennifer Lopez, otherwise known as J. Ho... I mean Lo, should stick to acting. And even though the movie wasn't great, her performance was good. Lopez plays Sharon Pogue, a Chicago police officer, who a year ago saved a man from a terrible car crash by telling him to look into her eyes until the ambulance came. Now, her life is up to her usual norm. She hates dating because when she reveals that she is a cop, her date always asks her if she has ever killed anyone. Other police officers consider her one of the guys and on top of that, she has problems with her family. During one of her on-foot chases, the suspect knocks Sharon over and takes her gun. As he is about to kill her, a man jumps out of nowhere and saves her. This man identifies himself as Catch (James Caviezel) and the two become friends, which leads to a relationship.

He is a very mysterious man, who doesn't reveal himself to Sharon. Catch is a very spontaneous human being and Sharon is a paranoid cop. One wouldn't think this relationship would work, but the story doesn't really focus on that. Besides the question of who Catch is, which I was able to tell after about a minute of him on screen, the story focuses on Sharon's relationship with her family. Larry (Jeremy Sisto), Sharon's brother, informs her that their parents are renewing their vows and that Sharon was invited, despite the incident. I won't reveal what exactly happened, but Sharon's father doesn't talk to her anymore because of it. The true highlight of the movie was the final monologue by Sharon at their parents' banquet. Lopez and Caviezel do a fine job acting in this film. But the predictable storyline and the fact that the movie was extremely slow, made me lower my rating to two stars. For more information, go to the Internet Movie Database: St. Petersburg Times: Weekend By STEVE PERSALL © St.

Petersburg Times, published May 17, 2001 In Jennifer Lopez' new film Angel Eyes, the pop culture icon demonstrates her growing confidence before the camera and a talent that transcends the transitory appeal of peek-a-boo fashions. Wait until you see Jennifer Lopez's latest fashion statement in Angel Eyes. Nothing remotely diva-ish. Nothing see-through and slit up or down to there. Mostly the starched, unflattering uniform of a Chicago police officer solving her life's most important mysteries: herself and a stranger who saves her from a gunman. Lopez wears the costume well. So well, in fact, that Angel Eyes is a good barometer of how fine an actor she's becoming. Watch her glamorous music videos and tabloid reports. Playing a no-nonsense cop is the last role for which she seems suited. Yet this is the third time she has carried a badge on film (after The Cell and Out of Sight), and the first time she has done it carrying a movie. Angel Eyes won't work as drama unless audiences believe Lopez. It's a fairly preposterous yarn that needs all the credibility that director Luis Mandoki can muster.

Lopez delivers, making the role of Sharon Pogue tough when needed and vulnerable when essential. You believe her gaze aiming down the barrel of a gun, and you believe her tears when Sharon's defenses melt. Jennifer Lopez, who plays a Chicago police officer in the new film Angel Eyes, shows that she is an actor, not just a star. The way Sharon yanks a chair from a table to sit down, the way she looks tired of answering first-date questions about her job. Tiny acting decisions like these indicate a performer crafting a character, not merely depending on reputation or screenplay instructions. Sharon can crack a felon's head or break her father's heart, and Lopez makes both behaviors real. Not much should be revealed about the plot of Angel Eyes, except to report that Warner Bros. is selling the movie in ads as something it isn't. Angel Eyes flirts briefly with expectations of a supernatural thriller along the lines of The Sixth Sense or maybe Ghost. Viewers will instead discover a quietly moving -- although not always fast paced -- story of personal loss and possible redemption. Mandoki's resume suggests as much. He turned typical alcoholism melodrama into the fine When A Man Loves a Woman by focusing on codependent emotions rather than booze-guzzling.

Message in a Bottle wasn't bad at handling a widower's grief and guilt about new love. In Angel Eyes, Mandoki revisits some of the same themes with two people reaching out for each other when they're better off alone. The bond between Sharon and scruffy Catch Lambert (Jim Caviezel) can be guessed in the first 10 minutes. That twist would be the climax of a lesser movie, but Mandoli and screenwriter Gerald DiPego have more in mind. There are other motivations to explore: who Catch is, why he's following Sharon, why she's uneasy around her family, what this double dose of misery is doing to her career. Angel Eyes doles out answers the same way Sharon and Catch learn, one baleful look or misspoken word at a time. DiPego's script keeps a viewer guessing, although not in standard mystery fashion. We need to know these people better, and we need to know if romance is enough to salvage either depressed soul. Caviezel is handsomely haunting as Catch, making the role just weird enough to be vaguely menacing, but with unblinking brittleness.

He has the patience and charity of an angel, qualities attracting Sharon while he feels compelled to repel her. Lopez and Caviezel nail these two tricky performances. Production values and supporting players are solid, and it's nice to see Sonia Braga on screen again, more weathered than in her heyday but still striking. Braga (Kiss of the Spider Woman) plays Sharon's mother, casting that appropriately passes the Latin screen-queen crown to Lopez. She'll wear that well, too. Lopez is more than a star, though. She's an actor deserving to be watched, even out of diva uniform. MOVIE REVIEW Cast: Jennifer Lopez, Jim Caviezel, Sonia Braga, Shirley Knight, Victor Argo Screenplay: Gerald DiPego Angel Eyes Movie Review by Anthony Leong of MediaCircus.net Angel Eyes Movie Review Movie Review by Anthony Leong © Copyright 2001 Less than three months after her forgettable turn in the anemic " The Wedding Planner ", chanteuse Jennifer Lopez is back on the big screen in director Luis Mandoki's " Angel Eyes ".

Unfortunately, " Angel Eyes " is the same old sloppy drivel that Mandoki has been shoveling in his last two films , "Message in a Bottle " and " When a Man Loves a Woman ". Though one might think from the trailer that "Angel Eyes" is some sort of supernatural romance à la " City of Angels ", it is actually a much more conventional drama-romance-- and a muddled one to boot. J. Lo plays tough Chicago police officer Sharon Pogue, who is very good at her job. Unfortunately, to cope with the rigors of walking the beat, Sharon has unconsciously built a wall around herself, making it almost impossible for her to develop emotional intimacy with others, let alone see the good in the people around her. Exacerbating this is a long-running feud with her estranged family, stemming from having arrested her own father (Victor Argo of " Coyote Ugly ") for assaulting her mother (Sonia Braga of " Kiss of the Spider Woman ") many years back. One day, while Sharon is having coffee with her fellow officers, the restaurant is raked by the gunfire of a drive-by shooting.

A foot chase ensues, and Sharon finds herself a split-second from being shot in the head by her own gun. Fortunately, she is saved in the nick of time by a stranger who calls himself Catch (James Caviezel of " Pay It Forward "), who had been admiring her from afar only a few moments before the drive-by. Naturally, Sharon finds herself intrigued by her mysterious savior, and before you know it, romance blossoms. Unfortunately, Sharon also learns that Catch is much like herself, someone who has encircled themselves with psychological walls to shield them from the pain of the past. I can certainly appreciate what screenwriter Gerald Di Pego (" Instinct ") was trying to do in "Angel Eyes" in terms of paralleling the development of Sharon and Catch, two loners so traumatized by their respective pasts that they are unable to find peace in the present. Unfortunately, there is a sheen of sloppiness that permeates the entire film, touching almost every aspect, from the writing, to the acting, and even to the production itself, making it very difficult to take the script's noble aspirations seriously.

Despite some mildly interesting subtext, the script is rife with clunky dialogue that may inadvertently provoke laughter (or at least induce frequent attacks of eye-rolling), including a verbose soliloquy delivered by Caviezel at his character's 'breakthrough' moment that would have probably been moving if it wasn't so corny. Though the leads are competent actors, with Lopez having done memorable work in " Out of Sight " and " The Cell " and Caviezel acquitted himself nicely in " The Thin Red Line ", they don't really share any on-screen chemistry. Their scenes together are so awkward to watch that it destroys any chance of credibility in the relationship between their characters. Furthermore, Caviezel's penetrating yet quiet presence works against him, giving his character too much of a creepy angle (one scene in which Catch explains why his dog's name is Bob ends up stirring up visions of 'Son of Sam' David Berkowitz because of this). Finally, though the story takes place in Chicago, Mandoki does not even try to disguise the fact that the film was shot in Toronto.

This, of course, leads to a game of 'spot the landmark', with the film's sloppily-conceived shots capturing famous Toronto sights, such as the city's skyline with the CN Tower in plain view, Jilly's Tavern, and Honest Ed's Emporium. With its careless approach to script, acting, and production, it doesn't take very long for the seams of this formula-driven film to show, which mixes up hard-hitting drama, romance, and mysticism into one big muddled mess. Mind you, residents of Toronto and the surrounding areas might get a kick out of seeing how little effort is expended in trying to disguise Toronto as the Windy City. Unfortunately, everyone else will find "Angel Eyes" to be painfully out of focus. Images courtesy of Warner Bros. All rights reserved. Media Circus Navigation St. Petersburg Times: Weekend Angel Eyes (PG-13) [Photo: Warner Bros.] Jennifer Lopez is a police officer who becomes involved with a mysterious stranger named Catch, played by Jim Caviezel. Jennifer Lopez plays Sharon Pogue, a Chicago police officer saved from a gunman by a mysterious stranger named Catch (Jim Caviezel). Is he a guardian angel, a stalker or a harmless psychic?

Director Luis Mandoki (When a Man Loves a Woman) suppresses any supernatural instincts to focus on Lopez's character solving the mystery of herself. First impressions: "Angel Eyes won't work as drama unless audiences believe Lopez. It's a fairly preposterous yarn that needs all the credibility that Mandoki can muster. Lopez delivers . . . tough when needed and vulnerable when essential. You believe her gaze aiming down the barrel of a gun, and you believe her tears when Sharon's defenses melt. "Caviezel is handsomely haunting as Catch, making the role just weird enough to be vaguely menacing, but with unblinking brittleness. . . . Lopez and Caviezel nail these two tricky performances." Second thoughts: Not the expected box office success, but a better movie than most critics thought it would be. Rental audience: Lopez fans; Mariah Carey, for a lesson on how a diva should act on screen. Rent it if you enjoy: Frequency, Ghost, Cagney and Lacey reruns. Cats and Dogs (PG) [Photo: Warner Bros.] Diemitri Kennelkoff, a.k.a. the Russian, is among the most deadly adversaries of dog agents in Cats and Dogs.

The endless rivalry between felines and canines turns into a silly James Bond-style adventure with computer-generated talking animals. Will and Grace co-star Sean Hayes provides the voice of evil Mr. Tinkles, leader of a cat movement to take over the world. Tobey Maguire (Wonder Boys) speaks for Lou, a puppy recruited by a crafty spy dog (Alec Baldwin). First impressions: "Cats and Dogs is convincing but doesn't have much of a point to make. The best sight gags are exhausted after an hour, and the plot gets stuck in one spot like a mutt digging into a flower bed. . . . In its best moments, (the movie) displays the breezy audacity of the Far Side comics, with animals barely tolerating human nature. . . . Yet, compared with the recent Spy Kids, the idea behind this movie seems undeveloped." Second thoughts: Completely forgettable except for those wacky ninja cats. Rental audiences: Children over 3 and parents trying to entertain them. Rent it if you enjoy: Babe; watching pet food commercials. Rewind: Videos worth another look A temperamental talent Actor George C. Scott left behind plenty of career highlights -- and an Oscar he never accepted.

Few actors continually conveyed as much intensity as George C. Scott, a fellow who could make sleeping look like Shakespearean tragedy. Even when he tackled a funny role, as in Dr. Strangelove or The Flim-Flam Man, Scott handled it like serious business, yanking laughs from those momentary breaks in his steely persona. Off-screen, Scott was just as volatile through five marriages (two to actor Colleen Dewhurst) and four Academy Award nominations griped about until his death in 1999. He branded the Oscars as a "meat parade, a public display with contrived suspense for economic reasons" after his first try. Nobody at the academy disputed him, but they didn't like hearing his opinions, either. Scott's lone Oscar win, for his staggering portrayal of Gen. George S. Patton in Patton, may have been partly out of spite, just to call a bluff that turned out not to be one. Scott skipped the ceremony, and the statuette still resides in an academy safe, the only Oscar never accepted. Today would have been Scott's 74th birthday.

Celebrate his career with any of these video suggestions: Patton -- Scott drew upon his Marine Corps experiences to play the flamboyant Army warrior. The last gasp of old Hollywood jingoism before Vietnam-era cynicism set in. The Flim-Flam Man -- Con artist Mordecai Jones (Scott) takes a new grifter (Michael Sarrazin) under his wing in this Depression-era comedy-drama. Anatomy of a Murder -- Foul-tempered prosecutor (Scott) melts the defense of a soldier (Ben Gazzara) accused of murdering his wife's rapist. Scott's first major film role secured his first Oscar nomination. Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb -- Gen. Buck Turgidson (Scott) divides his time between promoting nuclear holocaust and tending to his mistress in Stanley Kubrick's dark doomsday comedy. The Hustler -- Scott plays a milk-drinking bankroller for pool shark Minnesota Fats (Jackie Gleason) against Fast Eddie Felson (Paul Newman). Another best supporting actor Oscar nomination for Scott. The Hospital -- Dr.

Herbert Bock (Scott) is a suicidal surgeon railing against his impotence as a lover and a healer in Arthur Hiller's biting satire. Scott's final Oscar nomination was earned with a brilliant monologue about the inadequacies of modern medicine as only Paddy Chayefsky (Network) could write them. Hardcore -- Midwesterner (Scott) searches for his runaway daughter in the seedy underworld of Manhattan's porn industry. Written and directed by Paul Schrader with an urgency he soon lost. Oklahoma Crude -- Scott and Faye Dunaway are a wildcat duo battling oil barons on the frontier. Tough to find in stores or on TV, but worth the effort. The New Centurions -- Veteran L.A. patrol officer (Scott) shows rookies the ropes in a thrilling adaptation of Joseph Wambaugh's bestseller. © 2006 • All Rights Reserved • Tampa Bay Times 490 First Avenue South  St.

Petersburg, FL 33701  727-893-8111 Angel Eyes [DVD] [2001]: Amazon.co.uk: Jennifer Lopez, Jim Caviezel, Jeremy Sisto, Terrence Howard, Sonia Braga, Victor Argo, Monet Mazur, Shirley Knight, Daniel Magder, Guylaine St-Onge, Connor McAuley, Jeremy Ratchford, Luis Mandoki, Andrew Stevens, Benjamin Sacks, Bruce Berman, Dawn Miller, Don Carmody, Elie Samaha, Gerald Di Pego: DVD & Blu-ray Angel Eyes [DVD] [2001] Only 2 left in stock. No sellers are currently delivering this item to the United States. Learn more Dispatched from and sold by media-4-u . 5 new from Â£5.85 21 used from Â£0.09 2 collectible from Â£1.98 See all buying options Â£5.85 Only 2 left in stock. Dispatched from and sold by media-4-u . Frequently Bought Together Add all three to Basket These items are dispatched from and sold by different sellers.

Show details Buy the selected items together This item:Angel Eyes [DVD] [2001] by Jennifer Lopez DVD Â£5.85 Only 2 left in stock. Sent from and sold by media-4-u. Â£1.26 delivery Enough [DVD] by Jennifer Lopez DVD Â£14.99 Only 1 left in stock. Sold by HalfpriceDVDS_FBA and sent from Amazon Fulfillment. FREE Delivery on orders over Â£20. Details The Boy Next Door [DVD] [2014] by Jennifer Lopez DVD Â£3.00 In stock. Sent from and sold by Amazon. FREE Delivery on orders over Â£20. Details What Other Items Do Customers Buy After Viewing This Item? Subtitles: English, French, Spanish Subtitles For The Hearing Impaired: English Region: Region 2 (This DVD may not be viewable outside Europe. Read more about DVD formats. ) Aspect Ratio: 16:9 - 1.77:1 DVD Release Date: 25 Mar.

2002 Run Time: 100 minutes Product Description Product Description One night while out on duty, Chicago police officer Sharon Pogue (Jennifer Lopez) is saved from a potentially fatal attack by a mysterious and beneficent stranger called Catch (Jim Caviezel). Following this, the pair meet again and soon become romantically involved. But Sharon still keeps a part of herself guarded, and Catch also has a secret past which remains shrouded in darkness. Will they together be able to find the strength to overcome their fears and conquer the ghosts which haunt them? From Amazon.co.uk Angel Eyes is a mature and level-headed drama about real people with authentic emotions, clawing through their own hurt and confusion toward a hopeful recovery. In a subtly effective performance as Chicago cop Sharon Pogue, Jennifer Lopez is both gutsy and vulnerable, using her badge as a shield against a past incident of domestic violence that left her estranged from her family and alone with her conviction that good deeds are not always rewarded. This leaves her open to the mysterious appeal of Catch (Jim Caviezel), a haunted loner whose slightly creepy demeanour is merely the cautious façade of a man who, ultimately, has as much to offer Sharon as she does him.

They connect--he saves her life, just as she once saved his--and Angel Eyes proceeds to reveal the true and fateful depth of their love. It seems, at first, that Gerald Di Pegos script will turn in a supernatural direction--or at least a metaphysical one--but it doesnt, and director Luis Mandoki navigates an emotional minefield while acknowledging the walls that people build between themselves and the traumatic events they wish to forget. Catch has kept a deliberate distance between himself and a tragedy that Sharon had witnessed--not a repressed nightmare, but a devastating loss from which he will, eventually, recover. That these two characters should rediscover each other at a time of mutual need is not a contrived coincidence. In Angel Eyes, its the karmic redemption for two wise and deserving souls.--Jeff Shannon, Amazon.com Movie Review - - FILM REVIEW; Is He or Isn't He? It's a Haunting Question - NYTimes.com FILM REVIEW; Is He or Isn't He?

It's a Haunting Question By STEPHEN HOLDEN Published: May 18, 2001 In teaming Jennifer Lopez and Jim Caviezel as lovers with a supernatural bond, ''Angel Eyes'' has come up with a weird new variation on Hollywood notions of romantic role models: the super-tough gal and the quivering, walking-wounded guy. Watching these two share some awkward smooches that are supposed to transport them over the moon is a little like imagining Jane Russell and Montgomery Clift in a steamy clinch. (Back in the 1940's and 50's, casting directors apparently had more sense than they do today, since such a clinch never took place.) Despite much soulful staring into each other's eyes, their lip locks have no sizzle. That said, Ms. Lopez and Mr. Caviezel both seem comfortable enough squirming in their familiar niches. As Sharon Pogue, a Chicago police officer who body-slams her suspects with a force that suggests she could hold her own in a martial arts match with Jean-Claude Van Damme, Ms. Lopez radiates a convincing, streetwise feistiness.

With his sunken cheeks, haunted eyes and hangdog body language, Mr. Caviezel, as Catch, a traumatized accident victim who has lost his memory, is even mopier than he was in ''Frequency'' and ''The Thin Red Line.'' This actor badly needs an earthy comedy to rescue him from the twilight zone of tormented sensitivity, where he seems in danger of wasting away from sheer, moony-eyed angst. The lovers first meet at the scene of the car accident where Catch is near death and Sharon, one of the first officers to appear, makes eye contact and talks him back from the great beyond. Or has she? Taking a clue from ''City of Angels'' and ''The Sixth Sense,'' the movie shamelessly teases us with the possibility that Catch, who appears to be stalking Sharon for much of the rest of the film, is either a ghost or a spirit in limbo who could be beckoned into the next realm at any moment. Why else would children and dogs react to him with that special sense of wordless attunement?

Catch, who does nothing all day but wander around the city, lives in a gloomy apartment whose only amenities seem to be a telephone with an answering machine and a drawer of action-figure toys. Twice a week, he delivers groceries to an older, disabled woman (Shirley Knight) who is a kind of surrogate mother. Although Catch has no memory of the accident and his near-death moment of connection with Sharon, he feels a strange sense of recognition upon seeing her face through a restaurant window. Lucky for her. He's conveniently on hand to save her life by tackling a gunman during a police chase. Although his rescue reconnects them, they still don't realize they have met before. Whereas Catch is supremely and sadly disengaged from his surroundings, Sharon is a woman of action in perpetual conflict with her environment. She is forever deflecting the playful advances of her colleagues, including her married partner, Robby (Terrence Howard). Years ago she arrested her father, Carl (Victor Argo) for spousal abuse, and since then he has never forgiven her. The arrest, however, did its job, and Carl never battered her mother, Josephine (Sonia Braga), again.

Now, after 30 years together, her parents are so in love they have planned a ceremony to renew their vows. But the pattern of abuse seems to have been handed down to Sharon's brother, Larry (Jeremy Sisto). ''Angel Eyes'' alternates between scenes of furious action in which Sharon spins around Chicago playing macho superwoman and the lovers' laborious pas de deux, which consists mostly of long walks in which Sharon repeatedly asks, ''Who are you?'' and the exchange of enigmatic messages on their answering machines. Late in the movie, we are given some clue as to Catch's life before the accident when they wander into a jazz club, and Catch impulsively picks up a trumpet and plays a mournful silvery version of ''Nature Boy.'' (The shades of Clift in ''From Here to Eternity'' seem intentional here.) With movies like ''When a Man Loves a Woman'' and ''Message in a Bottle'' behind him, the director, Luis Mandoki, has proven himself an adept manufacturer of turgid soap opera. And ''Angel Eyes'' fits right into the pattern. The machine-tooled action sequences with the lurching cameras, hair-trigger editing and quick shifts of color are technically impeccable.

But except for their basic defining traits, the characters and their pumped-up one-note emotions seem only half human. Throughout ''Angel Eyes'' you are aware of consuming a market-tested product whose eerie atmosphere and tone of bogus solemnity suggest that Mr. Mandoki was given specific instructions to create a hybrid of ''City of Angels,'' ''The Sixth Sense'' and ''Frequency.'' He may have delivered, but the product is so synthetic it has only attitude where its heart ought to be. ''Angel Eyes'' is rated R (Under 17 requires accompanying parent or adult guardian) for scenes of violence and abundant profanity. ANGEL EYES Directed by Luis Mandoki; written by Gerald DiPego; director of photography, Piotr Sobocinski; edited by Jerry Greenberg; music by Marco Beltrami; production designer, Dean Tavoularis; produced by Mark Canton and Elie Samaha; released by Warner Brothers, Morgan Creek and Franchise Pictures. Running time: 110 minutes. This film is rated R.

WITH: Jennifer Lopez (Sharon), Jim Caviezel (Catch), Victor Argo (Carl Pogue), Sonia Braga (Josephine Pogue), Terrence Howard (Robby), Shirley Knight (Elanora Davis) and Jeremy Sisto (Larry). Angel Eyes review (2001) Jennifer Lopez - Qwipster's Movie Reviews MPAA Rated: R for language, violence, and a scene of sexuality Running Time: 102 min. Cast: Jennifer Lopez, James Caviezel, Sonia Braga, Terrence Dashon Howard, Jeremy Sisto, Monet Mazur Director: Luis Mandoki Screenplay: Gerald Di Pego Review published May 28, 2001 It's ironic that the reason many people may be drawn to see this movie will also be the biggest reason they may be disappointed. Jennifer Lopez ( The Wedding Planner , The Cell ) can be fun to watch, especially in gutsy but funny roles like that in Out of Sight . What she doesn't seem to evoke very well, at least as of yet, is a depth of emotion when necessary, and that quality sure would have helped here.

Not that this kind of material could have ever been great, but certainly it would have at least avoided coming off as limper than Bob Dole frowning into an empty bottle of Viagra. Lopez plays Sharon Pogue, a Chicago police officer, who is saved from almost certain death by a mysterious man named Catch (Caviezel, Pay It Forward ). The two become friends, and then more than that, but Catch refuses to let Sharon into his life, and his past is not something he cares to divulge. Meanwhile, Sharon deals with a terrible past of her own, as her parents are retaking their marriage vows, which irks her to no end, since the relationship has been one of abuse. Luis Mandoki is known for his romantic films ( Message in a Bottle , When a Man Loves a Woman, White Palace ) and in each case, they are film which at first thought might seem intriguing, but are less than impressive when actually viewing. Like Message in a Bottle, Angel Eyes is a bit overwrought, without much going for it in terms of thrills and frills.

We can easily piece together from the first scene that the two leads have met once before, and what is in his past that ails Catch to the point where he chooses to live a zombified life. From a romance standpoint, Angel Eyes is a complete failure, with little in terms of chemistry between the two leads, exchanging expressions of love that ring hollow when considering how little they really know about one another. The film scores some points from the side stories involving Catch dealing with his past, and Lopez's confrontation with her formerly violent father. During these scenes, the script is a much more genuine, and the acting shines through with style, with Caviezel delivering a particularly brilliant performance during the scene where he finally confronts his suppressed anguish. Yet, the story always cuts back to the shallow waters of the romance, where not much goes on except pendulous emotions swinging between silly antics and melancholy angst. An actress of lesser fame, and one more natural for the role, might have made this a notch better, but even so, a rewrite of the script would have still been essential for a true quality movie to emerge.

Angel Eyes goes through its motions, neither very good nor very bad, and when its finally over, we are left sitting in wonder at what all the fuss was all about. Qwipster's rating:

Question: Which singer plays Chicago police officer Sharon Pogue in the 2001 film ‘Angel Eyes’?
Answer: Jennifer Lopez