Jerry Goldsmith becomes the invisible conductor, a behind-the-scenes, intuitive artist who can shake the complacency out of any roll-the-dice spectacle. Take Executive Decision for example. This composer finds comfort in the agitated rhythm. There are two spots approaching cinematic euphoria where the melodic lines blur inside the sonic wilderness. He can tickle priceless treasures and provide subtle winks born of nostalgia. His approach underlines improvisation using a military commander's exactness.

The willingness of editor/director Stuart Baird to dangle over the threshold lays down important groundwork for the bone knuckle tension. His way with images and their corresponding grammar distinguishes him as a prizefighter among insects. Far from being the predictable first round knockout, the jabs come thick and fast in this main event. I didn't see a single twist coming.

The marching theme of the film lunges for you and takes hold like a shadow with an independent life-force. Nagi Hassan (David Suchet) seizes control of flight 343. He demands the immediate release of a radical leader. Some bigwigs at the Pentagon hatch a scheme to rendezvous with the plane. A SEAL team led by Lieutenant Colonel Austin Travis (Steven Seagal) are given the job of rescuing the hostages. They come close to utter failure during the hook-up.

Executive Decision doesn't ask for a gigantic leap of faith, merely that you take the first step in meeting the film half-way. Prizes include a riveting scenario in which marines hang on wires. We watch them try to diffuse an explosive, chemical weapons device, made to antagonize the most brilliant minds who come across it. Oliver Platt engineers nervous tension through shaking, sweaty palms and eyes which fail to conceal deeper fears. His weighty bearing on which wire to cut will leave you enraptured at its simplicity.

Kurt Russell knows this turf. He's aware that the film will become unglued without tight editing. The actor gives his performance away, knowing that multiple editors are charged with planting the necessary elements, fore and aft, which provide the contours of plasticity. Editing involves having the freedom of unbearable choices in the face of an immovable budget.

Seagal plays his card, giving suggestions of a tell, yet he retreats back into understated harmony. He's the musical/acting equivalent of Bob Dylan. John Leguizamo has that commanding voice so deep and tough a speaker system would never do him justice. If ever a candidate for a Rembrandt portrait existed, then he would carry the ultimate visual punchline.

(Released by Warner Home Video and rated "R" by MPAA.)