Pure popcorn pleasure, this is a heady combination that is half testosterone, half attitude, and all action. “The Transporter” really delivers.

Don’t pay much attention to the plot – no one connected to the movie does. Just pay attention to the chases and explosions, staged with style by Corey Yuen, a veteran Hong Kong actor/director and co-written by Luc Besson, whose wildly imaginative visuals ignited “The Fifth Element” and other films.

Together, they have produced a straight shot of movie adrenaline. Jason Statham (best known for his appearances in tough-guy movies “Snatch” and “Lock, Stock, and Two Smoking Barrels”), plays Frank, a former military man who now serves as a “transporter.” He will deliver anything from one place to another, as long as his price and conditions are met. The price is high. The conditions are these: no names on either side, no changes to the deal once it’s set, and no looking into the package. The movie kicks off with a heart-thumping chase scene as Frank transports three bank robbers and their swag (though he won’t budge until they get rid of a fourth robber who wasn’t part of the deal). We see that Frank is both a meticulous planner and fearless under pressure, whether he is being chased by dozens of cops or penetratingly questioned by just one smart one.

Then Frank takes on another job and for once he breaks one of the rules. He looks in the package he is transporting and finds a young woman named Lai (Shu Qi). If he hesitates about delivering her to her destination, it is only briefly, because he takes her to the drop-off and accepts another job from the man who receives her. It is only when that package turns out to be a bomb intended to kill Frank that he returns to retrieve Li and extract some revenge.

Frank starts to care which side he’s on and he starts to care about Li, then thinks he can’t trust her, then learns he really can. No surprises with the story – this is straight out of screenwriting 101. But there are some very cool surprises in the chases and explosions as Frank and Li take on the bad guys and the bad guys chase after them.

Statham is a fine action hero, handling kick-boxing and dialogue with wit, grace, and style. Qi, who learned English (or some English, anyway) to take on the role, has a fresh, appealing presence, and François Berléand is superb as the policeman caught between suspecting Frank and admiring him. The bad guys played by Matt Schulze and Ric Young are not as interesting as they could be, but the movie moves so fast you won’t have much time to think about it.

Parents should know that the movie features intense, non-stop peril and action violence, with massive destruction of property. Many people are killed. Characters drink and smoke and use very strong language. In the coming attraction and commercial, Lai tells Frank he is in “deep trouble.” The word in the movie is not “trouble.”

Families who see this movie should talk about how Frank appears once to have been an idealist; what made him decide not to try to work to make things better any more? Why did the policeman let Frank go after the bad guys instead of sending the cops? What do you think Frank and Lai will do next? What makes this chase and explosion movie better than so many others?

Families who enjoy this movie will also enjoy “Snatch” and “The Fifth Element” as well as Hong Kong kick-boxing classics like “A Better Tomorrow” and “Once Upon a Time in China” (all very violent).

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.”

Those who are interested in the Iranian election and protests should see this superb Iranian film that is one of the finest explorations of freedom, elections, democracy, and the rule of law I have ever watched on screen.

It begins with a surreal image as a solitary soldier patrolling an Iranian island coast sees a box dropped by parachute from a plane. Soon after, a boat arrives and a woman disembarks. She informs the soldier that she is there to collect as many votes as possible before 5 pm and he is to accompany her. They travel the island debating the legitimacy of the voting process and the ability of the law to ensure fair treatment. The woman is a stickler for the letter of the law, even when the result is difficult to justify. That is, until they get stopped by a broken red light and she must decide whether to stop at the deserted intersection, missing her boat and invalidating the votes she has collected, or break the law by running the light. The film, made by Canadian-Iranian Babak Payami works brilliantly as allegory and as quasi-documentary. We never learn the names of the characters; they are just “the soldier” and “the girl.” But they and their predicament are immediately involving and distinctive. Highly recommended for high school and college civics classes and for anyone who appreciates superb film-making.