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While the story is centered on one man, a lot of time is spent with the supporting characters. Frequently, the Hero is not even on screen (though often, he is). Rather than displaying one life-changing event after another, the film spends most its time letting the characters reveal themselves through chat and small actions. It does note a couple large items that chart the course of the story, but goes past them quickly.
There are some great tie-ins to the on-screen reading of Andrew Marvell's "To His Coy Mistress" (Hints: 1) film is about one day, and the poem begins, "Had we but world enough, and time", 2) student's commentary on the meaning of the whole and a subplot that brings that comment back to mind).
September 11th comes back to haunt a scene where friends discuss the aftermath of how another friend was ... sabotaged. The imagery of the scene gives a strong emotional underpinning to the conversation. Also, there are nice decisions on color (warm in front, cold in back), and on focal depth and how/when to change it.
I expect the most memorable scene will be one in a bathroom where our Hero confronts a mirror. This scene is classic Spike Lee. It begins in a perfectly framed shot of a dark and well appointed atmosphere tinged with depression and frustration, and rises up to a bright, surreal, and (again) over-saturated view of a long list of things that piss off our Hero.
Almost as visually impressive (and this is specific to the visual rather than dialog) was a nice panning sequence in a club. First, we watch a hot young girl glide in slow motion through a hopping club to find an acquaintance. After a bit, where we find she is both drunk and tripping on ecstasy, she leaves her companion to find the bathroom. The camera follows her up the stairs, and as she reaches the door, the camera follows a waitress's path back down the stairs, and towards the original seats. It works really well.
Less blatant, but perfectly set is a scene where the Hero demands a that a friend perform a very large favor. The camera is far from its subjects, and employs an archway to frame an idyllic park scene of fountain, benches, a green hill, and blue sky. The contrast between the beauty of the setting and the gravity of the favor is an elegant combination. The distancing from the characters combined with the very personal nature of the requested/demanded favor adds another layer of contrast, and lends an element of concern. The camera then moves in exceedingly close and instead of centering on the beautiful, centers on the most ugly aspects of events. This abrupt change succeeds at jarring the audience exactly as intended.
The last scene of exceptional note (though many others are also worth examining) is the closing sequence. It reverts to the surrealness of the mirror scene, and repeats images from it, it then takes off and expands. Without overt reference, it recalls "To His Coy Mistress", and then goes further on. When it ends, we know the resolution.