It may not be as great as you hoped, but it is not as bad as you feared. In fact, it exactly has the same strengths and weaknesses as the original three, plus breathtakingly spectacular visual design and special effects.

Those strengths are, in addition to the computer graphics and design, sensational action sequences, including a “Ben Hur”-like race, battle scenes, and some fancy fighting with the Jedi’s favorite weapon, the light sabers. The young queen is strong and courageous. This chapter has made a small step forward by including two black characters, though Samuel L. Jackson has little to do. The weaknesses are cardboardy characters with emotionless line readings (one actor in the three previous movies said that Lucas’ direction to actors consisted of “Look over there! We’ll add in the effects later.”) The director appears to have been more concerned with making his computer characters seem alive than his human ones. The grown-up actors seem constrained by their participation in a legend and the younger actors seem as though they are floundering. Han Solo is sorely missed. So is Chewbacca. Instead of a Wookie, we get a floppy-eared klutz. (In fairness, his slapstick antics, including stepping in monster poop, were greeted with squeals of appreciation by the kids in the audience.)

The plot is reminiscent of Yeats’ “The Second Coming:” it is a time when “the best lack all conviction and the worst are filled with passionate intensity.” While the Senate is deadlocked by bureaucrats and the Trade Federation is imposing heavy tariffs. As the movie begins, they have blockaded the planet of Naboo, inhabited on land by the followers of Queen Amidala (Natalie Portman) and undersea by the floppy- eared, pidgen-English-speaking Gungans. Two Jedi knights (Liam Neeson as Jedi Master Qui-Gon Jinn and Ewen McGregor trying to sound like Alec McGuiness as Obi-Wan Kenobi) arrive to negotiate, but the Federation invades the planet. With Gungan Jar Jar Binks, they rescue the Queen, to take her to make the case for her people before the Senate.

Their spaceship must stop for repairs and fuel, and they end up on Tatooine, the same planet where we first met Luke Skywalker, back in Chapter IV. The group meets Anakin Skywalker, destined to become not only father to Luke and Leia, but also Darth Vader. At this point, though, he is a cute kid with a bowl haircut, mechanical talent, very fast reflexes, and a walloping lot of The Force. He is building the future C3PO and a flying car called a podracer in his spare time. Anakin and his mother are slaves, owned by junk dealer Watto, who looks like a bug and hovers like a hummingbird. Watto will not accept their money, so they make a bet on a podrace, with Anakin’s freedom on the line, too. Anakin flies his own podracer, and soon they are all on their way.

The queen appears before the Senate to ask for support and Qui-Gon Jinn and Obi-Wan Kenobi appear before the Jedi Council to ask that Anakin be trained as a Jedi. The Queen is able to initiate a vote of no confidence, but the results are inconclusive. And the Jedi Council turns down Anakin.

They return to Naboo, where they persuade the Gungan to join them in fighting the Federation, including the scary-looking and mysterious Darth Maul. While our heroes are successful, there is plenty of foreshadowing about the villains in the next two chapters.

Parents should know that the level of violence is about the same as in the other movies — lots of shooting and explosions, and no blood. Many of the bad guys are robots. They get blown up but don’t really “die.” One of the main characters is killed, and a bad guy is sliced in half. Some kids (and some adults!) will wonder about the references to Anakin’s never having had a father and having been somehow immaculately conceived at the sub-cellular level.

Despite the addition of two black characters (and what is that captain’s name again?), the movie is still heavily white Anglo-Saxon, with some of the bad guys and comic characters using Asian or Caribbean accents. Kids under 12 who have somehow missed the original trilogy may find that viewing it will help them to get familiar with the characters and with concepts like The Force before seeing this one.

“The New Guy” is a waste of talent. This high school epic, supposedly about one boy’s path to true cool is so half-baked and uncool that it’s embarrassing. It is also another case of the MPAA giving a PG-13 rating to a comedy that has material that would get an R in a drama.

Chickenesque D.J. Qualls, this generation’s Don Knotts, plays Dizzy, a funk-loving dork stranded at the bottom of the school pecking order with his pals, played by Parry Shen, the magnificent Zooey Deschanel (“Big Trouble” and “Almost Famous”) and Jeord Mixon. After an opening-day incident where Dizzy is injured in an unlikely and spectacular and deeply personal way, he decides he must escape. Deciding to get expelled, his antics at first only merit a diagnosis of Tourette’s syndrome and some stupefying medication. Now drug-addled as well, his behavior escalates until he gets thrown in jail. There his meets the mentor he’s been needing: Eddie Griffin, playing an inmate who’s cultivated a fierce facade to survive the comic rigors of movie-prison life.

Under his tutelage, Dizzy is transformed into the punky Gil. At a new school, on the other side of town, Gil uses his newfound abilities to spout decade-old pseudo-Ebonic aphorisms and publicly beat the local bully. His badboy status confirmed, he begins to restructure the social hierarchy of the new place. Eventually, he’s forced to confront the fact that Gil is just an invention, and also forced by the lame script to win the heart of the school bully’s sexy girlfriend, as portrayed by Eliza Dushku.

It is painful to see some of today’s most talented young actors wasted in this dreck. They’re given very little to work with in the script. The writer and director have sadly bought into the same limited mindset about popularity and conformity that they are purportedly skewering.

The most troubling aspect of “The New Guy” might be strained impressions D.J. Qualls calls upon in his quest for status. It’s intrinsically funny to watch the gawkiest white guy on the planet attempt to imitate macho black posturing (especially when the source of this posturing is the chihuahua-like Eddie Griffin). But so much of it goes on for so long that posturing begins to seem a little like caricature. And it’s precisely this behavior, the epitome of imitative uncool, which is supposed to secure “Gil’s” status.

Parents should know that this film contains a lot of sexual talk, a little sexual activity (offscreen), and a mutilating injury that is supposed to be funny. Dizzy/Gil overdoses on medication, crashes a motorcycle, and sets his father’s head on fire (by accident, for comic effect). The slapstick of the film is pretty violent, and there are frequent kicks to the groin. One character is described as a “slut” and likes to have sex in public. Another pages a friend on a store intercom, reporting a “pair of lost testicles.”

Families who see this movie should talk about who the arbiters of social status are in real high schools, and what qualities determine a person’s status. What are the advantages of popularity? What are the consequences (advantages?) of being unpopular? Is social status fixed, or changeable? Does any of this really matter after high school?

Families who enjoyed this film might want to catch D.J. Qualls’ breakout role in “Roadtrip”, or give Eddie Griffin some space for his comedy in “Double Take”, alongside the underutilized Orlando Jones.

“Windtalkers” is not the right name for John Woo’s new film. A more apt title would be “Sergeant Enders and the Windtalkers,” because the film mainly focuses on the complicated, half-crazed main character rather than the Navajos recruited as Marines in World War II to use their language as a military code that was vital in the allied victory. The movie does a disservice to the men it is intended to honor by perpetuating their marginalization and making the much less interesting Nicolas Cage character the main focus of the story.

We meet Sgt. Enders (Nicolas Cage) in the midst of battle. He is injured and witnessing the deaths of his friends is slowly driving him mad. His hearing loss could get him sent home, but he stays to keep fighting. He and Sgt. “Ox” Henderson (Christian Slater) are assigned to protect newly enlisted Navajo fighters Pvt. Ben Yahzee and Pvt. Charlie Whitehorse, (played superbly by Adam Beach and Roger Willie, respectively) whose abilities with the Navajo code are essential in the war. Enders is noticeably disgruntled at his new duties, but through a series of events he gains a mutual respect for the men he must protect, often in entertaining but predictable fashion. The dialogue is not very memorable with lines from the Navajos like “I’ve never seen so many white men!”

“Windtalkers” follows suit of most post-“Saving Private Ryan” war films and tries to make its point by dousing us with relentless violence. As in too many war movies, there are soldiers who talk about their dreams for when they get home and say things like, “If I die, tell my wife…” and whose purpose in the plot is to help the hero learn something when they die. There’s a tough, bigoted soldier (“The Truman Show’s” Noah Emmerich) who learns that the Navajos are actually good people when one of them saves his life. There’s the doe-eyed girl next door nurse (A.I.’s Frances O’Connor) who loves her stoic, tough but somehow likeable man at war.

Cage, Slater, and a solid supporting cast of character actors are all dependably good, and it’s interesting to see John Woo’s distinctive action style put into a war film. The culture clashes are never boring, and scenes where a peace pipe ritual is carried out on a cigarette and Henderson duets on a harmonica with Whitehorse’s wooden flute are handled with sensitivity.

Parents should know that there is a great deal of graphic battle violence and very strong language, including racial epithets. The Navaho characters are portrayed as patriotic, brave, and dedicated.

Families who see this should discuss the way that Enders and Yahzee change during the course of the movie. Anyone who enjoys this movie will probably also like recent WWII films like the aforementioned Ryan, The Thin Red Line, Enemy at the Gates, and this year’s overlooked Hart’s War. Fore more on the real story of the Windtalkers, see this article.

Any documentary about gun violence in America in which the single most intelligent and insightful comment is made by a guy named after a dead beauty queen and a serial killer is worth a look. Then there is the bank that gives out free rifles to customers who open up new accounts, a guy who sleeps with a gun under his pillow, and of course Charlton Heston standing up at a meeting of the NRA just after the shootings at Columbine and yelling “From my COLD DEAD HANDS!”

So shock-rock star Marilyn Manson sounds positively statesmanlike when film-maker Michael Moore asks him what he thinks of the two boys who listened to his music before they took guns into their high school and killed 13 people and injured 21 more before turning the guns on themselves. Mason, wearing his garish stage makeup but speaking quietly, compares the endless media coverage of the Columbine shooting to the way the media all but ignored the record-breaking U.S. bombing in Kosovo that same day, the most extensive bombing expedition in world history. And then, when Moore asks what he would say to the boys in Columbine, Manson says simply, “I wouldn’t tell them anything, I would listen to what they had to say– which is what no one did.”

Moore is deeply concerned and the ultimate bleeding heart liberal, but he is not an ideologue. He learned to shoot in high school and is a life member of the NRA. When the bank gives him a rifle, he casually checks the action while he asks if anyone ever considered that maybe guns and banks were not the best possible combination. Much of the time he lets the story tell itself, as when he interviews the brother of Timothy McVeigh’s co-conspirator, Terry Nichols. John Nichols, who sleeps with a gun under his pillow, says that he believes that anyone should have access to guns or even bombs. Then Moore asks whether he thinks that anyone should have access to nuclear weapons, and McVeigh looks at him like he is crazy and says, “No! There are some real crazies out there!” Sometimes, Moore becomes the story, as when he brings two young survivors of the Columbine shooting to K-Mart’s national headquarters to protest their selling of ammunition, including the bullets still in the bodies of the two young men. After a day of deliberation, a K-Mart spokeswoman reads a statement

This is more mosaic than polemic and mordantly funny, though it does veer a bit over the top when Moore tries to link television producer Dick Clark to the murder of a six-year-old by a six-year-old, because the boy who killed his classmate had a mother who worked at one of Clark’s restaurants in a welfare-to-work program. And his relentless questioning of a clearly memory-impaired Charlton Heston, leaving a photo of the murdered girl in Heston’s home after Heston stalks out of the interview, has the unintended result of making Heston seem more sympathetic.

But the movie confronts complex questions fearlessly, even as it acknowledges that it does not have the answers. Why do our fellow North Americans in Canada, who have proportionately the same number of guns, shoot each other only one-tenth as often? Why are Americans fearful even out of proportion to the amount of violence we subject ourselves to? The movie’s violation of strict “documentary” standards by shifting some scenes around has been criticized. For one example, see this website. Moore’s response to some of the questions about the movie is here.

Parents should know that the movie’s subject is violence and it includes explicit real-life footage of the shootings at Columbine. It also includes very strong language and brief references to drinking, smoking, and sex.

Families who see this movie should talk about the questions Moore raises. Why do Americans shoot each other so much more often than any other country? Why don’t Canadians lock their front doors? Why was Moore successful in persuading K-Mart not to sell ammunition any more? What can you do to try to reduce violence or to change other things that matter to you?

Families who enjoy this movie should see Moore’s first film, “Roger and Me,” about General Motors and Moore’s home town of Flint, Michigan.

If you know the premise of this movie, you know the plot and you undoubtedly know the jokes. Here’s the premise: Tootsie on a basketball team. A conceited pro basketball player gets fired, and the only job he can get is on a woman’s team. So, he dresses up like a woman. He’s in for some lessons about life, and we’re in for some locker room humor.

The film was a bit of a surprise, though with a nice spirit and a willingness to avoid the obvious. It’s nowhere near “Some Like it Hot” or “Tootsie,” or even “Mrs. Doubtfire,” but it is better than recent cross-dressing films like “Big Momma’s House” and the abominable “Sorority Boys.”

Jamal Jeffries (Miguel A. Nunez Jr., in his first starring role) is a star basketball player whose bad attitude and poor sportsmanship are constantly getting him in trouble. He is indefinitely suspended after one particular mishap (which, in the real world, could have landed him in jail) and he loses his fake friends as fast as the money he spent so irresponsibly. With his main priority making back some money and playing the game he loves, he takes up his only option, dressing like woman and playing women’s basketball.

Through the women he reluctantly learns to be a supportive team player and falls for the team’s star, Michelle (“Independence Day’s” lovely Vivica A. Fox). Obviously the usual chaos ensues, and Jamal has to learn several lessons to stay on the team as well as maintain his cover. Besides the talented stars, a supporting cast consisting of reliable character actors like Kevin Pollak, Tommy Davidson, and Wayans’ sister Kim, as well as good turns from hip-hop stars Genuwine and Lil’ Kim. The “dude looks like a lady” plot has been done many times before and there’s nothing new here, from the awkward moments with the love interest to the big moment where all is revealed to the men who were hitting on the main character. So the plot is predictable and a lot of the jokes are lazy. Although there were no surprises and some gratuitous stereotypes, I found myself caring about the characters.

Parents should know that this movie has a lot of raunchy humor, mostly revolving around Jamal’s anatomical differences from his teammates, but pretty typical for the increasingly graphic PG-13 rating. Families who enjoy this movie will enjoy Tootsie and Some Like it Hot selected by the American Film Institute as the funniest movie ever. They may also want to try a more serious story about romantic relationship between hoops players, Love and Basketball.