We all know James Cameron's work: Aliens, The Terminator, The Terminator 2, The Abyss, the latter being one of my personal favorites, at least the director's cut with 33 minutes restored that had been cut from the theater release. But this is a new Cameron; a bold stroke toward fusing all elements of his previous films: the technical, the dramatic, the romantic and…action.

First, the technical. Titanic is breathtaking even on the small screen. Taking the computer models that experts put together of the exact circumstances and manner that the Titanic became a giant North-Atlantic reef, Cameron and George Lucas's Industrial Light & Magic has produced a stunning visualization of the death-throes of the ship that White Star Lines egotistically advertised as unsinkable.

Cameron took a film crew by submarine down to the Titanic's remains, filming the giant hulk in 70mm. The results lend the film realism but also give proof of this violent incident's impact on history. A number of years ago after having viewed the videos taken by salvage crews, I was duly impressed with seeing the elusive wreckage that men had sought to find for over 70 years. Cameron made this reality come alive like no one has ever dared.

The drama went well: a stark portrait of man's ego. Leonardo DiCaprio and Kate Winslet weave a story that takes you with them through the mammoth caverns of the ill-fated ship. Theirs is a tale of two people finding each other despite one's being engaged and rich and the other whose station in life would never have allowed such a romance in the class-conscious society of 1914.

Cameron has become the King of the long movies. Some stories just can't be told in two hours or under, but one fault evident is that the storyline meanders. What might have been told in one scene is told in two or even three. I have long wondered what standards the Motion Picture Academy uses to judge best editing? Is it how smoothly one scene fits into another or is it based on what the editor decides to keep or get rid of?

Being neither here nor there, Titanic ran away with this year's Oscars with editing being only one of those awards. It's editorial seaming I would give a thumbs-up to. But the editor kept too much of the repetitive plot which becomes tedious at certain intervals. Okay, we know Rose's fiancée is a jerk, but must it be demonstrated over and over again? What's the point in a scene where this spineless buffoon chases the star-struck lovers through a sinking ship while trying to shoot them.

There are many twists and turns in the plot. Of course there will no doubt be the Dan Quayles of this world who will see the movie and think the story was the whole truth. Newsflash: this is a work of fiction set against a real event (I'm knocking on your monitor from the inside), Hello? Is anyone paying attention?

On to action. Few films give me Goosebumps but this one qualifies as a ride on the realism railroad. Ever ride half a ship straight up in the air and then down into the ocean? Keep peeled because this ride is way above Thunder Mountain Railroad.

All elements in this movie cascade into an overwhelming feeling of beauty that the one survivor of this doomed relationship finds final peace with her long-lost lover. Tears will stream down your cheeks and your lips will purse with a long, "Awwwwwwwwwwwwwwwwww". Love a gushy ending.

If I had three thumbs I'd stick 'em all up for this one.