Star Trek has a language and following all its own. For those who are not devotees of the series, the way the characters speak often needs to be decoded, causing the viewer to spend more time trying to figure out what the characters are saying rather then why. After a while, if the story doesn’t make itself clear somehow, the viewer loses interest.

This is important to remember during the latest installment of the ever going “Star Trek” franchise, “Star Trek: Nemesis.” The story follows the “Next Generation” crew and their captain, Jean-Luc Picard (the always wonderful Patrick Stewart). A clone of Picard’s younger self, Shinzon, has somehow overtaken the Romulan senate and wants to make peace. Picard and his crew don’t trust this sneaky “clone,” and are suspicious of his origins and what they portend. Of course, treachery is afoot and the crew must stop the Romulans before they destroy or conquer, well, pretty much everything.

The series has had its up and down moments, ranging from excellent, (“The Wrath of Kahn”), to overly silly (“Star Trek V”). It has also had its share of “we’re running low on new ideas,” and “Nemesis” skirts the edges of that territory.

The film does have a few good action sequences, and some solid acting from Stewart, Brett Spiner as the android Data, and Tom Hardy as Shinzon. Hardy’s performance carries the movie in many of its otherwise sub-par scenes, and he and Stewart give the dialogue a lot of help. But the film is too muddled in “Trek talk” and way too overdramatic at times. Its conclusion is not just easy to predict, but laughable. “Star Trek: Nemesis” is not a bad film, but one that will most likely only leave the ever-devoted “Trekkers” as the only completely-satisfied customers.

Parents should know the film contains some violence, most of it sci-fi oriented. Lots of laser beam shooting occurs, almost all of it bloodless. The villain cuts his hand at one point and gives the bloody knife to Data. The beginning contains a rather intense and scary sequence in which a Romulan places a disk in the senate which lets out “spores” that land on the Romulans. These “spores” make the aliens begin to wither away, and then turn them to stone. One then crashes on the floor. There is also a quite surprising and graphic love scene in which two senior officers who have recently married begin to sleep together. During the scene, Commander Troy begins to see Shinzon instead of her husband, and struggles to get him away from her.

Families who see this film should discuss the many positive messages in the film. “Star Trek” has always been about gaining peace, and unlike many movies now, one gets the sense the crew does try to use the least amount of violence necessary to accomplish this mission. Parents may want to discuss why this is, and point out Picard’s constant reluctance to fight. Parents also should discuss the idea of forgiveness preached in the film. Why does it bother Picard so that this clone reminds him of his former self? Another discussion topic may be how we deal with loss, since a major character does meet his end in this film. Why do Picard and his crew toast their fallen comrade and hide their grief?

Families who enjoyed this movie will also like “Star Trek: First Contact,” “The Empire Strikes Back,” and “Minority Report.”

Even by the low standards of Saturday Night Live-alumni movies, and by the even lower standards of Adam Sandler-produced movies, “The Hot Chick” is simply excruciating. It is loathsome, offensive, vile, and, even worse, it is not funny. To add insult to injury, it is also much too long.

This is yet another body-switching movie. There is a pointless introductory scene in which an ancient princess uses some enchanted earrings to switch bodies with a servant girl so that she can get out of an arranged marriage. Cut to the present day where Rob Schneider plays a petty thief who switches bodies with a bitchy blonde high school princess named Jessica (Rachel McAdams), after she steals the earrings from a store specializing in ancient artifacts.

The rest of the movie is about Jessica (now played by Schneider) trying to get back into her old body. Along the way, we are subjected to horrifyingly awful jokes about the different ways men and women go to the bathroom, a cross-dressing child, priest molestation of young boys, the thief (now in Jessica’s body) having to buy tampons, bulimia, places to hide marijuana, parents of different races, homosexuality, and incest.

There is a lot of blame to go around here – from producer Adam Sandler (who appears in dreadlocks long enough to make the same joke about marijuana three different times in another one of his stupid silly voices) to star and co-writer Rob Schneider (who, bi-racial himself, should be especially ashamed of the racist stereotyping of a Korean woman and her bi-racial daughter), to director Tom Brady, who brings out the worst in his cast and has no sense of comic timing whatsoever. But we have to reserve a special blame category for the MPAA, which gave this horrendously crude and vulgar film a PG-13 rating, when its content is closer to NC-17.

Parents should know that the movie includes extremely explicit and offensive humor in just about every category. A father complains to his daughter (not knowing it is his daughter) that his wife won’t give him oral sex (making this the second movie this season with such a parent-child conversation, after “8 Mile”). A mother grabs the person she thinks is their gardener (not knowing it is her daughter) and kisses him passionately. A child is a cross-dresser. Teenagers drink at a bar and a character talks about places to “hide weed.” There are jokes that are racist and homophobic.

Families who like this movie should see the far better “Tootsie” and “All of Me.”

The dialogue in “8 Mile” has a vocabulary of fewer words than the 223 in The Cat in the Hat, and that’s counting giving someone the finger as a word. Other than the usual four-letter words, with one in particular used almost non-stop, the most frequently used words are “dawg,” “all right” (pronounced “i-ite”), and “man.”

It is a little odd, then, that this is a movie about a world in which status and self-worth are achieved by wordplay. Loosely based on the real-life story of white rap superstar Eminem, this movie is very much in the tradition of other “poor kid with a dream” stories like “Saturday Night Fever” and “Rocky.” The structure of these stories is simple: a talented character has to learn to take risks and believe in himself. He has some setbacks, but ultimately triumphs.

There’s nothing wrong with that story – it is a classic because of its enduring appeal, and many movies, including the two I just mentioned, have told it well. But despite “8 Mile’s” top behind the scenes talent like director Curtis Hansen (of “L.A. Confidential” and “Wonder Boys”) and producer Brian Grazer (of “A Beautiful Mind”), this version’s primary appeal will be to the fans Eminem already has.

For those who accept the premise that rap – a series of sometimes complicated, sometimes sloppy rhymes spoken contrapuntally to music or rhythmically scratched records – is an art form, this movie will be easier to believe. This is not the genre-transcending triumph that it was intended to be, but it is far ahead of instantly outdated bombs like “Breakin’ 2: Electric Boogaloo.” Eminem has the ability to hold the screen, and if he is not exactly an actor, he is able to muster the few expressions required: tender when he looks at his sister, hopeful when he looks at Alex, and sullen most of the rest of the time. Years from now, they will need subtitles – maybe even footnotes — under the dialogue to translate the early 2002 argot to future audiences. (“313” equals “Detroit,” a reference to the area code.)

There is a sweet little sort of almost-hugging thing the guys do when they see each other and there is a charming, even witty scene as Rabbit makes up new lyrics to the song “Sweet Home Alabama,” showing the way that even music that is not his genre gives him an avenue for expression and release. Brittany Murphy and Mekhi Phifer are fine as the girl who catches Rabbit’s eye and the friend who believes he can make it.

Parents should know that the movie is rated R for nonstop profanity, violence, drug references, and very explicit sexual references and situations. Characters vandalize and burn down an abandoned house and a character accidentally shoots himself. There is a reference to child rape. Rabbit’s mother is living with a boyfriend who is Rabbit’s age, and she speaks to Rabbit in very inappropriate ways about their sexual relationship. Some viewers will be upset by the neglect of Rabbit’s sister, a little girl who witnesses violence, family fights, a mother who drinks and has sex with a young man, and other abusive situations. Most likely in response to criticism of the gay-bashing lyrics of his earlier songs, there is a scene that seems to exist for no other purpose than to give Eminem a chance to defend a gay man. The defense is somewhat weak, however, as he attempts to explain that “faggot” as a derogatory term does not mean the same thing as “gay.”

Families who see this movie should talk about what changed in Rabbit’s life to make him ready to perform. Why was his willingness to insult himself before anyone else could a show of strength that was more devastating to his opponent than an attack could be? How is Eminem in the tradition of white musicians of the past who became successful by appropriating the music developed by black performers? Why did Future support Rabbit? Why did Rabbit support Bob? Families should also talk about the way the movie makes clear that having sex with someone should not be confused with thinking that you know the person or that you have a relationship. What were the signs that Alex was more interested in her career than in getting to know Rabbit? Note that in one scene, a character watches a short excerpt from a movie called “Imitation of Life” in which a black woman discovers that her daughter has been passing for white at school. Why would the director chose that scene to include? Families should also talk about how they feel about Eminem’s lyrics and why they have been so popular with both teenagers and critics.

Families who enjoy this movie will also enjoy “Rocky,” “Saturday Night Fever,” and a take on the way music can affect the lives and relationships of accomplished professionals in “Brown Sugar.”

John Philip Sousa and all of the Music Man’s 76 Trombones never dreamed that marching bands could be this cool. Farewell to the nerdy reputation for “band camp.” “Drumline” makes marching bands as soul-stirring as raise-the-roof gospel and more irresistibly, foot-stompingly, hip-hoppily thrilling than any video currently playing on MTV.

It’s a simple story, but very winningly told. Devon (Nickelodeon’s Nick Cannon) is a spirited kid who wins a full scholarship to college for his drum playing. The school, the fictitious Atlanta A&T, has a world-class marching band that hasn’t won the big competition sponsored by BET television, and the school’s president has put a lot of pressure on the bandmaster Dr. Lee, (Orlando Jones) to do whatever it takes to beat cross-town rival (and real-life marching band champs), Morris Brown College. But Lee believes that his job is to teach his students about music and about character, even at the cost of losing. At the center of this argument is Devon, whose flashy style and buoyant self-confidence put him at odds with the band’s most sacred commitment: “one band, one sound.”

We first see Devon at his high school graduation, adding a few unscripted licks to a drum performance, thanking his mother, and then before going to his party, stopping by to confront his father with grace and dignity, letting him know that he has managed to achieve success even without his help or support. We see that Devon is talented, confident, and headstrong, but that he is also acutely aware of his struggle to achieve all he has so far and of the challenges ahead as he leaves home for the first time.

He arrives at A&T to find something like boot camp. The student director of the “drumline,” Sean (Leonard Roberts) is the drill sergeant, and he and Devon are like two rams getting ready to head-butt each other in a battle for dominance. Devon also has to learn that his bravado won’t get him very far with Laila (Zoe Saldana), the pretty upper-classman who leads the band’s dancers. Devon has to pay the price for some mistakes, from not reading to the end of the rule-book to having lied on his application. He learns that “one band, one sound” is about more than the music.

The movie is about more than music, too. The band numbers themselves would be more than worth the price of admission, but the story and the characters hold their own. The story may be an old one, but the details of this unexplored world make it seem fresh and the very appealing performers make it seem real. Orlando Jones is one of the most talented comic actors in movies today, but in this decidedly un-comic role he manages to make Dr. Lee seem dedicated and principled without being priggish or inflexible. Cannon is outstanding, making us believe in Devon’s talent and charm. Cannon makes Devon confident and vulnerable at the same time, and lets us see Devon’s growth subtly and naturally.

Parents should know that the movie has some very strong language and there are some mild references to drinking and moderate references to sex, particularly comparing playing an instrument to making love. A character is accused of being a virgin. Nevertheless, the behavior of the characters is admirable. Laila makes it clear that she is interested in a boyfriend, not a brief encounter. Parents should also know that the movie addresses some racial discrimination concerns, as the one white student in the band is at first looked at with suspicion, but later accepted warmly.

Families who see this movie should talk about the conflict Dr. Lee faces as he tries to do what is best for the band. What does he decide is most important, and when, and why? Why was it important to show Devon’s confrontation with his father? How did that relationship affect his relationships with strong characters like Sean and Dr. Lee? What is it about Devon that Laila is drawn to? Why? What can you tell from the scene where each of the section leaders explains why that instrument is the most important? What does “one band, one sound” mean? Why does Dr. Lee think that honor and discipline are more important than talent?

Families who enjoy this movie will enjoy Fame. Mature viewers should see Spike Lee’s outstanding film based on his experiences at a traditionally black college, School Daze. Families should also take a look at this website for more information about the real-life Morris Brown marching band.

Romantic comedies are so endlessly appealing both to those looking back on their own experience of falling in love and those looking forward to it that Hollywood keeps cranking them out. The elements seem so simple – the plucky but vulnerable heroine, the wisecracking best friend, the handsome hero all but dumbstruck by the heroine’s charm and beauty, the second act complication, and the happily-ever-after ending. Yet, like love itself, perhaps, it is a goal more often sought than obtained, and the key ingredient to make it work is impossible to define.

“Maid in Manhattan” is as careful a combination of ingredients as it is possible to package. Every aspect is a proven commodity designed to go to the heart of the core fantasies of a 13-year-old girl, and the end result is undeniably pleasing, if not particularly memorable.

It’s Cinderella in a hotel. Jennifer Lopez plays Marisa, a maid at a big luxury hotel in Manhattan. She has a darling son, an unreliable ex-husband, and a mother who tells her not to dream of more than she has. Cashmere-voiced Ralph Fiennes plays Chris, a Senate candidate who has no heart for the hypocrisy of the campaign. Marisa’s fairy godmother is her best friend who urges her to try on a fabulously expensive designer pantsuit about to be returned by a hotel guest. Chris sees her in the suit, thinks she is staying at the hotel instead of cleaning it up, and invites her out. Then there are forty minutes of various excruciating complications before Marisa has to tell the truth and Chris has to decide whether she really is the person he thinks – or wants to think – she is.

Marisa is an appealing heroine, beloved by her son and her co-workers, loyal, practical but optimistic. She dreams of being more but isn’t anything as icky as ambitious or confident or focused. Chris, too, dreams of more but isn’t craven, like his political advisor. Everything is at the fairy tale level, which means we never dwell on troubling realities like what, exactly, Chris hopes to achieve as a senator or how, exactly, Marisa gets a job after being fired for stealing. The best and worst you can say about the movie is that there are no surprises – no bad ones, but no good ones, either.

Parents should know that there is some crude humor (mostly from the wisecracking best friend) and brief strong language. Chris and Marisa have sex (off camera and no nudity). She apparently intends for it to be a one-night stand, an issue parents will want to discuss. The movie does make it clear that stealing and lying are always wrong and have severe consequences.

Families who see this movie should talk about how – and why — Marisa’s mother was an obstacle to pursuing her dreams. How is the end different from most movies of this kind? Why? How is this story like Cinderella and how is it different?

Families who enjoy this movie will also enjoy “Notting Hill” and “The Runaway Bride.” They might also enjoy some of the Depression-era comedies with similar themes, like “Easy Living” and “The Lady Eve.”