Comedians use humor to transcend norms and act outside the rules of civility to express the feelings we strive to keep inside – anger, insecurity, resentment, and selfishness. Many of them assume the freedoms of childhood to unleash the superego and say and do and grab and insult without any restrictions. Adam Sandler is very much in this tradition. His comedies are based on essentially the same character — a sweet but immature guy with an anger management problem. They have been been very successful with adolescent (and formerly adolescent) male audiences, topping the box office almost without exception.

Writer-director P.T. Anderson (“Boogie Nights,” “Magnolia”) has taken that same character and created around it a highly original and intelligent movie. It’s still about a sweet but immature guy with an anger management problem, so I can’t say that the performance is a stretch for Sandler, but he deserves a lot of credit for playing that character straight, without the distance and comfort (and hostility) of laugh lines.

Sandler plays Barry, a man whose affable exterior hides enormous fear and fury. We first see him in a bright blue suit sitting at a desk in a bare corner of a warehouse, talking on the phone to some low-level staff person about the intricacies of a promotion that gives frequent flyer miles for purchases of groceries. Two stunning, almost hallucinatory events occur that no one seems to see but him. First, there is a massive truck accident that just seems to evaporate. Then, a small piano-looking instrument called a harmonium somehow just seems to appear on the sidewalk. He picks it up and brings it inside, and we see that he has an office in the warehouse and is in fact the boss of a business that sells novelty toilet plungers.

All of this tells us that we are embarking on a journey inside Barry, who through the course of the movie will unstop his clogged up feelings, chart a course between the sacred and the profane, and reach toward love and harmony. And it works very, very well on this level, as we see Barry no longer able to bear his current life and therefore willing to take risks, some wiser than others, to allow him to change. Anderson shows us Barry over and over again running through hallways. He confides to his brother-in-law that he needs to talk to someone. He calls a 900 number just to have someone to talk to. Both violate his trust in the most shattering manner, and both unleash siblings (played by real-life siblings) who abuse him emotionally and physically.

His fascination with the frequent flyer mile opportunity leads him to buy hundreds of boxes of chocolate pudding. Even though he does not yet know where he wants to go, and has never really been anywhere, at some level he knows he yearns to go somewhere. When he meets Lena (Emily Watson), he feels that she is what he is longing for. He tries to use his absurd pudding miles to follow her to Hawaii, and when that does not work, he jettisons all dodges and maneuvers and just pays for a ticket. In a tradition that goes back to Shakespeare, it is only in an exotic natural location away from home that the lovers can tell each other the truth and find one another. And, as tradition requires, there is a second-act complication as Barry’s call to the sex line results in a disastrous attempt at extortion.

Watson is luminous, if enigmatic, as the warm-hearted girl who is a little surprised at how drawn she is to Barry. Anderson regular Philip Seymour Hoffman is outstanding as the would-be extortionist.

Audiences are likely to feel a bit punch drunk themselves as they try to make sense of this odd romantic journey with its offbeat dualities, combining extremes of chaos and harmony and love and anger. In one scene Barry and Lena tenderly kiss as they describe the violence of the way they would like to express their feelings. Still, Lena is so completely warm and healthy that the story seems lopsided, even if seen from Barry’s point of view. But it is undeniably an arresting and challenging film. Those expecting an Adam Sandler movie or a romantic comedy will be disappointed, but those who are open to something a little twisted and messy will find it very rewarding.

Parent should know that this movie has a good deal of mature material, including very strong language, sexual references and situations including a call to a telephone sex line, and violence. Parents of Adam Sandler fans should know that this is very different from his other movies and should exercise caution in allowing teenagers to see it.

Families who see this movie should talk about the use of symbols in the movie. Why is the word “love” spelled out in the abrasions on Barry’s knuckles? Compare that to Robert Mitchum’s famous portrayal of a con man posing as a preacher in “Night of the Hunter,” with “love” tattooed across the knuckles of one hand and “hate” tattooed across the other.

Families who enjoy this movie will also enjoy “Raising Arizona.” Families looking for a more conventional Adam Sandler comedy will enjoy “The Wedding Singer” and “Happy Gilmore.”

Haven’t we all seen this already? Many times? Too many times?

A nice, cute guy who seems to have it all meets extremely attractive girl who promises him guilt-free sex learns the sad lesson that there is no such thing. The big difference this time is that instead of being a lawyer (“Fatal Attraction”) or a radio show host (“Play Misty for Me”), this time the guy is a high school swimming champion.

Even though anyone who has ever seen a movie will know everything that is going to happen, there are some pretty good jump-out-at-you surprises. Having the hero (Jesse Bradford) spend so much time in the pool, wearing nothing but a swimsuit and goggles, adds to the atmosphere of vulnerability and otherworldliness. Erika Christensen of “Traffic” is very effective in her retro good-girl dresses and high heels, and uses her babyface well to switch instantly from innocence to obsession. Overall, though, the movie is a forgettable retread of more effective thrillers.

Parents should know that the movie has sexual references and situations, strong language, and violence. There is a reference to drug testing of athletes that is positive for steroid use.

Families who see this movie should talk about the choices made by Ben, Amy, and Madison.

Families who enjoy this movie will enjoy the woman-scorned-stalker classics Fatal Attraction and Play Misty For Me. They may also want to try the underrated Alicia Silverstone thriller, The Crush.

In 1985, Brett Easton Ellis’ first book “Less than Zero”, introduced a new voice to the “party at the end of civilization” genre – those texts dealing with a corrupted society’s last orgy before collapse (for example, works from 1930’s Berlin and the Fall of Rome). The book, heavily influenced by Joan Didion, was a cocaine powered paean to ‘80‘s excess, materialism and greed. The characters were rich and bored, drowning in the very vices they used to escape the everyday.

His second book, “Rules of Attraction” (1988), picks up the party at fictional Camden College (rumored to be based on Ellis’ alma mater, Bennington College) where the young, wealthy and white escape reality – or not—on a lifeboat of sex, alcohol and drugs. The story, adapted to the screen by director Roger Avary, who co-wrote Pulp Fiction, alternates perspectives and time lines while focusing on several, colorfully named parties (e.g. “End of the World Party”) on Camden’s campus.

The “attraction” of the title is a bit of a misnomer. If love has many forms, one of which does not require any great knowledge of a person, something beyond attraction and more like obsession, then this movie is about love. Instead of a love triangle, Rules of Attraction jumps perspectives on a love line: bi and beautiful Paul Denton (Ian Somerhalder) loves self-described “emotional vampire” and part-time drug dealer Sean Bateman (James Van Der Beek), who in turn loves the doe-eyed and virginal Lauren Hynde (Shannyn Sossamon) who loves self-absorbed Victor (Kip Pardue). To stir up the party, it is Lara (Jessica Biel), Lauren’s roommate, who Sean sleeps with as a proxy, while Paul has a nostalgic fling with long-time friend Richard “Dick” Jared (a scene- stealing, Russell Sams). Notable cameos include Eric Stoltz (as student seducer, Professor Lance Lawson); Faye Dunaway as Paul’s tipsy mother; and a cocaine-dusted Clifton Collins, Jr. as unpredictable drug dealer Rupert.

If this strange face of love can be compared to the vast quantities of narcotics casually consumed by the students, then it is the strongest drug of all. While the students can shrug off the effects of getting beaten with a baseball bat, casual sex with a sports team, cocaine/heroin and whiskey drunk as if it really was the water of life, they cannot escape the heartache when each of their budding hopes of love are crushed. Most poignant is the author of Sean’s anonymous love letters who takes her own life when she sees his indiscriminate philandering.

Ellis’ books have all dealt with similar 1980’s themes from different perspectives and have woven in references to characters from his other works. For example, “Rules of Attraction” protagonist, Sean Bateman, is younger brother to “American Psycho”, Patrick Bateman. Roger Avary has done a good job at adapting this multi-perspective narrative into a slick, visually dynamic movie. His backward-forward filming and present- past-present timing gradually reveal the story but he cannot put content into what is, in the end, an empty tale.

Although the movie is set in the present day, the strong influence of the book and Avary’s decision to weave in references to Ellis’ other books keeps a ‘80’s zeitgeist. The book “Rules of Attraction” already felt dated upon its release and the movie feels all the more so – the times having changed so dramatically over the years: the end of the Cold War; the flannel-clad nihilism descending from the Seattle scene; the disappearance of the rich, white boy as the movie bad guy; the return of heroin. But perhaps, most importantly, the world did not end.

Parents should know that this movie contains many elements that they would not want their children to see. The first scene alone of a horribly demeaning date-rape is followed by a non-stop montage designed to shock the most jaded of college party kids, let alone their parents. Sex is pervasive, casual and often described in excruciating detail. Drugs are ubiquitous and feature no downsides beyond the occasional bloody nose or fight with a dealer. Alcohol is more prevalent than soda. The bathtub suicide of one of the minor characters is so devoid of emotion that the laying out of the razor blade is as casual as removing one’s rings.

Families who see this movie should talk about why some people rely upon drugs as a crutch and be sure to discuss the film’s bleak portrayal of adult drug use as well as that of the college kids. Other issues to be discussed include the connection or lack of connection between the characters and the consequences of the choices we make.

Other films about end of the world parties include “Blue Angel” (Marlene Dietrich’s 1930’s breakthrough film) and “Cabaret” (the 1972 musical starring Liza Minelli). Those who are interested in movies playing with time and perspective shifts should rent “Go” (1999), a younger, softer styled “Pulp Fiction” (1994).

Bond, James Bond, has returned to the big screen once again. This time, as with every effort in the Pierce Brosnan series, producer Barbara Broccoli and MGM studios will try and out do the explosions, the sex, and the witty dialogue that has permeated the countless entries in the spy films. “Die Another Day,” the latest Bond adventure, should be praised though, as it succeeds in giving the audience the most thrilling Brosnan adventure since his debut film, “Goldeneye.” What this latest entry in the Bond films does is reminds us is why 007 is still so appealing after all these years. Unlike this summer’s loud and crass rip-off, “XXX,” the James Bond films have class and tradition, a certain familiar thrill as well as a hero whose arrogance is charming, not brutish and dull.

This film starts out with 007 going undercover to assassinate the son of a South Korean leader. When things go wrong, Bond is captured and tortured, while his homeland denies he exists. After being traded for a ruthless Korean killer (who now has diamonds embedded into his face, thanks to our hero), James must find out who double crossed him in Korea and why. Along the way, he meets a female American counter-part, Jinx, played by Oscar winner Halle Berry.

Berry is fine in the film, though her role is not nearly as large as the trailers show and that turns out to be a good thing. As the past two films have proven, not enough action involving Bond just slows the pace in the formulaic series. The first hour is truly thrilling and actually succeeds for once at adding depth to Bond. There is some great comedic bits involving John Cleese, the fantastic locales that Bond movies are famous for, and a fun if unrealistic car chase. Serving as both distractions and annoyance in the film are cameos by American tough guy Michael Madsen and singer Madonna. Madonna may have crafted a fun modern techno song for the film, but her acting is still as stale and laughable as it was ten years ago. All and all, “Die Another Day” is a fun Bond entry that has enough great stunts and excitement, that, by the time the movie tales off in the last 20 minuets, the viewer can forgive its bland conclusion.

Parents should know that the movie is rated PG-13 for excessive violence, sex, partial nudity, mild profanity, and many off-screen deaths. This film pushes the PG-13 rating hard, even for a James Bond film. The film is almost non-stop action scenes, some of which include graphic is if rather bloodless deaths. This includes one impaling, a knife in the neck and another in a chest, a character being sucked into a plane engine, while another is pinned to a hovercraft before plunging to his death at the bottom of a waterfall. The film also includes many explosions and scenes in which death is implied, but not shown. There is almost constant shooting, and James Bond’s ambiguity about violence may trouble younger viewers. The film shows James Bond smoking in numerous scenes. The movie is also filled with sex and sexual dialogue. One sex scene is rather graphic, while the other two imply it. There is also a view of a woman naked from the back, as well as numerous silhouettes of nude women during the opening credits. The film also includes numerous sexual innuendos, including two that are rather graphic, one coming at the end of the feature. The film briefly address James Bond’s womanizing, but makes light of it rather then condemning his behavior.

Families who see this film should talk about why James Bond is so loyal to his country. If it means so much to him, why do they deny his existence? It could also be addressed why Bond turns to violence so often, and that, although it works in the film, it destroys many people’s lives in the process. Why does the American government and the British government work together despite disagreements? Why does the South Korean general disapprove of his son’s violent methods? It could also be discussed why Bond treats women they way he does and how this film presents him with a strong female counter-part. What is it about how she treats him that makes Bond question how he acts towards women? Families should also talk about how the Bond movies in general treat women and possibly how it has changed since the series incarnation.

Families who enjoyed this movie will also enjoy “Goldfinger,” “The Bourne Identity,” and “Mission: Impossible.”

“Like Mike” has a formula intended for box-office heaven – a teen idol into a family friendly fantasy. Pint-sized rap star Lil Bow Wow plays an orphan who becomes an NBA star when he puts on a pair of sneakers that just might have once belonged to Michael Jordon.

Lil Bow Wow (now grown up enough to be known just as Bow Wow) was born Shad Gregory Moss. His rap name was bestowed by rap superstar Snoop Dog when, only six, he was invited onstage and dazzled the crowd.

In “Like Mike,” LBW plays Calvin Cambridge, who lives in an orphanage run by a meanie named Bittleman (creepy Crispin Glover). Like Little Orphan Annie, Calvin’s sunny outlook and determination sustain him, though he wishes he had a family. His best pals are Murphy (“Jerry Maguire’s” Jonathan Lipnicki) and Reg (Brenda Song). The orphanage bully, Ox (Jesse Plemons), pushes him around, but Calvin does not allow Ox to affect his view of himself.

A pair of used sneakers in a box of donated clothes has the initials “MJ” and there is a rumor that they were worn by a tall, bald, pro basketball player when he was a kid. Ox throws them onto a telephone wire, but Calvin gets them down in the middle of a lightning storm. (Parents might want to warn kids that this would not be a wise thing to try in real life.) When Calvin and the shoes are hit by lightning, something very special happens. When Calvin wears the shoes, he can play “like Mike.”

Calvin ends up playing for pro team the Knights, originally as a publicity stunt, but then as a real member of the team. The other teammates are at first skeptical and hostile, but they learn to appreciate his contribution. Calvin’s roommate and assigned mentor is Tracey Reynolds (Morris Chestnut), a loner who does not speak to his father and does not want to get close to anyone.

The script is right out of the Hollywood formula box, with everything from two different “shoes not there at the crucial moment” scenes and important lessons about teamwork to the winning shot going into the basket just as the buzzer goes off. It’s a combination “Air Bud” and “Absent-Minded Professor.” The movie is oddly edited with some plot holes. We never find out what went wrong in Tracey’s relationship with his father and we get very inconsistent information about his relationships with a couple of different women. The resolution with Bittleman is offscreen and unsatisfying, and many of the kids are still left without parents at the end of the movie.

The best thing about the movie is its surprisingly able cast of supporting players, including Robert Forster as the coach and Eugene Levy as the team’s publicist. Chestnut is real leading man material. LBW himself has a lot of charm. A number of NBA greats make brief appearances.

Parents should know that there is a surprising amount of abuse and cruelty by adults in this movie. Bittleman lies, cheats, calls Ox an idiot, and forces the children to sell candy outdoors late at night. He burns Murph’s only photo of his mother. Some kids may be upset by the orphanage and by Tracey’s estrangement from his father. Make sure kids know that they must stay away from power lines and lightning. And make sure that kids know that room service is not free!

Families who see this movie should talk about where the power really came from. Why did Calvin want a nickname? Why, when he wanted a family so badly, did Calvin reject some of the people who wanted to adopt him? What is a mentor, and how do you find one or become one? How much of what made Calvin a basketball star was in the shoes, and how much was in his heart?

Families who enjoy this movie will enjoy Air Bud and Angels in the Outfield. (Click here for the original 1951 version, which is even more delightful.) They may also want to try Rookie of the Year.