Imagine standing in Los Angeles, trying to shoot a basketball all the way to New York, where it must hit the basket without touching the hoop. That’s the magnitude of the challenge faced by NASA scientists and engineers in trying to land probes on Mars. Two-thirds of the time, they fail.

This is the story of the most recent effort to send two identical exploratory vehicles, named Spirit and Opportunity, 306 million miles to Mars in April 2004.

Oh, and that basketball hoop we’re trying to reach? It’s moving. The launch has to be timed exactly to the moment when Mars will be best aligned with Earth. As we see the engineers performing their last-minute tests, shredding the parachute they were planning to send to Mars, we realize that they have days — sometimes less — to figure out what went wrong and fix it.

Spirit and Opportunity have to be able to launch and fly like a rocket ship, survive the landing without burning up or breaking any of their instruments, drive like a remote (VERY remote)-controlled vehicle over rocky (VERY rocky) terrain, keep working through Mars-size “days” and report back, through pictures and geologic analysis, detailed data about what they find. It is so enormously complex that “No one person can understand everything about the vehicle,” says one scientist. “It’s burst the bounds of our brain.”

Unlike most IMAX films, which have a stately, almost static feeling, this movie has moments as immediate and involving as a feature film. Yet it makes great use of the size and resolution of the IMAX technology, using the images the rovers sent back to create an astonishingly vivid Mars landscape.

The visuals are magnificent but what makes the movie work is the story — the dream of Mars and the hard work that goes into getting there. It shows how cool science — and hard work — can be as we look at the range of questions and problems the scientists and engineers must solve.

Best of all, it shows kids something parents and teachers often forget to tell them: you have to make mistakes. Two-thirds of the Mars initiatives failed. “Mars is a spacecraft graveyard,” one scientist says. This is a movie about Mars and about dreams, but most of all it is a movie about how mistakes are not just okay but expected and necessary in order to learn what we need to learn to do what we dream of doing.

Parents should know that this movie has no issues of parental concern but will probably be of most interest to ages 7 or 8 and above.

Families who see this movie should talk about how the smartest scientists and engineers in the world expect to make a lot of mistakes before they finish. What can we do to make sure we make the right number of mistakes. Families should know that the names for the two rovers, Spirit and Opportunity, were suggested by an 8-year-old girl named Sofi Collis, whose own journey is almost as remarkable as that of the rovers she named. If you got a chance to name a rover, what would you pick? If you could go to Mars, what would you do first?

Families who enjoy this movie will want to learn more about the Mars rovers and they read my interview with the people who made the movie. Families will also enjoy Tom Hanks’ brilliant miniseries From the Earth to the Moon, especially episode 5 about the design of the lunar module and episode 10 about teaching the astronauts to be what Spirit and Opportunity do in this film — geologists. They will enjoy Voyage to Mars by Laurence Bergreen and Roving Mars by Steven Squyres, who appears in this film.

Families might enjoy some whimsical notions of space exploration, including one of the very first movies with special effects, the silent film A Trip to the Moon (How do the explorers get home again? They jump off!), Wallace and Gromit’s A Grand Day Out, and Forbidden Planet, inspired by Shakespeare’s “The Tempest.”

Sincere performances and some star charisma can’t save this movie from its derivative screenplay, a retread of every “callow youth learns what it means to be a man” service drama. This movie samples An Officer and a Gentleman and Top Gun the way Vanilla Ice sampled Bowie.

James Franco plays Jake Huard, a kid who has been putting rivets in battleships as he gazed across the water at the U.S. Naval Academy in Annapolis. His friends and his father think that places like the Naval Academy are not for the likes of them. But at the last minute, despite grades and scores below the Academy’s standards, Jake is accepted. That night, his friends give him a big send off, and tell him the elegant-looking lady at the bar is a paid escort they have reserved for him. He politely tells her he is not interested but offers her a tour of the Academy. If you don’t think she’s going to show up the next day as someone who outranks him, you haven’t seen many movies.

And if you’re surprised that Jake’s future also includes a Benneton-ad range of racially diverse roommates, who also have a neatly assorted range of issues, one of which includes not being able to get over the climb-y thing on the obstacle course, and a tough superior officer who thinks Jakes doesn’t have what it takes, then you probably have never seen a movie of any kind.

But as long as you’re not looking for originality, this film is modestly enjoyable. Franco is nicely broodish, and Tyrese Gibson shows some star power as the superior officer who knows what it takes to be a successful leader. Chi McBride (Roll Bounce, The Terminal), Donnie Wahlberg (The Sixth Sense) and Vicellous Reon Shannon (The Hurricane) provide able support, and the movie’s predicability is offset by boxing scenes that are excitingly staged, with a sense of immediacy, and a slightly old-fashioned feeling — this is a film that takes kissing seriously.

Parents should know that the boxing and other fight scenes are intense and there are some scenes of peril and a suicide attempt. There are some sexual references, including a prank allegation that a woman is a paid escort, and characters use some strong and crude language.

Families who see this movie should talk about why Jake’s father had a hard time believing he could succeed at Annapolis. What made going to Annapolis so important to Jake? Why did he say that seeing where he came from made it possible for him to be there? They might want to find out about the real-life U.S. Naval Academy, as academically rigorous as it is physically demanding.

Families who enjoy this movie will also enjoy An Officer and a Gentleman (for mature audiences).

They are so afraid we won’t get the point that this movie has our heroine literally letting down her hair, literally putting some color into her beige world, and — in case we still don’t get it — literally having her undernourished garden bloom. And yet, we go with it, thanks to a luminous performance by Sanaa Lathan, who has us rooting for her from the beginning.

She plays Kenya, a very successful investment banker who spends Valentine’s Day with her three best girlfriends — a judge, a doctor, and a lawyer — all wishing they could find love.

Kenya thinks she knows what she wants. She has a list. But love has a way of teaching us — often with great discomfort — that we don’t always know what we want. And ever since Jane Austen, romantic comedies are there to let us enjoy that lesson because it is happening to someone else.

Kenya agrees to go on a blind date, but she is so unsettled when she discovers that he is white she abruptly tells him it can’t work and walks out. Later, when she admires a friend’s garden, it turns out he was the landscape architect and she hires him to — metaphor alert — create a beautiful oasis in the neglected back yard of her new house.

Not only is Brian (Simon Baker) missing the attributes on Kenya’s list, he has a few items on her “no” list — like a dog, and a job where he doesn’t have to wear a tie. But he is kind and smart and considerate, and he knows how to make things bloom. He likes Kenya very, very much. And the her that he likes is a her she’d like to be more of the time — maybe.

Kenya has devoted all of her energy to being what her parents wanted her to be. When Brian urges her to remove her long, straight, glossy hair weave, her aristocratic and a bit pretentious mother wails, “But it was your crowning glory!” Kenya gently reminds her that it wasn’t really hers.

It was her mother’s opinion that strong, bright colors are for children, so everything in Kenya’s new house is beige. Soon Brian has her dipping a paint brush into deep, rich colors, and, of course, splashing it around a little, too.

Kenya wants to think of it as a fling, a momentary Lady Chatterly detour from the path of searching for the IBM (Ideal Black Man). That way, she does not have to think about what her parents or her friends think or about her list (which is a reflection of her parents and her friends). And if he’s just a fling, she does not have to think about her own prejudices. Until an IBM (Blair Underwood) shows up, a handsome and successful lawyer who wants commitment. He is everything she ever wanted. Isn’t he?

This is a glossy romantic comedy with an appealing heroine and some bright dialogue and the theme of racial differences, with the black family highly educated and affluent referring to the landscape architect as “the help” adds a little freshness to a traditional when-will-she-realize-he’s-her-true-love storyline. Another bonus is a superb soundtrack by former Prince-ites Wendy and Lisa. If the over-perfect devotion of the boyfriend makes it less of a date movie than a chick flick (he’s not allowed some sympathy for a bad day?), the sweetness of the relationship and the tartness of the wisecracks around it keep it, if not something new, at least, something welcome.

Parents should know that this movie has some strong sexual references for a PG-13 and some non-explicit sexual situations. Characters drink (scenes in a bar) and use some strong language. A strength of the movie is its portrayal of a loving and devoted inter-racial relationship.

Families who see this movie should talk about why it was so hard for Kenya to be honest with herself about what she wanted.

Families who enjoy this movie will also enjoy Love and Basketball and Brown Sugar (also starring Lathan), Annie Hall, and Before Sunrise.

There are seven children in the Brown family, and they are all very clever and exceedingly naughty. The 16th nanny has just quit because she thought she saw the six older children eating the baby. The nanny agency refuses to send over another candidate. Mr. Brown (Colin Firth) does not know what to do. And rich Aunt Adelaide (Angela Lansbury) says that if he doesn’t get married by the end of the month, she will stop sending the money they need to pay for their house.

Enter Nanny McPhee (Emma Thompson). She has two huge warts, a nose like a potato, and a snagletooth. She also has a big, gnarled staff, and when she hits the ground with it, surprising things happen. She tells the children that when she is needed but not wanted, she will stay, but when she is wanted but not needed, she will go.

Thompson, who also wrote the screenplay, clearly enjoys her outlandish get-up and her crisp but understated and dryly humorous delivery is perfectly suited to the part of the un-ruffleable nanny. Firth’s addled but affectionate father and Kelly Macdonald as a sympathetic housemaid add some substance and sweetness. Thomas Sangster (Love Actually with Thompson and Firth) as the oldest of the Brown children, has a light comic touch.

The movie is a little too self-consciously charming, set in a village so twee it would not be out of place in a Christmas display, with owlish children making adorably precocious quips. And some of the humor seems forced or even creepy, as when we see Mr. Brown working in a mortuary. But it is highly entertaining to see the children misbehave — and to see them get their comeuppance, and the happy ending, if unsurprising, is welcome and satisfying.

Parents should know that there is some gruesome humor and comic peril (no one hurt). There is a comic situation involving some accidental but graphic groping and a woman who takes this as evidence of her sexual attractiveness and a brief crude joke with the implication of incest. Some audience members may be disturbed by the (offscreen) death of the children’s mother or the potential wicked stepmother or loss of the family’s home. Mr. Brown works in a mortuary and the film includes shots of dead bodies.

Families who see this movie should talk about why the children were so naughty. What was the most important thing they learned from Nanny McPhee? What do you think about her rules? Why do her looks change? If you were nanny to the Brown children, what would you do? What does it mean to be needed but not wanted or wanted but not needed?

Families who enjoy this movie will also enjoy Mary Poppins, the Mrs. Piggle-Wiggle books, and The Storyteller, the classic story of a man who finds a very clever way to quiet some annoying children. Like the author of the books that inspired this movie, he knows that kids love stories about naughty children.

“Is that the same guy that was just sucking the blood out of the dead horse?”

That was my question to the critic sitting next to me in the middle of the movie. I liked the first Underworld. I thought it was comic-book fun and enjoyed its punk-gothic attitude and flashy design. But this sequel is an incoherent mess covered in sticky, goopy blood without one interesting action scene or fresh stunt.

Once again, it’s about the centuries-old battle between the lycans (werewolves) and the vampires. It turns out it all goes back to two brothers, one bitten by a wolf, one bitten by a bat. Selene (Kate Beckinsale, looking very fine in her leather jumpsuit) and mutant/hybrid Michael (Scott Speedman, mostly looking confused) found out at the end of the last movie that Victor (Bill Nighy, whose brief appearance that is the movie’s only bright spot) had lied to her about, well, pretty much everything, and now it is up to them to, I don’t know find something or kill someone or somehow save the world or at least themselves with a bad guy who looks like an anatomical drawing of the muscular system who has wings that act as a sort of impaling truth serum.

The juxtaposition of portentious “my lords,” “so the legend is true” and “you are unwelcome in my presence”-type talk with computers and helicopters is mildly fun. It’s handly to have the kind of fingernails that can pierce a paint can lid, and it’s cute when Selene crisply tells a man who says he isn’t afraid of her, “We’re going to have to work on that.” But it’s all kind of murky and never makes you care enough to figure our whatever it is.

Parents should know that the movie is very violent. A head is sliced off, bodies are burned, and many, many people/creatures are shot, impaled, blown up, and otherwise maimed and killed. Characters use some strong language and there is nudity and explicit sexual situations including a decadent setting with a man and two women.

Families who see this movie might want to find out more about the origins of the legends of vampires and werewolves.

Families who enjoy this movie will also enjoy Blade and the original Underworld.