Dedicated to “Mr. Laurel and Mr. Hardy,” this movie is both a spoof and a loving tribute to the silent classics, with good guys, bad guys, romance, adventure, slapstick, music, wonderful antique cars, and the biggest pie fight in history. The opening credits are on a series of slides like those in the earliest movies, complete with cheers for the hero and boos for the villain, and a flickering old-fashioned projector that at one point appears to break down. Always dressed in impeccable white, the Great Leslie (Tony Curtis) is a good guy so good that his eyes and teeth literally twinkle. His capable mechanic and assistant is Hezekiah (Keenan Wynn). The bad guy is Professor Fate (Jack Lemmon), assisted by Max (Peter Falk). Like Wile E. Coyote, Fate’s cartoonishly hilarious stunts to stop Leslie inevitably backfire.

After a brief prologue, in which Fate tries to beat Leslie in breaking various speed records, literally trying to torpedo him at one point, they both enter an automobile race from New York to Paris. So does a beautiful reporter (Natalie Wood as Maggie DuBois) trying to prove she can get the story — dressed in an endless series of exquisite ensembles designed by Hollywood legend Edith Head.

The race takes them across America, through the Wild West, to a rapidly melting ice floe in the Pacific, and into a European setting that is a cross between a Victor Herbert operetta and “The Prisoner of Zenda,” where a spoiled prince happens to look exactly like Professor Fate and it takes all of the stars to foil an evil Baron (Ross Martin) who wants to use Fate to take over the throne.

Way back before computer graphics, movie makers knew how to scare us through what the movie didn’t show us. They knew that no one knows what scares us as well as we do ourselves, and that anything we could imagine would be far more scary than anything they could put on the screen. “The Others” is a return to that kind of old-fashioned-squeaky door hinge-flapping shutter-“Who is that playing Chopin downstairs when I know I locked the piano?”-“She can’t leave now! It’s too foggy!” sort of thriller, the kind that creeps into your bones and makes you shiver.

Grace (Nicole Kidman) and her two children live in a huge old home on an isolated island near England. World War II has ended, but she still has not heard from her husband and is trying not to let herself fear that he may be dead. Her two children have a genetic photo-sensitivity and break out in welts if they are exposed to any light stronger than a candle. The servants all left mysteriously, not even staying to get their wages, and they are there alone when three new servants show up, explaining that they worked at the house once years before and were happy there, so they have returned. Their arrival is unsettling, but not as unsettling as evidence of “intruders,” including sightings by Grace’s daughter Anne. Grace does her best to hold everything together, to protect the children’s souls (she is deeply religious, and is preparing Anne for her first communion) and their bodies (she has an elaborate system of keys to make sure that all doors are locked and all curtains drawn, to keep out light, as she says, the way a ship is designed to keep out water.

This movie is more mood than plot, but the mood is expertly handled by the writer/director and by Kidman, who makes her attempts to maintain control scarier than outright terror. The cast is outstanding and the ultimate resolution properly eerie.

Parents should know that the movie does not have any bad language or gory images, but that it is genuinely creepy and may be upsetting even for older children. Some will be concerned over Anne’s questioning of her mother’s religious principles or disturbed by the implications of the final explanation.

Families who see this movie should talk about their views on life after death and why that has been a powerful theme in fiction as well as theology from the beginning of time.

Families who enjoy this movie will also enjoy The Haunting (the original, not the dopey remake), The Uninvited (one of Hollywood’s all-time best ghost stories, with a theme song that may also haunt you), and The Innocents.

Christopher McQuarrie, the screenwriter of the deviously brilliant “The Usual Suspects” wrote and directed this bleak, tough-talking story about a couple of petty criminals named Longbaugh (Benicio del Toro) and Parker (Ryan Phillipe).

Longbaugh says, “Our path had been chosen and we had nothing to offer the world. So we stepped off the path.” The opening scene, a confrontation outside a club, shows us that our heroes are tougher than they are smart. Later in the story Joe Sarno (James Caan), who is both smart and tough, asks which is the brains of the outfit, and Longbaugh responds honestly, “Tell you the truth I don’t think this is a brains kind of operation.” They have no ability to think about the risks they are taking, and even if they did it would not matter because they just do not care.

Their lack of ability and indifference to the outcome turn out to be their greatest assets when they decide to kidnap a pregnant woman named Robin (Juliette Lewis). She is a surrogate mother, carrying the child of a wealthy couple, so they think they can get enough ransom money to take care of themselves. The kidnapping and ensuing chase are so badly organized that the experienced bodyguards who escort Robin to the doctor are not able to figure out what they are going to do, and they get away.

As in “The Usual Suspects,” the dialogue is terrific (“$15 million is not money. It’s a motive with a universal adaptor.” “Karma is only justice without the satisfaction.” “I can promise you a day of reckoning that you will not live long enough to remember to forget.”) The characters are exceptionally interesting, especially as the story unfolds and there are some surprises in their relationships and history. The performances are outstanding, especially Caan, Taye Diggs as one of the bodyguards, Dylan Kussman as Robin’s obstetrician, and Kristen Lehman as the millionaire’s trophy wife. McQuarrie shows a sure hand in his first time as director, with a muted color palatte, strong rhythm, and effective action sequences.

If only it was held together with a brilliant conclusion, as McQuarrie did in “The Usual Suspects.” No thrill in the ending here, just a long, long, shoot-out. Longbaugh and Parker are not coincidentally the real names of Butch Cassidy and the Sundance Kid, and this movie has some resonances with the classic western about two men who ran out of options. But unlike that classic and like McQuarrie’s own “The Usual Suspects,” he doesn’t let us care about the protagonists, leaving an empty feeling.

Parents should know that this is an exceptionally violent movie with a very gory childbirth scene and lots and lots of gunfire. Many characters die brutal deaths. Characters drink, smoke, commit adultery, use profanity, lie, cheat, and steal.

Families who see this movie may want to talk about the family and non-family relationships, and how loyalties are — and are not — determined. Some family members may have questions about surrogate parenthood and how the biological parents and the mother who carries the child feel about it.

People who enjoy this movie should see “The Usual Suspects” and “Lock, Stock, and Two Smoking Barrels.”

Nine-tenths attitude and one-tenth gunplay, this testosterone-fueled story has a tasty premise – in the middle of an Elvis convention in Las Vegas, a team of five Elvis impersonators rob a casino. (A couple of weeks ago it was a high school cheerleaders robbing a bank – what’s next, the Teletubbies knocking over a convenience store?) But despite some clever cinematography, fast-paced editing, and the never-ending appeal of Elvis and Elvis impersonators, it never rises above average.

The movie makes a bad mistake in getting the heist out of the way quickly. We do not get to see them plan – we just get to see them bicker on the way there. We don’t get the fun of seeing them plot the robbery so we can be impressed with their solutions to the challenges posed by security systems. That means that much of the rest of the movie is anti-climactic, taking far too much time with post-heist schemes and betrayals. And, though I know some will disagree with me on this, there is just too much shooting. Rambo didn’t fire off as many rounds as these guys do. After a while it gets tired, and so does the audience.

Kevin Costner plays Murphy, the man behind the scheme. He hooks up with Michael (Kurt Russell, looking happy to be back in his Elvis clothes after playing Elvis in a memorable made-for-TV movie 21 years ago). They and three other guys (Christian Slater, David Arquette, and Bokeem Woodbine) suit up as Elvises and break into the cash room of the casino. Things do not go exactly as planned, and there is a lot of shooting involving a lot of automatic weapons. Most of the rest of the movie focuses on Murphy, Michael, and Cybil (Courteny Cox), a down-on-her-luck woman with a larcenous young son, who is supposed to be endearing but comes across as a budding sociopath. They try to get away with the money with Murphy and federal marshals (Thomas Haden Church and Kevin Pollack — both terrific) in pursuit.

The rumor is that Costner and Russell battled over the final cut of the film and even tested two different versions. This one may have been a compromise, because there are some plot holes that appear to have been set up to be resolved but just got left hanging when it was recut. Or, it may be that writer/director Demien Lichtenstein was more interested in jazzy images and explosions than he was in the plot. Many who will want to see this movie will feel the same way.

Parents should know that this movie is extremely violent, at a level that would have received an X-rating just a few years ago. The movie also has very strong language, bathroom humor, and sexual references and situations (explicit, but no nudity). Couples have sex immediately after they meet. Many characters are killers and thieves to the point of preposterousness. They deceive each other and betray each other and they kill carelessly and recklessly. A child is an incorrigible thief. He is repeatedly exposed to extreme violence and sexual activity and he is both abandoned and kidnapped.

Families who see this movie should talk about the enduring appeal of Elvis, and how the dreams of the different characters affected their choices.

Families who enjoy this movie will also like the equally violent but more literate “Way of the Gun” and “The Usual Suspects.” Families looking for a more traditional heist film will like “Ocean’s Eleven,” “How to Steal a Million,” and “Topkapi.”

“Behind Enemy Lines” is an old-fashioned, heart-thumping, send-in-the-Marines, “I don’t care what the orders say” rescue mission story, and the most purely exciting movie of the year.

Equal parts adrenaline and testosterone, it wastes no time in getting us into the action. Owen Wilson plays Chris Burnett, a Navy navigator who is impatient with whatever it is that the US is doing in Bosnia. He longs for some excitement. When he and his partner are sent out on a routine reconnaissance mission on Christmas Day, they stray out of the prescribed area because they see something suspicious. Then they are shot down.

All of this is very inconvenient to NATO, which is in the final stages of negotiating a very fragile peace agreement. Burnett tries to stay alive and get to a safe rendezvous spot as his commanding officer, Admiral Reigart (Gene Hackman), tries to direct a rescue mission.

What this means is about 90-pulse-pounding minutes of non-stop nightmarish action as Burnett is chased by an assassin through minefields and desolation of all kinds, from ravaged trees to burnt-out cities. Meanwhile, the Admiral has an almost as treacherous struggle as he makes use of the most sophisticated technology to track Burnett’s position but is thwarted by politics when he orders a rescue.

It is brilliantly filmed by first-time feature director John Moore who masters both the second-by-second intensity of the action sequences and the bleakness of the physical and political landscape. The aerial combat scenes are stunning. The parallels between the personal, the psychic, and the political are subtly intertwined, and the rousing, send-in-the-Marines finish is, these days, especially satisfying.

In the midst of the action, there are dozens of moments filled with quiet power. The ejected officers drift down as the camera circles a hugely imposing statue of the Madonna, looking over a barren landscape, and we see that half of her face has been blown off. A young boy’s English vocabulary is based on Ice T lyrics. Two officers walk down the hall toward a father who knows that they do not deliver good news in person.

Hackman, as always, is a joy to watch, doing wonders with the subtle struggle of a by-the-books patriot whose loyalty and sense of honor makes him risk everything, knowing that his career is on the line. Wilson, in his first major dramatic role, does not show much range, but is a very likeable presence as a classic American hero – brave, resourceful, and a little cynical, but everything we would hope for when the time comes. Charles Malick Whitfield is the Marine we all want to rescue us, and David Keith contributes a fine performance as the Admiral’s aide.

Parents should know that the movie, though rated PG-13, has intense peril and devastating violence, with many characters killed. Children and young teens are involved. There is brief strong language.

Families who see this movie should talk about the complexity of today’s military actions, compared to the stark contrast between freedom and tyranny in previous wars (at least as portrayed in most history books and movies). They might want to compare this movie to others like Three Kings (very mature material) and The Longest Day.

Families who enjoy this movie will also enjoy Hackman as a submarine commander in Crimson Tide.