The story takes place in Georgia, at an all-white private boys’ boarding school called Blanton, in 1959. Blanton is famous for its boys’ choir. The candidates for the prestigious “lead boy” position in the choir include Paul, an angry, bigoted boy, and Taylor, who remonstrates mildly when Paul plays mean pranks on a Northern boy in an attempt to get him to leave.

Derek Saunders (Peter Scolari), a new choirmaster, arrives from Boston. And Landy, a black boy whose parents have died, arrives to live with his grandfather Zeke (Moses Gunn), a janitor at the school.

Landy is entranced by the choir music, as Taylor is by the blues and gospel he hears Landy play on his harmonica. They become friends, though Taylor betrays Landy by publicly belittling the death of another black boy. Derek appoints Taylor lead boy in the choir, even though he knows it will cost him his job at Blanton and the possible affections of the headmaster’s daughter. When Taylor is injured in a hate crime, he and Derek arrange for Landy to take his place as soloist for the performance.

The strength of this movie is that it does not begin to pretend the issues it raises can be (or were) resolved simply. Throughout the movie, the local black community tries, with increasing assertiveness, to be allowed to swim in the municipal pool. There is no resolution.

Landy may have been permitted to sing with the choir for one performance, but there is no suggestion he will ever be admitted as a student (or indeed ever be allowed on campus again). And Derek, faced with a choice between his conscience and his wish to remain at Blanton, makes Taylor lead boy and has to face the consequences.

It also shows nicely the power of music in the lives of Landy and Taylor. They share something transcending their differences. Love for music makes Landy risk not being “invisible” so he can hear the choir rehearsal. Love for music makes Taylor take the risk of breaking the rules by leaving school to go to hear it played, even though he will be the only white person there. Derek criticizes the choir for concentrating too much on technical perfection, and not enough on feeling the composer’s exaltation and passion. And he tells Taylor boys should risk breaking the rules and get away from school once in a while.

The movie makes it clear that Paul’s bigotry and hostility are in part displaced emotions stemming from his parents’ neglect. One of his roommates says, after another in a series of visiting days when Paul’s parents are the only ones who don’t attend, “I wish he’d get mad at them instead of us.”

Parents should know that the movie includes an offscreen death and racial intimidation and violence, including strong racist language. A boy smokes a cigarette.

Families who see this movie should talk Landy’s grandfather saying that he has lasted as long as he has at the school by “being invisible.” What does that mean? What do you learn from the way the boys talk to Derek about the Civil War? Why do they have different views? If they were taught to believe one thing and he was taught another, how do you know which is right? Why does Taylor call the boy who died “some stupid kid”? Listen carefully to the music in this movie. Do the songs they sing relate to the story at all?

Families who enjoy this movie should note musician Richie Havens as “Scrapper Johnson,” a blues musician who appears at a fund-raiser to rebuild the church after it is bombed by racists. Another movie about a boys’ choir is Almost Angels.

Duff (Ivan Dixon) is a black man who is a member of a railroad crew, laying track in a small Southern town. He meets Josie (Abbey Lincoln), a local black woman who is a teacher, at a church social. Neither Duff’s nor Josie’s parents think he is a suitable match for her (when he asks her why she is going out with him, she says, “You don’t think much of yourself, do you?”). But she tells him he isn’t “sad” like the men she knows, and that she thought they’d have something to say to each other.

They get married, and he goes to work in the mill. But he cannot accept the hazing by the whites who work at the mill and is fired when a casual remark about “sticking together” is interpreted as an indication of labor organizing. Word gets around, and he is unable to get a job at the other mill or keep jobs picking cotton or working in a gas station. Josie gets pregnant, and Duffs sense of despair at not being able to care for her begins to eat at him. He leaves her, saying, “I ain’t fit to live with no more. It’s just like a lynching. They don’t use a knife, but they got other ways.”

He goes to see his estranged father, who dies from alcohol abuse brought on by his own despair. Duff realizes he has to do better than that. He picks up his young son, who had been boarding in another city, and takes him home to Josie. He says, “It ain’t going to be easy, but it’s going to be all right. Baby, I feel so free inside.”

This thoughtful, quiet movie was not widely distributed when it was made in 1964, but it has had an enduring and well-deserved reputation as a sensitive portrayal not just of a particular moment in the tortured history of race relations in this country, but also as an intimate story of human dignity and the need for connection.

In a way, Duff struggles with the same problem that Mary Kate Danaher struggles with in The Quiet Man — to achieve the sense of completeness and equality necessary to be able to enter a relationship fully. Josie may be right when she tells Duff he doesn’t think much of himself, but he thinks enough of himself to say to Josie’s father, “You’ve been stooping so long, Reverend, you don’t know how to stand straight. You’re just half a man.” When the Reverend tells him to “make ’em think you’re going along and get what you want,” Duff says, “It ain’t in me.” This is part of what Josie loves about him, part of what distinguishes him from the “sad” men she knows, like her father, who knew who was responsible for a lynching but did not say anything.

Duff sees his father die, broken and alone, and he knows he will do better than that. Duff finds in his son (though he says that he doubts he is the boy’s natural father) what he cannot find in his environment, a way to be more than “half a man.”

The portrayal of the life of the people in this movie is harsh. None of the black characters have warm, loving, intact families. Duff’s failure to be involved in the life of his son may strike some viewers as callous and others as a racist (or sexist) stereotype.

Parents should know that the movie has some strong language, including racial epithets. There are sexual references and situations. Duff’s friend patronizes a prostitute. Duff says he is not the father of the child he is supporting. On a date, Duff says to Josie, “Next time we’ll have to hit the hay or get married, and you don’t want to hit the hay and I don’t want to get married.” When Duff tells his friends he is going to marry Josie, one says he must have “knocked her up.” White men make sexual references about Josie as a way of humiliating Duff. Characters drink and smoke, and a character is an alcoholic.

Families who see this movie should talk about the way that Josie, Duff, and the Reverend all express views of how to interact with white people. How are they different? Duff calls the Reverend a “white man’s n—–.” Is that fair? When Duff asks Josie why she does not hate whites, she says, “I don’t know. I guess I’m not afraid of them.” What difference does that make?

Families who enjoy this movie will also enjoy The Defiant Ones.

This movie is not just pretentious twaddle. It is inept and exploitive pretentious twaddle, not even worth a “so bad it’s good” video rental.

The title comes from the idea, here attributed to “chaos theory,” that the flap of a butterfly’s wing can produce a typhoon half a world away. Ashton Kutcher, way out of whatever league he is capable of playing in, is Evan, a tortured soul who was given to blackouts as a child. Now in college, as his memories begin to come back, Evan regrets not having been able to save Kayleigh (Amy Smart), the girl he loved, from her abusive father. He realizes that he has inherited the gift of being able to go back in time and change the direction of events. But each time he goes back, he makes things worse.

This is an irresistibly intriguing notion — all of us have thought about what would happen if we could go back in time and make a different choice, and the idea has been explored in formats from fairy tales to EC Comics to Twilight Zone episodes. And just about all of them have had more imagination, insight, and even believability than this version. If I could go back in time, I’d try to talk myself out of deciding to watch this movie.

Evan gets to go back to the moment in which he agreed to take his clothes off for a child porn video made by Kayleigh’s father (Eric Stoltz). Instead of saying no or running away or calling the police, 7-year-old Evan’s second chance decision is to explain to Kayleigh’s father in the words of his adult persona that her father should not destroy her life. Somehow, this instantly persuades him to stop molesting her.

Then college-age Evan, back in the present but of course remembering the original reality, is all of a sudden transformed from cool guy with goth roommate to frat boy, with Kayleigh transformed from suicidal waitress to the sweetheart of Sigma Chi.

But oh-oh, when 7-year-old Evan’s compelling powers of persuasion showed Kayleigh’s father the error of his ways, he somehow forgot to include Kayleigh’s brother Tommy, who now, in scenario #2, as the recpient of all of the abuse in the family, is rather over-protective of his sister and apt to get angry at anyone who wants to be her boyfriend. Disaster ensues and Evan has to find a way to go back to another fork in the road to try to make things work out better.

Other scenarios present other problems, including several variations in Evan’s facial hair to help Kutcher and the audience remember which one is which, as we run through a Jerry Springer assortment of every possible form of hideous crime and abuse, including animal torture, child molestation, the death of an infant, prison rape, and drug addiction, all unforgiveably thrown in for shock value and none with any shred of dramatic legitimacy. And wherever he is, psychology teacher’s pet, half-hearted participant in fraternity hazing, confined to prison, or confined to a wheelchair, Kutcher’s acting is not up to the challenge of making even a nosebleed believable. The only thing in this movie that makes any sense is the revelation in the credits that the producer with the poor judgment to put Ashton Kutcher in this mess was…Ashton Kutcher.

Parents should know that the movie has extreme graphic violence. Characters are severely wounded and killed, including children. A character commits suicide and an animal is tortured and killed. Children are also molested (off-camera) and there are references to prison rape. The movie includes nudity and very explicit sexual references and situations, including bondage gear, prostitution, and references to multiple orgasms. Characters smoke (including children), drink, and use drugs (bong shown, character is an addict, cocaine mentioned). Characters use very strong language, including hate speech.

Families who see this movie should talk about moments when they could have made a different choice and how that would have affected the lives of others around them.

Families who are intrigued by this idea will enjoy many better variations on the theme including the original Bedazzled, Frequency, Back to the Future, Groundhog Day, and of course the classic It’s a Wonderful Life. They should also look at this famous butterfly effect story by Ray Bradbury.

Ford (Martin Henderson) comes back to town with a score to settle and a woman to win back, just like a cowboy in an old western. Only in this movie, instead of horses, there are motorcycles, very fast ones.

This movie is one percent dumb plot, 74 percent stunts, and 25 percent attitude, or, rather Hollywood’s idea of what passes for attitude. So, Ford is the kind of guy who wears a Ramones t-shirt and a leather jacket that proclaims “Carpe Diem” (sieze the day). He must be the movie’s hero because he and his pals are so photogenically ethnically diverse that they look like they just stepped out of a Benneton ad.

The woman (Monet Mazur) has Hollywood’s idea of a cool name: Shane, a cool profession: mechanic, and a cool way in a fight. And they all say faux-tough lines like “I know you said it wouldn’t be any fun if it was easy, but does it have to be that much fun?”

The action sequences are silly fun, especially a chase scene that has one motorcycle racing on top of a fast-moving train while another rides through the train cars in between the passengers and a chick fight on motorcyles between Shane and a multi-pierced Jaime Pressly. Ice Cube’s appearance is more presence than performance, and Henderson is all about the dimples. But Fredro Starr makes an impression as Ice Cube’s, well, Fredo equivalent, and Faison Love as a gang member and Adam Scott and Justina Machado as FBI agents hold our interest.

Parents should know that the movie has a lot of violence for a PG-13 including many crashes and explosions, shooting, punching, kicking, and strangulation. Characters are killed. Characters drink, smoke, and use strong language, including the n-word and other epithets. One character gives another the finger. Characters ride in reckless and extremely dangerous ways, often without helmets. The plot centers on drug dealing. There are some sexual references but nothing very explicit. The soft drink product placement is particularly intrusive.

Families who see this movie should talk about why Cary ran away and why he came back. What made Trey change his mind about Ford? Practical-minded families might want to talk about the liberties this movie takes with some of the laws of physics.

Families who enjoy this movie will enjoy the better Biker Boyz and The Fast and the Furious.

The animated television series “Teacher’s Pet” makes a fast, fresh, tuneful, and funny feature debut that will entertain its fans and amuse their families.

Spot (voice of Nathan Lane) is a highly intelligent and articulate dog who dreams of becoming a boy. But then he wakes up. All he can do is pretend to be a boy, disguising himself as “Scott” and going to school with Leonard, the boy he lives with.

Leonard and his mother take off for Florida so she can participate in a teacher of the year competition, and Spot follows them after he sees a television interview with Dr. Krank (voice of Kelsey Grammar), who says he can change animals into humans. So far, his experiments on swamp creatures have produced some bizarre mutants, including something that looks like an alligator crossed with a kangaroo. But Spot helps Krank make some adjustments and gets turned into a human. Unfortunately, since they forgot to figure in the effect of dog years, Spot becomes not a boy but a middle-aged man “with hairy knuckles and lower back pain.” After many complications and adventures, a lot of sly humor, and several deliciously witty songs, everything is happily resolved.

Kids will enjoy the wild characters, silly plot turns, bright colors, and vivid images. The animation style is distinctive and unusual. While it is apparently simple, even childlike, with basic shapes and bold colors, it is actually quite sophisticated, designed by award-winning artist Gary Baseman, whose illustrations have appeared in many magazines and whose serious work is in the collection of major museums.

Older kids and parents will appreciate the wisecracks and the self-aware pop culture references from the Jetsons to Disney movies (including Snow White, Lady and the Tramp, and Sleeping Beauty).

And everyone will enjoy the music. While most movies directed at the youngest children have almost interchangeable soundtracks filled with watered-down rock and hip-hop or syrupy jingles, “Teacher’s Pet” has first-rate Broadway quality songs, beautifully sung by Tony-winner Lane and an able supporting cast of voice talents. Witty (and vocabulary-building) lyrics rhyme “defiance” with “science,” “appliance,” and “giants” and “foe” with “status quo.” One song hilariously lists all of the states and another reminds us that even the small among us can be mighty.

Parents should know that there is a little bit of potty humor and some comic peril and violence. One of the characters has an eye that keeps popping out. Some children may be concerned because Leonard does not have a father and his mother shows some romantic interest in Scott.

Families who see this movie should talk about how we can help each other even when we have different dreams.

Families who enjoy this movie will also enjoy the television series, still available in reruns. They might like to take a look at some modern artists whose work may have inspired the style of this cartoon, like Wayne Thiebaud. And they will enjoy the popular game Cranium, also featuring Baseman’s design work. Families who listen to the “Teacher’s Pet” song at the end of the movie might enjoy hearing it sung by Doris Day in a romantic comedy of that name co-starring Clark Gable or Parker Posey singing it at an audition in the deliciously looney Waiting for Guffman (for mature audiences).