This is a big overstuffed everything- and the kitchen sink mess of a movie. It is an ambitious, often gorgeous, occasionally brilliant mess. But for all its superficial abundance, there is an essential stinginess at its core. It teases the audience with glimpses of dazzling images and snippets of familiar songs but never gives either a chance to connect. It’s like one long coming attraction, without the payoff of a chance to relish the full version. There is more than enough for the eye, but nothing for the soul.

The story is supposed to be eternal, with echoes of classic themes from Orpheus to La Bohème (with references to everything from “Singin’ in the Rain” to “The Sound of Music,” Nirvana, Fellini, MTV, Madonna, Marilyn Monroe, the Beatles, and even a love triangle with a gun climax right out of “Titanic”). Those may be shortcuts to pleasure and even amusement, but they don’t work when it comes time to making us care about what happens. The movie is busy to the point of hallucination, but it has so little time for its characters that it comes across more as melodrama, with young lovers menaced by a villain who all but twirls his moustache and ties her to the train tracks. The story tells us that it is supposed to be about love, but it tries so hard to be postmodern and ironic that the audience is left feeling as cold-hearted as the wicked Duke.

The movie opens brilliantly with a proscenium arch and as the curtain goes up we see the conductor and hear a song about “a very strange enchanted boy.” Christian (Ewan McGregor), a naive young poet, comes to Paris at the turn of the 20th Century and meets up with a group of Bohemian artists who want him to write a musical play for the star of a combination nightclub, dance hall, and brothel, a “kingdom of nighttime pleasures” called the Moulin Rouge. The star’s name is Satine (Nicole Kidman), and she and Christian fall in love, which is bad for business. The emcee of the show (Jim Broadbent as Ziglar) wants Satine to get the wealthy Duke to pay to transform the Moulin Rouge into a legitimate theater and back the first show. That means that she has to persuade the Duke that she is in love with him, and she has to sleep with him.

Satine wants stardom and she wants Christian. She does not have much time; she faints at the end of her big musical number, and she has been coughing up blood.

Christian learns that it is not as easy to be a Bohemian as he thought; Satine learns that acting like she loves many men is not as hard as acting like she does not love one. They both learn that the show is more real than they thought. The sitar (played by John Leguizamo as Toulouse-Lautrec) does tell the truth and love’s first kiss does wake the princess,

The highlight of the movie is the art direction. The sets and costumes are spectacular, and everything else is secondary at best. McGregor and Kidman use their undeniable star power to do as much to hold our attention as anyone could. Their singing voices are passable, but not arresting.

Parents should know that the movie has some strong language (including double entendres) and sexual references and situations. The main character is a prostitute and the atmosphere is decadent. Christian and his friends drink absinthe, and have a hallucination.

Families who see this movie should look at some of the pictures by Toulouse-Lautrec of the real Moulin Rouge. They should talk about Satine’s comment that she had learned to think that she was only worth what someone would pay for her. How did being in love with Christian change that? Did the Bohemians really change the world around them? What do you think will happen to Christian? To the Duke?

Families who enjoy this movie will also enjoy Luhrman’s other films, “Strictly Ballroom” and “Shakespeare’s Romeo + Juliet,” which have his trademark visual flair and clever musical selections, and which also have better scripts.

The Coen brothers’ latest is based in part on the Odyssey (a prologue credits the story to Homer). But its title comes from that most sublime of Preston Sturges classic comedies, “Sullivan’s Travels,” made in 1941. The title character is a successful director of silly comedies (like “Hey Hey in the Hayloft”), but he wants to make a serious movie about the Depression, and he wants to call it — “O Brother Where Art Thou.” That movie never got made, until now. But in sly Coen brothers fashion (these are the guys behind “Fargo” and “Barton Fink”), this movie has as much to do with “Hey Hey in the Hayloft” as it does with Sullivan’s vision of a penetrating dissection of the lot of the laborer.

Like the Odyssey, this is the story of a man named Ulysses who is trying to get home to his wife (here called Penny instead of Penelope) before she marries one of her suitors. There are other echoes to that classic saga, from a blind seer who predicts that they will not find the treasure they seek to a one-eyed villain and three singing sirens to distract the travelers from their journey.

But this Ulysses is no war hero from ancient Greece. It is America during the Depression, and Ulysses Everett McGill (George Clooney) is a prisoner on a chain gang in Mississippi. He persuades the two men chained to him, Pete (John Turturro) and Delmar (Tim Blake Nelson) to esape with him so they can get a hidden treasure. They have to get to it right away because the area will be flooded in two weeks as part of a project to bring electricity to the community.

They make their way home, meeting up with an assortment of oddball characters, including bank-robbing legend George “Babyface” Nelson. They get some money by singing for a man who records bluegrass. They cross paths with two bitter opponents in an upcoming election for governor. The incumbent is Governor Menelaus “Pass the Biscuits” Pappy O’Daniel (Charles Durning). He and his cronies all have huge bellies, with pants that reach to their chests to be held by suspenders. O’Daniel’s opponent, Homer Stokes, is selling himself as a man of the little people who wants to clean house, and he makes campaign appearances with a midget and a broom to show that he means it.

McGill and his friends do their best to evade the sheriff and make their way home, amidst washed-out landscapes. As always, the Coen brothers present an array of quirky characters with astonishing faces, closer to gargoyles and caricatures than to the usual Hollywood smooth prettiness. Delmar’s lashless, lipless, neckless head makes him look like a fetus or an alien. O’Daniel almost looks like a biscuit, instead of a man who’s just eaten too many of them.

And there is the offbeat dialogue — when Delmar, just baptized, says he has been saved by Jesus and a black guitar player says he just sold his soul to the devil at the crossroads, McGill replies, “Well, I guess I’m the only one who remains unaffiliated.” He also explains that “It’s a fool who looks for logic in the chambers of the human heart.” McGill is passionately devoted to a hair pommade called “Dapper Dan’s,” and spends a lot of time making sure his hair is just right, completely ignoring any other aspect of hygiene or appearance.

This is a lighter story than many of the Coens’ previous movies, which makes it easy to forgive the parts that don’t work very well, especially when we have the pleasure of the year’s finest soundtrack, sheer bluegrass joy.

Parents should know that the movie has some mild language and some incidents reflecting the racism of its setting, including a KKK rally and attempted lynching.

Families who see the movie should talk about its origins in the greatest of all epics, and how that story has endured. They might also want to talk about the symbolism of fire and water throughout the movie (notice the way that the sheriff’s dark glasses always reflect fire).

Families who enjoy this movie should see “Sullivan’s Travels” and compare the two, especially the scenes in both where the prisoners watch a movie. Families will also enjoy other Sturges classics like “The Lady Eve” and “The Palm Beach Story.”

There is real logic and there is movie logic. Audiences are usually very forgiving of lapses in movie logic — we recognize that people always get perfect parking spaces and have correct change and live in fabulous apartments that their characters could never afford because we recognize that these elements are there to make the story movie smoothly and because they make it more fun to watch. In the spirit of movies like “Flashdance” and “Grease,” this movie requires suspension of disbelief that is close to complete abandonment of any sense of reality. This is the kind of movie in which characters who live in the poorest circumstances seem to have all the money they need to buy fake IDs or expensive theater tickets. Students who get good grades never seem to do any homework or have any books in their backpacks. A teenager with a baby never has a problem with child care. Still, no one goes to this movie to gain great insights about the human condition. It is nowhere near “Grease” or “Flashdance” in style, soundtrack, or dance (and the use of a dance double in the ballet sequences is obvious), but it may appeal to teens who see it as one big music video.

Sara Johnson (Julia Stiles) is a ballet dancer who is nervous about her big audition for Julliard. Her mother promises to be there, but she is killed in a car crash on the way to the theater. Sara leaves her home in the suburbs to live with her musician father (Terry Kinney) in a tiny apartment in Chicago’s inner city. Memories of her old life are so painful that she wants to leave everything behind.

Her new high school has metal detectors at the entrance, and almost all of the students are black. She stands in the cafeteria, holding her tray, not knowing where to sit. Chenille (Kerry Washington) welcomes Sara to her table. Chenille’s brother Derek (Sean Patrick Thomas) is a smart kid torn between his loyalty to his old friends who are increasingly involved in dangerous activities, and his ambitions to go to college and medical school. Chenille brings Sara to a dance club (after a quick style makeover) and after some verbal sparring, Derek dances with Sara, teaching her a little about hip hop. He gives her a few more lessons. They become friends, then they become romantically involved. He finds out about her passion for ballet, and urges her to apply to Julliard again. Various complications ensue, especially when Chenille becomes angry and tells Sara that white girls should not become involved with “one of the few decent men we got left after jail, drugs, and drive-by.” Sara, Chenille, and Derek have to confront their fears and think carefully about loyalty and trust. Ultimately, what Sara has learned from Derek in dance and in life, helps her to follow her dream.

This is a formulaic coming of age/teen romance with an MTV spin (MTV co-produced the movie). While the script is below average, even by the low standards of this genre, its performers are attractive and sincere (Kerry Washington is particularly appealing) and most teens are still so new to this category of film that it may not seem clichéd to them.

Parents should know that the characters use strong language and the soundtrack lyrics have even stronger language, including the n-word. Chenille has an out of wedlock child (and a difficult relationship with the child’s father). Derek has to decide whether his loyalty to an old friend (and his sense of guilt at the friend’s having taken the rap for them both) means that he must go along with him when he plans to shoot someone. Characters object to the interracial romance, mostly because they are jealous. The characters buy fake IDs so they can go to a club that serves liquor, and they drink and smoke.

Families who see this movie should talk about the choices Sara and Derek must face. Sara blames herself for her mother’s death. How does she overcome that feeling and allow herself to take the risk of auditioning again? How do Derek and Sara get into trouble by not being honest with each other about what is bothering them? How do they sort through their loyalties, Derek to his friend Malakai (Fredro Starr) and Sara to Chenille? Malakai tells Derek, “You act like you don’t know who you are anymore.” How do Sara and Derek decide who they are? Where do they find their support?

Families who enjoy this movie will also enjoy “Footloose” and “Fame,” both with some mature material.

If we needed someone to save the world, wouldn’t Clint Eastwood, Tommy Lee Jones, James Garner, and Donald Sutherland be the guys to do it? Or at least wouldn’t it be fun to watch those guys play “Leisure World astronauts” showing off their right stuff? If your answer is yes, this is your movie.

Four hot-dogging test pilots were thrown out of the space program and replaced by a monkey. Forty years later, they are called back into action when a Russian communications satellite begins to fall down out of the sky. It turns out that the satellite’s guidance system is, mysteriously, none other than the very guidance system set up by former hot dog Frank Corvin (Clint Eastwood, who also directed). And it also turns out, mysteriously, that for unrevealed “political” reasons, NASA wants the satellite repaired, not destroyed. Less mysteriously, it also turns out that Corvin won’t fix the thing unless NASA lets him go up and do it himself, accompanied by his old team, despite the fact that “the last time they trained for a space program, people were driving cars with fins on them.”

Eastwood takes his time, giving us a prolonged black and white intro, with the stars’ voices coming from younger actors portraying them circa 1958. Then we have to get acquainted with the problem, NASA has to come to Corvin for help, he has to turn them down, then get his old nemesis to agree to let him get his over-the-hill-gang back together, then they have to go through training and show those young upstart astronauts a thing or two, and then comes ten, nine, eight, seven, and all the rest of it and we’re out in space.

The script is weak and saggy and the plot is predictable. The last scene is weirdly maudlin, even macabre. But the effortless star quality of these guys, so clearly still in their prime, is undimmed. You can’t help loving every wrinkle of those handsome craggy faces, especially if you’re old enough to have a crag or two yourself.

Parents should know that the movie has some strong language and some sexual references. Sutherland’s character is portrayed as a perpetual womanizer and this is supposed to be charming and virile, even when he makes a very vulgar comment on Jay Leno’s show. Characters drink and smoke, punch each other, and engage in other kinds of risky behavior. There is a sad death.

Families who see this movie should discuss our society’s prejudices against older people. It is important for kids to know that many old people are capable, curious, and vigorous, with experiences that are worth learning about and that it is always important to treat them with respect. Ask kids what they think they will feel like when they get to be as old as Corvin and his team. Get them to ask older relatives about some of their experiences. Families will also want to talk about the decision of one crew member to make a great sacrifice to save many others.

Families who like this movie will also like “Apollo 13” and “The Right Stuff.” They may also enjoy some of the earlier movies of this all-star cast, including Eastwood’s “Every Which Way But Loose,” Sutherland’s “M*A*S*H” (for older teens), Jones’ “The Fugitive,” and Garner’s “Support Your Local Sheriff.”

Once a brilliant, Julliard-trained musician and composer, Romulus Ledbetter (Samuel L. Jackson) now lives in a cave in the park. He is severely mentally ill. Images of giant moths and fears of an imaginary villain haunt him. But he still loves his wife Sheila (Tamara Tunie), who appears to him in his hallucinations to give him advice, and his daughter Lulu (Aunjanue Ellis), a policewoman.

On Valentine’s Day, Romulus finds the dead body of a young man propped up in a tree near his cave. The police think it was an accident. But Romulus believes the young man was murdered. He wants to find the murderer, even though it means that he will have to brave the real and imagined terrors of society’s daily interactions. He begins to think that the murderer is David Leppenraub (Colm Feore) a well-known artist, a photographer who specializes in homoerotic images of savaged and maimed angels. He knows that no one will listen to him. If he accuses the artist, it will be lost among his paranoid ravings. Romulus has to gather evidence. With some new clothes from a lawyer, bemused by his knowledge of music and a call to an old friend from Julliard, Romulus gets invited to Leppenraub’s home.

Romulus, like Leppenraub, is haunted by nightmare images and obsessions. For Romulus, though, they are madness. For Leppenraub, they are art. Romulus’ fears make people feel discomfort and pity. Leppenraub’s make people feel titillated and clever. Romulus must use his madness to understand the killer, but he must use the part of him that is not mad to put the pieces together and make sure that the killer gets caught. Jackson and director Kasi Lemmons deftly blend Romulus’ internal and external worlds. His rational self is represented by imaginary conversations with his estranged wife (a beautiful performance by Tamara Tunie). Feore as Leppenraub and Anne Magnuson as his sister give multi- layered performances that lend weight and complexity to the story.

Parents should know that the movie has very violent images, including dead and mutilated bodies. Characters use very strong language, and there are heterosexual and homosexual references and situations, including a passionate sexual encounter between two people who hardly know each other.

The movie also includes smoking, drinking, and drug use. The scenes depicting Romulus’ delusions may upset some audience members. His illness causes his family a great deal of loss and pain.

Families who see this movie should talk about mental illness and its causes and treatments. How can family members be supportive without being enablers? They may also want to talk about whether art like Leppenraub’s could be a critical and popular success, as portrayed in the movie. Why would Moira react to Romulus the way she did? Why did Bob react the way he did, and was that right? What are some of the feelings that Lulu has about Romulus?

Families who enjoy this movie will also like “One Flew Over the Cuckoo’s Nest” and Jackson’s brief but memorable performance as a drug addict in “Jungle Fever” (both for mature audiences).