Like “Lady and the Tramp,” this story is told from the perspective of dogs, this time two dalmatians, Pongo and Perdita, the cherished pets of Roger and Anita. Anita’s old friend, one of the most notorious villains in movie history, is the aptly named Cruella De Vil. Her henchmen kidnap Perdita’s puppies and eighty-four others so she can make them into a dalmatian fur coat. Pongo and Perdita, with the help of their animal friends, undertake a daring rescue. The puppies are adorable, and the movie is exciting, funny (with a sly poke at television and the kids who watch it), and fun.

Movieline magazine once asked actresses to name the most memorable female villain in the history of the movies — Cruella was at the top of the list. Families who enjoy this movie might also like to see the 1997 live- action version released in 1997, with Glenn Close as Cruella. Close is wonderful, but the movie relies too much on slapstick and the real dogs do not have the personality and range of expression of their animated predecessors. The 2000 sequel, “102 Dalmatians,” also featuring Close, is disappointing.

Spike Lee’s new movie is ambitious, provocative, complex, thoughtful, and just about review-proof. Anyone who doesn’t like it could be accused of not getting it. Anyone who does like it could be accused of liking it for the wrong reasons and not getting it, either. So the best I can do is describe it and react to it and hope that it will give readers some idea about whether they want to see it for themselves. I hope they do.

Damon Wayans plays the lone black executive for a troubled television network. He has given himself the name “Pierre Delacroix,” which has no association with his racial, cultural, or family heritage. He has adjusted his speech so that speaks with a precise, Ivy League accent. And he has adjusted his ideas so severely that even he is not sure what he thinks about the compromises he has had to make to work in the white world.

His boss, Mr. Dunwitty (Michael Rapaport) insists that he is blacker than Delacroix. He decorates his office with photos of black athletes and African art. Dunwitty says that his black wife, bi-racial children, and identification with black culture give him the right to use words like “nigger.” He says, “If Old Dirty Bastard can use it, why can’t I?” He says that he is the one who is “keepin’ it real.”

Dunwitty tells Delacroix to develop a new television show that will boost the station’s ratings, a real “coon show.” Delacroix, disgusted with himself, sets out to create a program so offensive that he will be fired. With the help of his dedicated assistant, Sloan (Jada Pinkett Smith), he puts together the most racist, insulting program imaginable. It is a minstrel show performed by black people in blackface, set in a watermelon patch, with every possible stereotype from Topsy to Aunt Jemima to a black man wearing a leopardskin loincloth.

The show is a huge hit. All across America, white and black fans put on blackface and happily yell out, “I’m a nigger!” adopting the exaggerated mannerisms of black images from our bigoted past.

The show’s stars, former street performers, are thrilled to be rich and famous, but increasingly haunted by the roles they must play. Sloan’s militant brother Julius, who wants to be called Big Black Africa, is the leader of a gang called the Mau Maus. They want their own television show (“Like the Monkees!”) and they want to do something to protest the minstrel show. They kidhap the star, with tragic results.

This movie has some of the most striking images ever put on film. The stars of the minstrel show put on blackface made from burnt cork, exactly as their predecessors did a century ago. They peer into mirrors to put on exaggerated red lips. A tear slips down a blackened cheek. Two characters argue in front of highly stylized life-size cutouts of the minstrel show characters. While Dinwitty collects African art, Delacroix begins to surround himself with racist items, beginning with a “jolly nigger bank.” Delacroix visits his father, a black entertainer who does not compromise to be acceptable to white audiences. He is comfortable with himself and with his all-black audiences, but he is an alcoholic. Lee, himself a maker of award-winning commercials, creates searing parody ads for malt liquor and “Timmi Hillnigger” clothes. The sole white member of the Mau Maus is the only one who survives a shoot-out. Montages of minstrel images from real old movies and racist toys and collectibles are devastating.

The movie draws from earlier films like “Network,” “Putney Swope,” and “The Producers” (in which an intentionally terrible show — a musical about Hitler — becomes a huge success). It raises dozens of important questions about the roles that both blacks and whites play in perpetuating racist stereotypes. Lee suggests that the current UPN and WB sitcoms featuring black characters may be the modern-day equivalent of a minstrel show.

In this movie, militant protesters take names like “Big Black Africa” and decide that they are oppressed by the “C” in “black” — but are willing to compromise their values to be on television. A street performer desperate to make a living is told that he will have to perform in blackface and all he says is, “Hey, we’re going to need a little more money for this.” When one of the minstrel show stars tries to perform as himself instead of the caricature, the audience hates it. As soon as another performer appears behind that reassuring, almost anonymous blackface, they applaud.

The movie is uneven. Dialogue has never been Lee’s strong point. But each scene has depth, integrity, intelligence — and anger — that is a welcome antidote to the usual formulaic Hollywood product. It is a profound and stimulating movie. I walked out of the theater with a thousand ideas and reactions. I heard the black woman walking out ahead of me say to her friend, “That is the best movie I ever saw.” It made me want to call every black person I know to ask them what they thought. Maybe that’s the point.

Parents should know that the movie has strong language and violence. Characters are shot and killed. There is some social drinking and one character abuses alcohol. There are sexual references and the movie makes some telling points about sexist assumptions about a woman’s use of sex to advance her career.

Families who see this movie will find a lot to talk about, including this country’s history of racism and the difficulty of bridging the gulf it has created.

Families who enjoy this movie should see some of Lee’s other films, including “Do the Right Thing” and “School Daze.” They may also like “Putney Swope,” “Network,” and “The Man in the Glass Booth.”

Plot: In the days of the old West, Catherine (Cat) Ballou (Jane Fonda) takes the train home, after finishing school. She does her best to appear proper, but peeks at potboilers about the notorious Kid Shelleen inside her book. On the train, she meets escaping cattle rustler Clay Boone (Michael Callan) and his uncle Jed (Dwayne Hickman). She is attracted to Clay, but not interested in becoming involved with a criminal.

Cat is angry and upset when she gets home and sees that her father (John Marley) is being pressured to give up his land. He is killed by hired gun Tim Strawn. When her father’s ranch hand, an Indian named Jackson (Tom Nardini) and Clay and Jed are not brave enough to help her fight back, she sends for Kid Shelleen (Lee Marvin).

Kid arrives, a hopeless drunk. But they help him pull himself together, and they get their revenge. Cat is captured and sentenced to be hung, but is saved at the last minute by her friends.

Discussion: This cheerful satire of conventional Westerns is a lot of fun, with attractive performers and an Oscar -winning performance by Lee Marvin in the dual roles of Shelleen and Strawn. Stubby Kaye (“Guys and Dolls”) and Nat “King” Cole show up as something between a Greek chorus and medieval minstrels, singing the story as it unfolds. It is good for kids to see a movie with a strong, brave, and resourceful young woman, who is an effective and inspiring leader (though they all have crushes on her).

Questions for Kids:

· Why was Cat so effective at leading Clay, Jed, Kid, and Jackson?

· Do you agree with her decision to take matters into her own hands?

· How does she compare to other Western heroes, like Shane?

Connections: Watch for a character named “Butch Cassidy” in a minor role, four years before Paul Newman and Robert Redford appeared in “Butch Cassidy and the Sundance Kid,” by William Goldman. Marvin appeared more often as the kind of tough guy he parodies in this movie, for example, “The Man Who Shot Liberty Valance.” Jed is played by television’s Dobe Gillis, Dwayne Hickman.

This is a ravishing fairy tale/epic, and the best movie of the year.

It is passionately romantic — the story of two sets of star-crossed lovers who face enormous obstacles, within themselves as well as those imposed by the outside world. It is a thrilling adventure saga that includes a magical 400-year-old sword called “Green Destiny,” a warrior who must avenge the murder of his master, a handsome bandit, the spoiled daughter of a high-ranking official who dreams of the freedom to do what she wants, and the bitter villain who wants to destroy them all. It is dazzling, with breathtaking landscapes, gorgeous costumes, and magnificent cello music played by Yo Yo Ma. And it has, unquestionably, the most brilliantly staged fight scenes ever put on film, possibly the best that ever will be put on film.

Director Ang Lee is best known in the United States for indoor dramas about families struggling with their feelings and with societal constructs of reputation and honor: “The Ice Storm” and “Sense and Sensibility.” He has described this movie as “‘Sense and Sensibility’ with kick-boxing,” and that is indeed very apt. As in Jane Austen’s novel and his adaptation, this is the story of two women, one led too much by her heart, one led too much by her head, and of the men they love.

Michele Yeoh plays Yu Shu Lien, who runs a company that provides secure transport for shipments of goods to be sold. She is visited by Li Mu Bai (Chow Yun Fat), who has come to give his famous sword to Sir Te, a mutual friend, for safekeeping. Li has been a warrior-hero, using the Green Destiny sword to fight for justice. He is tired of killing and wants to retire to a life of meditation, but instead of enlightenment he has found “endless sorrow,” and that “something was pulling me back.” He has one unfinished obligation — to avenge the death of his master at the hands of a villain named Jade Fox. And it may be that there was something else pulling him back, his love, never expressed, for Yu.

At the home of Sir Te, Yu meets another guest, the pampered daughter of a governor named Jen Yu (Ziyi Zhang). Jen and Yu each dream of freedom. That night, the sword is stolen. Yu races after the masked thief to get it back. It turns out they have both achieved the highest levels of fighting skills, so advanced that they can actually defeat gravity, levitating effortlessly to float from rooftop to rooftop.

The thief has ties to Jade Fox. And Jen, soon to enter into an arranged marriage, has a secret love, the leader of a pack of desert bandits.

The fight scenes, staged by Yuen Wo-Ping (of “The Matrix”) are balletic masterpieces. Like the dance numbers of Fred Astaire and Ginger Rogers, they are both mesmerizingly graceful and more eloquent than dialogue. Jen takes on an entire restaurant full of attackers just for sport and spite. She twirls softly down from an upper story to the ground floor, just before she annihilates them with a blinding fury of fists and feet. Jen fights Lo (Chen Chang, the bandit leader who stole her comb, with a passion that allows them to open their hearts to each other. She fights Yu, the one person she thinks can understand her, because she is impetuous and proud, and because that is the only release she has in a world of constrictions and restrictions.

The story is told with great subtlety and power, giving it the quality of a myth or a collective dream. Yu reveals the identity of the masked thief by quietly allowing a teacup to slip out of her hands. When one person is able to catch it with a lightning-fast motion before it hits the floor, Yu knows that her suspicion was correct. When Li touches Yu’s hand for the first time, it is a moment of heartbreaking intimacy. The quest for honor and justice could be set in the old West, in ancient Greece, in medieval times, in a 1930’s San Francisco detective story, or in some Luke Skywalker-esque space fantasy. Its themes are enduring because they are inside all of us.

Parents should know that the movie features a lot of martial arts battles. Most are bloodless, but one character is killed when a blade is hurtled into his forehead. Major characters are killed, and one death could be interpreted as suicide. Although the women in the movie are treated with complete equality and are equal to or superior to the men in judgment and combat, one female character expresses bitterness that she was not permitted to train as a warrior. There is brief mild language.

Families who see this movie should talk about how we balance our heads and our hearts to forge lives that are grounded in honor and in love.

Families who see this movie will also enjoy seeing other movies starring Michelle Yeoh and Chow Yun Fat, but nothing they have done before comes close to this masterpiece. Families might also like to watch the director’s Sense and Sensibility to decide whether they agree with his assessment of their similarity.

George (Om Puri), who is Pakistani, marries Ella (Linda Bassett) and they settle down in Manchester to have seven children and run a fish and chips shop called George’s English Chippy.

As the movie opens in 1971, George returns unexpectedly from the mosque just as Ella and the children are marching in a church parade. George stops to watch, not seeing his family scurry down a side street. It is important to George that his children adopt the religion and customs of Pakistan, and it becomes even more urgent for him as events make him feel helpless and threatened. First, his oldest son, Nazir objects to an arranged marriage and bolts in the middle of the wedding ceremony. Second, it seems that in all the family chaos, they have neglected to have their youngest son circumcised. They belatedly take care of that, and the pain and humiliation lead the child to hide inside his parka, the hood covering his head and much of his face 24 hours a day. Third, India is at war with Pakistan, and George’s fear of the loss of his homeland and culture makes him even more concerned about passing on that culture to his children.

Ella will not let the children criticize their father. They go to the mosque, grudgingly, but they feel like Brits and only one of the seven wants to live according to Pakistani traditions. The others want the freedom of Western culture — to go to discos, study art, play soccer, eat pork sausage, and date whomever they want. They may feel English, but they look Pakistani, and George fears that the culture they want will never accept them. His neighbors support a politician named Enoch Powell who is calling for repatriation of foreigners. But George and the neighbor do not know that their children are romantically involved.

George becomes more rigid. He arranges marriages for two other sons, without consulting his wife. Finally, he becomes abusive, his frustration exploding into violence against his family.

This award-winning movie is based on the experiences of its author. The family moments, beautifully performed by the entire cast, have a tragi-comic authenticity. When George’s rage finally shatters the family’s fragile compromises, the movie struggles to recover.

Parents should know that the movie has very strong language, bathroom scenes, explicit sexual references, including depiction of male and female genitals, sexual situations, and severe wife and child abuse.

Families who see the movie should talk about the cultural heritages that are important to them and how they balance that with the pressure to assimilate. They should also talk about how husbands and wives from different backgrounds create a home that respects both of them, and how people sometimes live with compromises that may seem intolerable to others. Families who like this movie will also like “Mississippi Masala,” about a romance between an Indian woman and a black man.