Another sweet lollipop of a movie, “Princess Diaries 2: Royal Engagement” picks up five years later than the first and, though missing some of the original’s spark and humor, it’s a pleasant romp for girls of all ages. It’s the movie equivalent of a sticker scrapbook filled with rainbows and unicorns — it features not only guaranteed girl-pleasers like a princess and a romance and very cool outfits plus manages to include a princess slumber party with Disney Channel favorite Raven.

Mia Thermopolis (Anne Hathaway) is no longer a shy teenager, but a polished young woman ready to follow in her deceased father’s footsteps as the heir to the throne of Genovia, a fictional country perpetually sparkling in late afternoon sunshine. Having finished college with a degree in foreign affairs, she still dreams of a “foot-popping” kiss (a kiss so good that it makes your foot pop up) but between her studies and her friends she has not quite gotten around to relationships.

Mia and her exquisitely regal grandmother, Queen Clarisse (Julie Andrews) have developed a deep understanding and respect for one another, and the Queen believes it is time for Mia to replace her on the throne. Their plans are hampered, however, when the scheming Viscount Mabrey (John Rhys-Davies) pushes Parliament to enforce an old law that requires that a princess be married before she can become a queen, as he positions his own nephew — Mia’s distant relative — to become king. The result is that Princess Mia has thirty days to find a husband, to win over Genovia, and to learn how to be queen.

Within a week she is engaged to a sweet and slightly klutzy English duke, Andrew (Callum Blue), an honorable, accomplished, and thoughtful man who does not make her foot pop. And she has developed an “I detest you” type bickering attraction to Viscount Mabrey’s young nephew, Lord Nicholas (Chris Pine). While capturing headlines with her gaffes, Mia wins over hearts with her goodness and down-to-earth caring. Best friend Lily (Heather Matarazzo), returns to help her gain her stride and to give Mia a piece of normality in the decidedly unreal palace life.

Like many sequels, “Royal Engagement” loses some of the flavor of the first by trying too hard not to change anything in the winning formula while telling a different story. The fantasy of being a princess is not the same as that of being a queen. This make-over is more subtle than taming hair and wearing make up. Mia must establish a connection to the people of Genovia, while maturing and calibrating her own moral compass. The love story is stilted and missing some the quirky subtlety Hathaway showed in Ella Enchanted. Finally, there is a distracting deluge of under-written and overblown characters who labor too hard to keep the movie light, from the ladies’ maids to the young guardsman bellowing out orders while wooing Lily.

The scenes between Hathaway and Andrews are lovely, though, as the two are complementary souls. Grandmother Clarisse shelters Mia under the umbrella of her poise and dignity, while Mia reawakens the Queen’s sense of impish fun. With Andrews singing — albeit briefly and all in her lower register -— for the first time in years, the sleep-over scene alone is worth the price of admission.

Parents should know that there are scenes of social embarrassment and manipulation. Also, there are several kisses in this movie, including a couple of the foot-popping variety. An innocent night out that lasts until morning when the couple falls asleep (fully clothed) under the trees is portrayed in the media as scandalous. There is a brief reference to a gay character. Mia does discuss with her grandmother arranged marriages as a means to secure the throne, and there are revelations both about loveless marriages and marriage-less loves.

Families who watch this movie might wish to discuss how one’s duty to oneself might conflict with another duty, for example, when Nicholas acts in such a way as to secure the best outcome for Genovia, in his view, but he does not act honorably. Also, they might want to discuss how perspectives on a tradition change for the better or worse. Finally, they might want to talk about the different relationships in the movie and what Mia might do in the months that follow the movie’s end.

Fans of this movie should see The Princess Diaries right now if they haven’t already.

A little Princess is a sweet movie based on the classic book, aimed at the younger viewers and picking up the theme of finding one’s inner princess. Call me Madam is a fun movie with great music that involves an unpolished American taking on a delicate role in diplomatic circles beyond her ken. Mature teens and adults will enjoy watching another young lady struggle deciding between a suitable marriage and one inspired by love in the classic A Room with a View. Families might want to talk a bit about the influence of Nicolas Machiavelli, who encouraged royalty to use deceit to maintain control.

When a movie begins by telling you that “Eternity does not last forever,” it is clear that no one behind it is paying much attention to whether the script makes sense, so you’d better not worry about it, either.

Oh, well, it’s less a movie than an infomercial, anyway. As in the television show, this is the story of champion card-player Yugi, who can access the power of an ancient pharaoh to help him triumph over all who challenge him. His perennial nemesis is wealthy Kaiba, who does not realize that his spirit has been captured by the spirit of the pharaoh’s evil enemy, Anubis. Five thousand years ago, the pharaoh vanquished Anubis for what he thought was eternity. But eternity…you know the rest.

The static visuals get tiresome quickly, and the characters are confusing to those not already familiar with them from television. The dialogue consists of a lot of boasts and threats like, “Soon worms wll feast on your flesh as they feasted on mine!” “Meet your Doom!” and “Allow me to introduce infinite power!” with a couple of crude jokes like, “I smell trouble!” “Actually, that’s me. Sorry about that.”

As with Pokemon, anyone who has ever seen the TV series, played the game, or bought the cards knows what to expect here. Every generation of children has some hideously annoying cartoon series to provide parents with much agonizing and many, many buying opportunities. The characters usually undergo some transformation or make use of a secret to attain power. This theme is endlessly interesting to kids who can feel overwhelmed by a world built on a scale that is often too large for them.

Kids, especially those ages 6-10, also love to memorize and sort endless facts, whether about Pokemons, dinosaurs, cars, or Beanie Babies. It gives them a sense of mastery, especially because they can do so much better than adults. And it becomes an important part of their social development, creating a shared language with their friends. This can be particularly meaningful for kids who are insecure about talking to other children. So, parents may decide that the movie’s benefits as a sort of training wheels for social interaction and a sense of mastery outweigh its shortcomings as a movie. Nevertheless, non-fans will conclude that eternity may not last forever, but this movie feels like it does.

Parents should know that the movie has a lot of cartoon violence, meaning that some scary-looking creatures face off against each other, including monsters and decaying mummies. There are a lot of meaningful glares and lightning-type bolts shooting out between the characters but even those who are defeated and seem to evaporate turn out not to be gone for good. Human characters are in peril, too, and sometimes seem to be hurt, but again it is only temporary and there are no serious or graphic injuries. One girl character is loyal and brave but when the creatures attack, she is the only one who cries and is incapable of fighting back. There is some mild schoolyard language like “blow chunks” and many threats, insults, and boasts. A somewhat decadent character refers to wine spritzers and is so effete that some viewers may wonder if he is supposed to be a stereotyped gay man.

Families who see this movie should talk about the characters’ view that there is nothing more powerful than friendship. They might also enjoy looking for the movie’s many references to other movies, including On the Waterfront, The Godfather, and The Wizard of Oz.

Families who enjoy this movie will also enjoy Pokemon. They might like to find out more about Anubis and some of the other inspirations for Yu-Gi-Oh characters. And they might like to try to find the original Japanese films, which have more texture and depth than the dubbed and cut down American television versions.

There is a tap-dancing scene in the samurai film, “Zatoichi”.

For fans of the genre, using the words “samurai” and “tap-dancing” in the same sentence should capture both the eye and the quintessential weirdness that can be Japanese cinema for US audiences. But if tap-dancing is not enough to register a raised eyebrow, then perhaps the cross-dressing geisha, not to mention the theme of transvestism in feudal Japan, will do the trick.

Let’s back up here. Introduced in the early 1960’s, Zatoichi (pronounced “zah-toe-EACH-ee”) is now an archetypal character in Japanese film, inspiring over 30 movies and counting, as well as numerous television shows. Ichi (at times with the titular prefix, “Zato”, as one would say “Mr. Ichi”) is a blind masseuse ambling from town to town until some injustice or threat cause him to reveal his incomparable swordplay and samurai-styled sense of honor. Typically positioned in feudal Japan, the movies pit Ichi against gangsters, bandits, ronin (samurai with no master), and others who would do village people harm. The first movies turned star, Shintaro Katsu, into one of the most famous actors in Japan, and the director, Kenji Misumi (who went on to direct the famous “Lone Wolf and Cub” movies in the 1970’s), into an icon.

This time around, Ichi (Takeshi Kitano) wanders into a town under the sway of rival gangsters, just as a talented, young ronin and two justice-seeking geishas tip the balance of one gang’s power and paranoia. The result is bloody, with skirmish after skirmish leading to the final fights, when the formerly ambivalent Ichi is drawn into the fray.

Takeshi Kitano, both as director and actor in the character of Ichi, seems to be blending more modern influences with the older themes. While revenge is the common driver of most movies in this style, it is rare that a director will dwell on the psychological impact of the violence that inspires the revenge. In this case, a young boy is driven to prostitute himself (implicit, off-screen) to provide for himself and his sister when their parents are killed by gangsters. The movie’s pervasive blood gushing is done with computer animation, which lends a strangely toned hue to the many fight scenes. Kitano, like über-modern director Lars van Trier, has Ichi hearing the music of the sounds around him, in a similarly somber manner to Bjork’s character in “Dancer in the Dark” (2000, mature themes). Finally, Ichi sports blond hair and blue eyes in what could be an odd homage to Rutger Hauer –a favored actor in Japan—who played a Zatoichi-inspired character in the mediocre “Blind Fury” (1990).

It is said that Kitano, famed for his violent, modern films including Fireworks took on this project, his first period piece, reluctantly at the bequest and financial backing of an old friend of Shintaro Katsu. However Kitano came to film Zatoichi, fans of the samurai swordplay genre will welcome his style although it is far from traditional.

Parents should be aware that many people die in this movie and never by natural causes. Characters are harassed, beaten, and killed, which in turn motivates more deaths. Children are orphaned by thieves, leaving them to fend for themselves through servitude and then prostitution. Addiction to gambling threatens the livelihood of one character, while the lives of all characters are threatened by the gangsters that rule the town. One character commits suicide to prevent a loved one from having to act dishonorably. A male character prefers to dress as a woman.

Families may wish to discuss the appeal of a character like Ichi, whose inability to see makes him a symbol of justice and of power cloaked in a façade of powerlessness. What might explain the enduring popularity of this character?

Profit, power and revenge are the motivating factors for the deaths in this movie. How are the ronin and masseuse different from the gangsters?

Families who enjoy this movie might be interested in the original Zatoichi movies of the 1960’s, starring Shintaro Katsu, including Zatoichi Challenged, which also includes a musical number. For those who are adverse to subtitles, Blind Fury was a very derivative, American adaptation featuring Rutger Hauer. More recently, memorable samurai-styled swordplay in American cinema can be found in Volumes 1 and 2 of Kill Bill as well as in Blade, both with very mature themes.

The theme of overcoming physical challenges to become a famous warrior has been the source of a number of Asian fight movies, including ‘kung-fu’ flicks like Crippled Avengers/Mortal Combat (1978) and Master of the Flying Guillotine (1975).

“Without a Paddle” is also without talent, originality, anything to laugh at, or a reason to buy a ticket.

The opening moments of faux home movies showing four boys up to all kinds of faux hi-jinks, and then we then meet up with only three of them as adults, so we know where this is going. Yep, one of them dies and the other three decide to salute his memory by taking the treasure map he left behind for them in the old treehouse so they can go off in search of treasure and find themselves, the meaning of life, and maybe some money, too.

And we will not be surprised that one of them will be successful but repressed and phobic (Seth Green as Dr. Dan Mott), one will be an irresponsible and substance-abusing but fun-loving guy who’s catnip to the ladies (Dax Shepard as Tom), and one will be unhappy in his boring job and unable to commit to his beautiful girlfriend because he just can’t grow up (Matthew Lillard as Jerry).

Ready with the life lessons? Ready with the poop humor? Ready with the rednecks armed with enough firepower to invade several countries, but who, even equipped with laser-sights to ensure accuracy and automatic firing to ensure, um, mayhem, can’t seem to hit anything they aim at? Ready with the bear? The rapids? The beautiful hippie chicks named Flower and Butterfly living in a tree and eating bark? The guys having to huddle together for warmth despite a lot of “I’d rather die” homophobia? Burt Reynolds as Grizzly Adams, playing a bearded old hermit still doing “Dy-no-MITE” jokes because he hasn’t seen television since “Good Times” in 1971? Then get in that canoe and start paddling.

Or not. This is just a massive waste of time for everyone involved. There is not one joke that hasn’t been seen before and done much better. Most of them are just silly or gross rather than funny anyway. The purportedly heartwarming moments are cheesy and insincere.

Director Steven Brill is responsible for directing atrocities Mr. Deeds and Little Nicky and writing the terrible Ready to Rumble. He deserves to be put in a canoe without a paddle for this one.

Parents should know that the movie has a lot of very strong material for a PG-13 including a lot of “action” violence (a lot of shooting with very powerful weapons but hardly any blood and no one seriously hurt), comic peril (including a bear attack and many dangerous encounters on the river), and some graphic images (sewing up a bloody wound, a skeleton, lots of poop). There are many sexual references and situations, including references to peeking at a girl’s “downstairs,” a pierced “downstairs,” and a lot of homophobic and misogynistic humor. A woman’s unshaven leg is as scary as Sasquatch. Characters use strong language. Characters smoke and drink beer, other characters are drug dealers, and getting stoned is played for humor.

Families who see this movie should talk about what Tom, Jerry, and Dan learned from the trip. How did each of them decide what was really important?

Families who enjoy this movie will enjoy the better City Slickers. They might also like to take a look at the website maintained by Julia Butterfly Hill, who lived in an ancient redwood for two years to protest environmental abuses.

This bittersweet fairy tale centers on Xen (Rehaan Engineer), the owner of an upscale Bombay beauty shop, who can read the minds of his clients when he cuts their hair. The source of this power is a devastating loss. His parents were killed in a fire in a recording studio when he was a child and he saw it, trapped in a soundproof booth. “I went crazy in a world of silence,”he says, and promised “never to have to listen to someone in order to hear them.”

Now he lives very quietly above the salon, the only color in his life the glimpses of the fears, hopes, and deceptions of the people who come to him to have their hair done.

A woman keeps “forgetting” her wallet. But Xen knows that she is desperately trying to keep up appearances after being cruelly abandoned by her wealthy husband. A young man and woman are drawn to each other but too shy to begin a relationship. Xen knows the secrets of a corrupt executive and a wealthy woman who loves gossip — and cocaine. A brash and flamboyant young actor (writer/director Rahul Bose in the movie’s least successful performance) is not as successful as he pretends. And there is an intriguing young woman named Nikita (Koel Purie) whose mind Xen cannot read. Has she no inner life at all or is there something there that he just can’t reach? Perhaps he cannot see into her mind because she can see into his.

The exotic feel of this movie owes as much to its unconventional mix of genres as to its colorful location and characters. It has elements of romantic comedy, drama, farce, even thriller. The combination can feel uneven at times but ultimately it adds texture and a rewardingly authentic sort of messiness that works well with the fantasy elements of the movie’s plot. Xen uses what he learns to change the lives of his customers. And then one of them changes his.