You can never be sure which Gus Van Sant you're getting when you are about to watch a film by this stylistically promiscuous director. Will it be the sympathetic chronicler of outsider teens ("My Own Private Idaho," "Paranoid Park"); the maker of mordantly funny black comedies ("Drugstore Cowboy," "To Die For"); the mainstream hit-maker ("Good Will Hunting," "Finding Forrester"); or the leading American exponent of slow cinema ("Elephant," "Last Days")?