The presence of a Hollywood icon as an actor and director cannot overcome the predictability in the script in “Blood Work.”

Clint Eastwood stars as Terry McCaleb, a veteran FBI profiler similar to Eastwood himself in having an enviable record and struggling to stay in the game for longer that his body wills him. However, while on the verge of capturing a taunting murderer, McCaleb suffers a heart attack and is forced into retirement. Two years later he is slowly recovering from a heart transplant when he is visited by the sister of the woman whose heart now beats in McCaleb’s body. Her sister’s murderer is still on the loose, and she wants McCaleb on the case. He reluctantly agrees and is soon finding clues and getting in danger just as he used to, sometimes being driven along by his lazy fishing neighbor (Jeff Daniels) who mostly plays Watson to McCaleb’s Holmes. And of course, McCaleb has to disobey doctor’s warnings and dodge the bumbling fellow officers to carry out his case, also becoming close to the woman (Wanda DeJesus) and her nephew (Mason Lucero).

The trouble with “Blood Work” is that the believable parts are unsurprising and the surprising parts are unbelievable. Eastwood’s presence hasn’t diminished one bit over the years and his storytelling skills still shine, and Daniels also does a very good job, but the movie is simply never too interesting to anyone who’s seen this kind of film before, especially after they’ve been done so well in Manhunter and The Silence of the Lambs. The film’s climax is probably the most interesting part, but it’s hard to believe that the McCaleb who was so perceptive in the film’s first half wouldn’t have figured out the killer and his/her motive much sooner, which seemed obvious to much of the audience.

Parents should know that this film has some strong language as well as some graphic images (mostly on videotape) of people getting shot. There is also some offscreen sex, and the happening and recovery of the heart attack are well documented.

Families who see this film should ask whether McCaleb felt the need to catch the killer because the murdered woman’s heart saved his life or because he cared about the woman and her nephew.

People who enjoy this movie should check out the Thomas Harris adaptations, as well as Eastwood’s best, Unforgiven and Dirty Harry.

“Hey Arnold! The Movie” is as unimaginative as its title and far too long at 74 minutes. Hard core fans of the television series (if there are any) will enjoy seeing the characters on the big screen, but anyone else, particularly those who’ve seen a movie or two, are going to be bored with the characters, the animation, and the utterly predictable chain of events.

“Hey Arnold!” finds its football-headed hero with a heart of gold in a save-the-neighborhood situation. A big bad wolf industrialist named Scheck (voiced by Paul Sorvino) wants to turn Arnold’s happy suburb into a “mall-plex.” Most of the adults reluctantly sell their homes, but Arnold arranges benefits does research on how to save the town, undiscouraged by Scheck’s constant attempts to crush him and the pessimism of everyone else. He eventually finds out about a Boston Tea Party-esque event that occurred in his town during the revolutionary war and works to get the town saved as a historical landmark.

There’s nothing remotely new or exiting about the plot, and nearly all of the situations are annoyingly dumb. Kids may enjoy seeing Arnold save the day, but adults will snooze through it, due to a storyline everyone’s seen before, animation that is below the “Fat Albert” level, and characters that range from uninteresting to unappealing. There are some amusing voice cameos from Jennifer Jason Leigh and Christopher Lloyd, as well as timely references to Men in Black II and The Hulk. And if anyone these days comes close to being Mel Blanc, its Dan Castellaneta (“The Simpsons”), who gives wildly different characters such genuine personality that one would never guess that they come from the same guy. If only those voices had a better script.

Parent should know that “Hey Arnold!” is just violent enough to get a PG rating, but there’s really nothing that most kids over six can’t handle. More disturbing are the stereotyped characters, from Arnold’s best friend/token black kid Gerald to Arnold’s grandparents to a one-legged bus driver.

Families can discuss what exactly it is that keeps Arnold so positive during such stressful times, and why his neighbor Helga (who looks and acts almost exactly like Rugrats’ Angelica) feels the need to hide her crush on Arnold by being mean to him.

Families who like this movie will probably enjoy the other Nickelodeon films, from the animated Rugrats, Doug’s 1st Movie and Jimmy Neutron to the live-action Snow Day and Harriet the Spy.

Sy Parrish (Robin Williams) cares deeply about making sure that the snapshots he develops at the SaveMart are as perfect as the family life he dreams that they represent. He relishes the glimpses he gets of parties, Christmas mornings, vacations, and other happy occasions, understanding that it is only the good times that people want to preserve for their scrapbooks. “No one ever takes a photograph of something they want to forget.” He knows that the first thing people save in a fire after all the people are out of the house is the family photographs, their best hope of imperishable memories.

Sy’s customers don’t just give him family pictures. He also develops photos of crumpled fenders for an insurance claims specialist and nude photos taken by amateur pornographers. But what captures Sy’s attention is the peek inside lives of vibrancy, intimacy, connection, warmth, and affection. And the family that seems most perfect to him is Will and Nina Yorkin and their nine-year-old son, Jake.

Inside the Yorkin house, though, Will accuses Nina of wanting her life to be like the pictures she looks at in magazines, as entranced by the appearance of perfection as Sy is. Nina accuses Will of neglecting Jake and being distant from her.

Will does not pay enough attention to his family. Sy pays too much.

Writer/director Mark Romanek shows Sy and his small corner of the cavernous SaveMart in the blandest of neutral colors with cool undertones. The Yorkins, in person and in the photos meticulously color-balanced by Sy, are shown in warm, bright, vivid colors. In the movie’s most powerful sequence, Sy leaves the SaveMart to go to his apartment, furnished as sparely and generically as a motel room. Everything about him is beige, even his hair. Then the camera pulls back and we see one huge splash of glowing color, a mosaic of bright photos covering most of a pale wall. They are all of the Yorkins, going back to before Jake was born.

Another customer’s photo order gives Sy evidence that Will Yorkin does not appreciate his family. And Sy’s boss (Gary Cole) fires him for making hundreds of prints that are unaccounted for. He dreams of walking down endless, colorless, empty aisles at SaveMart, the bare shelves rising behind him like the wings of an avenging angel and his eyes spurting dark red blood.

The movie begins with Sy having his picture taken, full-face and profile, in a police station (“Do you have your own lab?” he asks on the way to the interrogation room). A detective (“ER’s” Eriq La Salle) tells him that they have developed his pictures and they are “not pretty.” So we know from the beginning that something bad will happen.

Romanek’s roots in music video show. This is his first feature film. He handles mood and tone well. The attraction of the material is obvious – as a director, he is something of a voyeur himself, obsessing about perfect pictures. But the result is that the movie is too much about images and surfaces, more artificial itself than the artificiality it attempts to depict. It’s not about anything real. It’s about what Romanek imagines middle America to be like.

The attraction of the material for Williams is obvious, too -– the utterly repressed character is the other end of the scale from his own personality and his best-known performances. But inside every comedian is a lot of hostility, and Williams uses his well to create both pathos and menace. Overall, the movie’s logical lapses (if both members of a romantic couple are in the supposedly intimate photo, who was taking the picture?), odd conclusion, and too-easy explanation keep it from being completely successful. Like Sy, Romanek seems to have lost the boundaries between the observer and the image.

Parents should know that this is an intensely scary thriller with severe peril (though not graphic), nudity, and sexual references and situations, including adultery and child molestation.

Families who see this movie should talk about the role that photographs play in their own lives. Would someone looking at your family’s photographs get an accurate picture of your family? They should also talk about whether we do enough to pay attention to people who are less fortunate and may be lonely.

Families who enjoy this movie will enjoy the brilliant thriller, Manhunter, the original movie featuring the Hannibal Lecter character (played by Brian Cox). Its remake, “Red Dragon,” with Anthony Hopkins and Edward Norton is scheduled to be released in 2002. They should also listen to the Beatles’ “Eleanor Rigby,” a song about “all the lonely people,” including the title character, who was “buried along with her name; nobody came.”

Okay, it’s “Star Wars,” everyone. So don’t be surprised if the plot is murky, the dialogue is stiff, and the performances look like the only direction the actors received was “Look over there! When we put in the effects, it’s going to be something really scary!” Instead, go in looking for expertly staged action sequences and eye-popping special effects, and you’ll be very happy.

Yes, the dialogue is so wooden that you can use it for batting practice. I’m not even going to try to give examples – it would be even more painful to type them than it was to hear the actors say them. And if you want to enjoy the movie, I advise you to do what I did and not think too hard about the plot, something about parts of the big galactic alliance crumbling as some bad guys are trying to secede from the union. Just sit back and let your eyes feast on the wonderfully imaginative visuals — the glowing colors, the fantastic creatures, and the marvelous technology.

Natalie Portman returns as Padme Amidala, now promoted from Queen to Senator. Anakin Skywalker has now grown up into a very talented but impatient and sulky teenager and is played by Canadian actor Hayden Christensen, who did a much better job as a sulky teenager in “Life as a House.” Both are in important jobs that require them to forego romantic entanglements, but while they are hiding out in a remote and idyllic part of her planet together they feel a powerful attraction. Anakin thinks that his mentor, Obi-Wan Kenobi is unfairly holding him back and that things in general move too slowly. If only he were in charge….

When Anakin dreams that his mother is in trouble he returns to his home planet of Tatooine to rescue her. But he arrives in time only to say goodbye to her and return her body to her husband and step-son at the below-ground home Luke Skywalker will live in when we meet him in what is now Episode 4. Meanwhile, Obi-Wan is on a mission to see whether an army of clones will help the Federation protect itself from insurgents.

Fans of the series will enjoy the way this movie puts some of the puzzle pieces together and introduces us to characters who will become more important later on, like bounty hunter Bobba Fett and Luke’s Uncle Owen. And there is some real acting by Ewan McGregor as Obi-Wan, who manages to suggest that he just might turn into Alec Guinness by Episode 4 and by horror movie veteran Christopher Lee as the very evil Count Dooku. But mostly, it is just a chance to enjoy the fabulously inventive visual and action effects.

Parents should know that like the other “Star Wars” movies, there is a lot of peril and violence, though it is not explicit or graphic. A massive slaughter is described, but not shown. There are onscreen deaths, including a parent and a friend who intercepts an assassin. There are some sweet kisses.

Families who see this movie should talk about the temptations of dictatorship and why Anakin and Padme have different views about the ability and integrity of politicians. They may also enjoy talking about which of the technologies used by the characters in the movie they would enjoy, and which technologies we have now that might be of interest to the characters.

Families who enjoy this movie will also enjoy the other movies in the series, and might also like to see some of the parodies, like “Spaceballs.”

This misbegotten mess of a movie is a terrible disappointment for fans of Dana Carvey. It is also a disappointment for fans of comedy and fans of movies.

It really is hard to imagine how the talented Carvey can have taken what sounded like a can’t-miss premise and missed so completely. Carvey’s genius for impressions is utterly wasted. So is his charm. So is his time. So is ours.

Carvey plays Pistachio Disguisey (are you laughing yet?), the youngest in a family with magical powers to transform themselves. His father (James Brolin) never told him of the family’s secret because he wanted to protect him. So little Pistachio does not know why he has a Tourette-like compulsion to imitate everyone he sees. When his parents are captured by bad guy Devlin Bowman (Brent Spiner), who suffers from intestinal distress whenever he tries his evil laugh (now are you laughing?), and it is up to Pistachio to save the day. Pistachio’s grandfather (Harold Gould) arrives to give him a few quick lessons in transformation and self-defense.

Weak references to classics like “The Exorcist,” “Star Wars,” “Jaws,” and “A Hard Day’s Night” will have no meaning to the kids who are the intended audience. The “Star Wars” references are more rip-off than satire; Disguiseys get their power from Energyco, so much like “the force” that it even has a dark side. Audience members old enough to recognize Jesse Ventura, Jessica Simpson, and Bo Derek might enjoy their brief cameos. But even at less than 70 minutes, the movie feels endless, with an extended post-credit sequence that just adds insult to injury.

Parents should know that the movie is too vulgar for a PG rating and too dumb for audiences of any age. Pistachio is fascinated with women who have large rear ends and he makes crude jokes when a character serves appetizers (“do you have a little wiener and tiny nuts?”). He disguises himself as a cow patty. And slapping an opponent while yelling “Who’s your daddy?” is supposedly a way of showing manliness and competence. Pistachio himself is a annoyingly disturbing character, an odd child-man with an inexplicable accent and an unforgivable haircut.

Families who see this movie should talk about how being able to imitate someone requires very careful observation.

Families who enjoy this movie will enjoy Jerry Lewis playing eight characters in The Family Jewels.