Minow rule: If Hector Elizondo barely makes an appearance in a Garry Marshall film, watch out.

Or, I should say, don’t watch.

Marshall wisely does his best to include the talented Elizondo in every one of his films. If the only place Marshall can find for him is a few seconds on screen as a character with a ponytail and a funny name, the movie is in trouble. Especially when that brief appearance has more class and authenticity than anything else in this uneven mess of a film.

The title refers to the no-questions, no-arguments, no-compromises, no-prisoners edicts handed down by Georgia (Jane Fonda, still looking great in jeans and a t-shirt) to just about everyone, especially her angry daughter Lily (Felicity Huffman) and rebellious granddaughter Rachel (Lindsay Lohan).

In what must feel like a reprise of On Golden Pond, where Fonda’s character dumped an unhappy teenager on her parents for the summer so that she could spend time with his father and so that everyone could Learn Important Lessons about Life, Lily dumps Rachel on Georgia for the summer. Let the Life Lessons begin.

Georgia lives in a small town in Idaho, set design seemingly inspired by Norman Rockwell by way of Kinkade. Intended-to-be-cute cuddly little small town moments collide uneasily with grand drama and dysfunctional laundry-airing among and between the three generations of women. What we get are less life lessons than a lot of recrimination and more “you were never there for me” accusations than a week with Dr. Phil.

While she was making this film, Lindsay Lohan received a widely circulated letter of admonishment from the producer for “ongoing all night heavy partying” and missing her call times. Onscreen, she looks uncomfortable and jittery. Her character is supposed to be struggling with desperation, self-hatred, and deep sadness, to be vulnerable and needy. But all she shows us is the character’s anger, which comes across more like brattiness. She can’t let go of the cute thing.

Huffman seems to still be channeling her Transamerica character’s obsession with meticulous attention to external appearances as a cover-up and compensation for internal disarray. Lily is very big on high high heels and just-right clothes and exquisitely tasteful gifts. But she’s a mess and she knows it, even though she tries everything she can — including booze — to help her run away from her insecurity and doubt. Cary Elwes shows up more pudgy than sleek as a big-time, big-city lawyer who may or may not be a very bad guy.

Fonda injects powerful rays of real emotion as often as she can and Dermot Mulroney manages some nice moments as the town vet who is just too darned nice to refuse to treat those adorable townsfolk, doing his best in spite of a cornpone set-up and the tiredest of revelations.

Comedy and drama can combine beautifully as this film’s screenwriter, Mark Andrus, did so well with As Good as it Gets. But this time it just doesn’t work, lurching unevenly back and forth with at least two too many fake-outs that make Rachel seem like the girl who cried wolf. And you know what that means — when she calls, stay home.

Parents should know that this film has a good deal of very mature material, including themes of child sexual abuse and incest. Rachel is sexually provocative and seductive in a number of inappropriate situations involving a young boy, a young man who is engaged and has made a moral and religious commitment to chastity, and an older man. Characters use strong and crude language. A character has a drinking problem and gets drunk. There are references to drug use and tense and emotional confrontations and some mild violence.

Families who see this movie should talk about why Lily was angry with Georgia and why Rachel did not think she could tell Lily the truth.

Families who appreciate this movie will also appreciate Charms for an Easy Life and Down in the Delta.

Here’s the secret for making a raunchy comedy work — it has to be sweet and even a little bit romantic. What the makers of films like American Pie and The 40-Year-Old Virgin understood is that the “oh, no, they didn’t!” element and the gross-out factor work best when they are in the context of characters we root for and yes, even some tenderness. Without that contrast and texture, the raunch is just juvenile, and a little boring for anyone past middle school.

And that’s the problem with this new movie from The 40-Year-Old Virgin writer-director Judd Apatow.

Alison, a lovely, educated, elegant young woman (Katherine Heigel of television’s “Gray’s Anatomy) gets drunk one night at a club and has unprotected sex with Ben, a sweet but immature young man. When she discovers she is pregnant, they decide to try to establish a relationship.

But there are a lot of forces against them, including the crumbling marriage of Alison’s sister Debbie (director Apatow’s real-life wife Leslie Mann) and her husband Pete (Paul Rudd). And there’s the slacker quicksand of Ben’s friends who live together, get high together, and hang out together all the time, alternating between dumb bets and challenges, clueless and delusional boasting about make-believe sexual prowess, and jokes that thinly disguise their sheer terror of women. In desultory fashion they even “work” together on a comprehensive online database of the exact inventory of every element of nudity or sex in every feature film ever made. It may just be an excuse to sit around all day getting high and watching dirty footage, but hey, you can’t say they don’t have a dream!

All of this is an excuse for some outrageous humor, much of it extremely funny, especially when Rogan and Rudd get to go off by themselves (in Las Vegas) and go wild (on hallucinogens). The relationship between the two of them is the strongest, funniest, and most authentic in the film. But too much of the rest seems like a bunch of 12-year-olds who have seen too many episodes of “Jackass” and spent too much time playing with their Xboxes. Men are afraid of growing up, parenthood, and women, I get it! And then a childbirth scene — let me just say that there are obstetricians who will learn a few things from some footage that gives new meaning to the term up close and very, very personal.

Yes, the responsibilities of adulthood and being a parent can be terrifying, and there is a lot of humor to be had in seeing people struggle with it on screen. And there is a moment with some truth and wisdom here when one of the men confesses that it is not the courage to love he lacks but the courage to be loved.

But ultimately Pete and Ben and even Debbie are too cluelessly narcissistic and the film loses its sense of recognition of what is and is not fair to expect from ourselves and others. There is a bitter hopelessness and misogynistic bite to the humor without any sense of the transcendence of love, generosity, or unselfishness. Too much of the long running time feels more like an episode of Jerry Springer than comedy based on an exaggerated version of us but still recognizable as human — and as a family we can be happy this baby is joining.

Parents should know that this movie has a great deal of crude humor, including vulgar and explicit sexual references and situations, including nude lapdances and pornography and a graphic (but not bloody) scene of childbirth. Characters use very strong and explicit language. There are references to adultery and characters who do not know each other get drunk and have unprotected sex. Characters drink, get drunk, smoke a lot of marijuana, and take hallucinogenic mushrooms. There is comic peril (no one hurt). And characters behave very irresponsibly, even by slacker comedy standards.

Families who see this movie should talk about some of their own fears about parenting and the conflicts that can arise from different expectations about marriage and family.

Audiences who enjoy this movie will also enjoy The Tao of Steve, Nine Months, She’s Having a Baby, and another movie from the same writer/director featuring Rogan and Rudd, The 40-Year-Old Virgin. Oh, and for those who were wondering, the movie the characters in the film are watching with great interest is Wild Things.

If you’ve see the ads with vulnerable cutie Adam Brody from “The O.C.” kissing willowy cutie Kristen Stewart (the kid in Panic Room and growing up very nicely), you probably think it must be a romantic comedy. That’s what they want you to think because it will sell tickets.

Get that idea out of your mind and you might find a way to the real but uncertain pleasures of this intriguing first effort from writer-director Jonathan Kasden (son of writer-director Lawrence and brother of writer-director Jake, whose own first movie is also coming out this month).

Like its main character, the film is a little lost but filled with promise, with some lovely moments, some telling thoughts about the power of listening.

So much promise, in fact, that it manages to overcome the considerable challenge of keeping our affection despite two well-established movie-killers — the precocious child and the dying grandmother who’s gone a little gaga.

Carter (Brody) is a writer who gets dumped by his successful and beautiful girlfriend in the very first scene. Feeling at a loss, he tells his mother he will go to visit his grandmother in Michigan to take care of her and work on his writing.
His grandmother (Oscar-winner Olympia Dukakis) seems to be losing it completely, and he feels a million miles away from anything.

And then Sarah (Meg Ryan) from across the street impulsively asks him if he’d like to come along when she walks her dog. In spite of not knowing each other — in fact, because they don’t know each other — they begin to talk about what really matters to them, about fears and embarrassing secrets.

Sarah pushes her teenage daughter Lucy (Stewart) to take Carter to a movie, and she brings along her little sister Paige (Makenzie Vega), who is even precocious about how precocious she is, sort of precocity cubed.

At first, Carter is preoccupied with his own unhappiness. But he begins to listen to Sarah and Lucy and the very experience of being sympathetically listened to, more than what anyone says, has a transforming effect on all three of them.

At one point in the movie, a minor character makes a very graphic point about the worries all of us have that someone will find out our secrets and think we are disgusting. And as Carter totes his grandmother’s used Depends out to the curb with the garbage, he shows the fear of not just being disgusting but being disgusted. This theme echoes in less clunky and obvious ways throughout Carter’s talks with Sarah and Lucy and it is in those moments that we see not just Carter’s promise, but writer-director Kasden’s as well.

Parents should know that this movie has some strong language, brief violence, some inappropriate kisses, references to adultery, teen smoking and drinking, and a reference to being “wasted.” A character has cancer and there is a sad death. A strength of the movie is that it is a rare contemporary film that takes kissing seriously.

Families who see this film should talk about the way that Sarah’s family handled secrets. Which did they handle well and which could they have handled better? What was the most important thing Carter learned from Sarah? From Lucy?

Families who enjoy this film will also enjoy The Safety of Objects and Things You Can Tell Just By Looking At Her.