But conceptually, Frequency held a lot of interest for me, like a rockin' episode of Star Trek: Voyager where the Borg develop a Death Star and chase those Federation guys into a supernova but Ricardo Montalban sets off the Genesis device at the same time Nimoy mind-melds with a talking rock.

At times, Quaid is a human crux to the movie patron. He's a great actor who often appears in truly horrible films, probably to keep busy while his wife Meg Ryan is filming the latest Nora Ephron-induced celluloid estrogen venting. But every once in a while he shows his acting prowess, and is worthy of a projected film viewing instead of a home video rental. Dennis Quaid has the ability to play complex characters struggling with their inner demons (see his Doc Holiday in Costner's Wyatt Earp for proof), and lacks the square-inch facial moles of his brother Randy, making him easier to watch onscreen for two hours. Oliver Stone's Any Given Sunday allowed Dennis to do his best Dan Marino impression, and he was the highlight of that film.

In Frequency Quaid plays Frank Sullivan, a New York fireman who dies in a warehouse blaze while trying to save a homeless girl. His son John is only six-years-old at the time of his death, and grows up a hardened man. John's 36-year-old persona is played by James Caviezel, who recently stared at birds and trees while his fellow soldiers were shot to death in The The Thin Red Line. Caviezel plays John Sullivan in a constantly angered or frantic state, with few moments of composure. A great screenplay saves him from putting forth an Eric Roberts-type cheesy performance, and his best moments occur during the ham radio conversations with his father.

Frequency is essentially a father/son relationship story with a sci-fi twist, and an action-movie plot structure. Keeping that dynamic in mind and the lack of character depth in most of those films, the relationship between Frank and John is the hidden jewel of Frequency. Frank's reciprocal love for John transcends the time lost between them, and those ham radio conversation scenes avoid the sand trap of melodrama. The changes in the timeline are presented in a unique fashion, without beating the audience over the head with flashbacks or special effects. The supporting cast, especially Andre Braugher, is under-used. They do add credence to Caviezel's stoic presentation of John Sullivan, and kudos to the makeup artists who transform them 30 years in age without making them look like wet newspaper. Unlike Pacino's final scene in Godfather III, Braugher doesn't look like a sitting lump of mashed potatoes because he survived three additional decades.

Director Gregory Hoblit (Primal Fear) deserves credit for letting the story carry the film. The love of baseball between Frank and John is not just a symbol for their similarities, it's a passion. The scenes set in 1969 are full of gleaming classic cars and the small-neighborhood feel of Frank and John's New York neighborhood is approached with simple but clear cinematography. Toby Emmerich's screenplay is rich with twists and turns, and keeps the audience engaged. Plot-driven summer movies are a welcome retreat from the pathetic norm. Like last summer's The Sixth Sense, the less you know about Frequency the better, and this review is in keeping with that philosophy. (Avoid the previews if you can, as some of the better surprises are revealed with a casual inspection.) This film exceeded my high expectations, and I recommend seeing it before most of the story is retold at your office water cooler in the next few weeks.

Since Frequency lacks the Bruce Willis draw of Sixth Sense, it may be lost in the wake of bigger films like Gladiator and Mission Impossible 2. I hope this doesn't happen, and like Sixth Sense draws on strong word of mouth to stay alive. The fact that Frequency lost to the latest Flintstone movie in its opening weekend shows the bad taste Dragonheart may have left in the mouths of the movie-going public. What did we expect? Sean Connery as an animated dragon? We were fools! Blame yourself!

Frequency's a good shot at Dennis Quaid redemption. And the sooner we all forget about Jaws 3-D, the better.