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Columbus made the wise, albeit risky, decision to move the pivotal anthem "Seasons of Love" from the middle of the musical to the beginning of the movie. It's a superb change, serving to both introduce the characters and set the film's tone. You'll struggle to stay in your seat once the chorus kicks in.

Aside from some incidental music and the break-up ballad "Goodbye Love," Columbus has kept most of Rent's music intact. Many of the musical's sung portions are now spoken. The title song literally sizzles, as Roger, Mark and various apartment dwellers burn eviction notices and furiously toss them from balconies. It's an electric moment that would have never worked as effectively onstage.

The flirty "Out Tonight" finds Mimi traveling from strip club to street to apartment, and Dawson attacks it with a feline ferocity. Angel's "Today 4 U" keeps all of its sassy stage energy, and his duet with Tom Collins, "I'll Cover You," is a swoon-inducing highlight. It's a breath of fresh air to see such an uncluttered, drama-free portrait of a gay couple, even as the specter of AIDS looms.

Mark's and Joanne's bittersweet "Tango: Maureen" gets added heft from a fantasy sequence featuring a stable of dancers, and the seductive "Light My Candle" is still a knockout. The wistful ballad "Santa Fe" comes alive on screen, and it finds Collins, Angel, Mark and Roger entertaining stuffy subway riders. It's an inspired, inventive choice.

The prickly Maureen-Joanne duet "Take Me or Leave Me" is moved to an uncomfortable engagement party for the lesbian couple, and it's one of the film's best changes. The added context makes for even more laughs, and it gives both Menzel and Thoms lots of room to sizzle and shine.

It's easy to see why Menzel's Maureen is such an object of obsession. She's irresistible from the moment she walks onscreen. Menzel's sharp, expressive features only bolster the character's edge, and she spars passionately with Thoms. The Rent newcomer is equally solid as the confused, complex Joanne.

Pascal, Rapp and Martin are visibly comfortable in their roles, and each actor approaches his complex character with impressive aplomb. Taye Diggs, another holdover from the original Broadway cast, is appropriately slick and cocky as Benny. Diggs is now known for his film (Chicago, The Wood, The Best Man) and TV (Kevin Hill) roles, but he effortlessly slips back into the groove and showcases a solid singing voice.

Heredia remains Rent's emotional center-point, and his big-screen performance remains unforgettable. His Angel is not only a talented drag queen, but a force of nature, balancing a rose-colored outlook with acceptance and realism.

As Mimi, Dawson has the difficult task of replacing the wildly popular Rubin-Vega, whose characterization has been copied endlessly by Broadway replacements and touring versions of the character. Instead of following the pack, however, Dawson creates her own Mimi. Her performances is sexy and shaded, and it's lit from within by a soulful intensity.

It's a guarantee that some Broadway fans--along with a few cranky critics--will find
fault with Rent's sentimental story and hyper-realistic plot progression. But ultimately, it's not enough to extinguish the flames of friendship, acceptance and love that bind Rent's creators, characters and newcomers together. An open heart and an open mind are all that's required to be drawn in by Rent's heartwarming, life-affirming messages. No day but today, indeed.

Get more information at the official Rent website