Rachel Griffiths (Oscar nominee for Hilary & Jackie) plays Pamela Drury, a harried 30-something magazine writer who wonders if she made a mistake, 13 years earlier, when she turned down a marriage proposal from Robert (David Roberts). She gets a chance to find out when she is hit by a car driven by none other than herself, the Pamela who married Robert and who is now living in the suburbs with husband, three children, and a dog.

The second Pamela disappears, leaving Pamela One to cope with assorted domestic crises. At first, in a daze, she lets the kids eat pizzas in front of the television, and she is so used to shopping for one that she forgets to take food for them at the grocery store. But she loves being with Robert, and begins to warm to family life. She teaches the baby to wipe his own bottom and the older boy to stop calling her “dumbhead.” She finds herself responding to her daughter’s first period the same way her mother responded to hers. She is disconcerted to find that the married Pamela is also a magazine writer, but of women’s magazine drivel like “ten ways to keep your marriage alive.”

Things are more complicated than she thought. As Pamela One, she met an attractive and sympathetic teacher named Ben (Sandy Winton), who tells her he once thought of being a journalist, and who dashes her hopes of romance when she sees him with a wife and children. As Pamela Two, she meets him in his other incarnation, now a single journalist who never got over the death of his first love.

Things get pretty much sorted out by the end. As in “Groundhog Day” or “It’s a Wonderful Life,” the main character gets a different perspective on his/her life, and gets a second chance to make it work. But this situation has some special poignance because it relates to the central conflict of many women’s lives — and many men’s, too — the balance between work and family. Pamela’s struggle, as Pam Two, to make her writing assignment into something meaningful about the modern woman, is a metaphor for her experience. So is her Pam Two nightie, with “Tic Toc Tic” on the front.

What Pam learns from experiencing her “what if” helps to turn her from someone who recites affirmations to herself every morning to someone who truly learns to value herself enough to connect to someone else.

The movie opens with young girls telling us their dreams — fashion designer, supermodel, wife and mother. Pam asks her own daughter (well, Pam Two’s daughter) about her dreams, but she is content for the moment to be open to everything.

Parents should know that the movie contains strong language, sexual references, including adultery, and sexual situations, including a comic encounter with a diaphragm. Characters smoke and drink, including use of alcohol to soothe anxiety, loneliness, and fear. One character attempts suicide.

Families whose teenagers see this movie should talk about how we make decisions and handle the consequences, and how any meaningful achievement at home or work requires sacrifices in other areas. They may also want to discuss why the youngest child is the only one who can tell the difference between the two Pams — is he the only one who really looks at her? — and how couples handle the challenges of long-term relationships.

Families who enjoy this movie will also like Sliding Doors with Gwyneth Paltrow and Groundhog Day with Bill Murray.

Doves flutter in a bell tower as an angelic choir sings. We hear someone say, “I know you’re not supposed to be jealous of anything, but to soar and take flight — that’s living.” As he speaks of his envy of hawks, the music shifts to hip-hop, setting the state for an imaginative and arresting retelling of Shakespeare’s “Othello,” set in a contemporary southern prep school.

Instead of Othello, a Moorish conquering warrior married to Desdemona, a white noblewoman, we see Odin (Mekhi Phifer) a talented black athlete, the only black student in the school, in love with Desi (Julia Stiles), the headmaster’s daughter. Instead of Iago, the trusted friend who is consumed with jealousy, we see Hugo (Josh Harnett), the coach’s son.

“Othello” works exceptionally well in a high school setting because so much of the plot fits in with the overheated emotions and impetuousness of adolescence. The plot turns on rumors, misunderstandings, trusting the wrong people, and jumping to conclusions, all of which will seem familiar to teenagers. They will also be very familiar with the racial issues, and their impact on O’s hypersensitivity to believing that Desi is faithful to him. Hugo’s use of steroids deepens the credibility of his fury at Odin’s success.

First-time director Tim Blake Nelson (who was last seen singing “In the Jailhouse Now” in “O Brother Where Art Thou”) shows a strong command of the storyline and imaginative use of visuals that underscore the movie’s themes. He gets very strong performances from the actors, especially Harnett and Phifer and Martin Sheen as the coach.

Parents should know that the movie’s release was delayed because of its violence. As in the original play, characters are brutally murdered and there is a suicide. Teen characters smoke, drink, and use drugs. The language is extremely harsh, including the n-word and a homophobic epithet and very harsh rap lyrics on the soundtrack. A consensual sexual encounter turns into a rape, and there are other sexual references and situations. A girl is referred to as a slut.

Families who see this movie should talk about how easy it can be to shake someone’s trust, and how difficult it is to determine who we should believe. They should talk about Odin’s conflicts — the reason he doubts Desi so quickly is more a reflection of his doubts about himself than his faith in her. Would he be so quick to believe that she was unfaithful to him if Mike was black? Would Hugo be so angry at Odin if Odin was white? What do you think about O’s use of the word “nigger” and his reaction when he is told that Mike and Desi call him that behind his back?

Odin also shows his conflicts about women when he asks Desi, “If you were a virgin like you said you were how come you acting all freaky?” This is typical of immature people who cannot reconcile mature sexuality as a reflection of true intimacy. Families should discuss the scene in which Hugo is invited to have dinner with his father. Why does the camera show only Hugo? Why is Hugo so hurt by what his father says? What does Hugo want his father to see that he doesn’t?

Families who enjoy this movie will also enjoy one of the filmed versions of Othello, especially the ones starring Laurence Olivier and Laurence Fishburne. They may also want to read or see Native Son, another tragic story about a young black man.

Rat Race” is a loving salute to the spirit of “It’s a Mad Mad Mad Mad World,” a splendid salute to slapstick that featured just about everyone who happened to be in Hollywood in 1965. “Rat Race” has an all-star cast playing characters who all want to be the first one to a $2 million treasure and will do anything — ANYTHING to get it. It is outrageous, cheerfully vulgar, undeniably lowbrow, and very, very funny.

John Cleese plays a Donald Trump-style casino owner who has a plan to attract the really high rollers. He will let them bet on a race between creatures who can think, plan, and lie — humans. Six randomly selected customers of the casino are each given a key to a box in a train station in Utah. Inside the box is $2 million, and the first one there gets it all. The six include Rowan Atkinson as a narcoleptic Italian, Cuba Gooding, Jr. as a disgraced football referee (he blew the call on the coin toss), Whoopi Goldberg as a woman just reunited with the daughter she hasn’t seen since she was a baby, Brecken Meyer as a conservative lawyer who always plays by the rules, Jon Lovitz as a father on vacation with his family, and Seth Green and Vince Vieleuf as small-time con artists. Along the way, they meet up with the prettiest helicopter pilot in the world (Amy Smart, brilliantly funny), neo-Nazis, real-life superlawyer Gloria Allred, a rocket car, a truck driver delivering some very important and delicate cargo, and a bus full of Lucy impersonators. There is a lot of good, old-fashioned, hit-on-the-head humor, but it’s like a Road Runner cartoon — everyone bounces back without a scratch in the next scene, ready to get right back into the game.

Director Jerrry Zucker, shows the sure hand with sight gags that brought us “Airplane!” While this does not have that movie’s surreal moments of comic ecstasy, its stronger narrative coherence and more interesting characters make it almost as satisfying. All of the performances are delights. Kathy Bates’s brief cameo as a woman who really likes squirrels and Amy Smart’s expression when she dive-bombs her cheating boyfriend (played by TV Superman Dean Cain), Vieluf’s encounter with his multi-pierced dream girl, Seth Green’s encounter with a monster truck rally, and Kathy Najimy’s encounter with the Barbie Museum are among the funniest movie moments in years. And the final resolution beats “It’s a Mad…World” by a thousandfold.

Parents should know that the PG-13 rating comes from some vulgar humor, including bathroom jokes, a weird proposition made to a prostitute, an offensive porn movie title, and a cross-dressing man. A multiply-pierced woman flashes her breasts as a way of flirting with a man she does not know (nothing seen).

Families who see this movie should talk about Brecken Meyers’s statement that “Good things take time, but great things happen all at once.” Why does money make people take such foolish risks? Who were you rooting for? Why? Compare the amount at issue in this movie with the amount that people were racing for in “It’s a Mad Mad Mad Mad World.” Why is it so much more?

Families who see this movie will also enjoy “Airplane!,” “Top Secret,” and “Blazing Saddles” (all with some vulgar humor). And every family should watch “It’s a Mad Mad Mad Mad World.

Jackie Chan has his best American movie role so far as Chon Wang, an imperial guard sent from China’s Forbidden City to Colorado’s Carson City to rescue a kidnapped Princess (Lucy Liu) in the old West of 1881. Along the way he meets Roy (Owen Wilson) a smooth-talking robber and con man, and they have various adventures that provide many opportunities for humor and many, many opportunities for fight scenes that show off Chan’s trademark fast, flashy, and funny footwork.

In classic buddy movie fashion, Roy and Chon begin as antagonists, and it takes them a while (and Roy’s finding out that there is gold involved) to figure out that they are on the same side. Chan and Wilson have a nice rapport and Wilson’s easy-going surfer style works very well with Chan’s more reserved approach. Liu is elegant and beautiful at home in the palace, spirited and honorable when she finds out that she has been kidnapped and that Chinese people are being used for slave labor. And of course the fight scenes are sensational, as Chan uses anything he can get his hands and feet on to help him vanquish all the bad guys.

A lot of younger kids will want to see this movie. Parents should know that the movie has some bad language, potty humor, scenes in a brothel, and drinking and drug use (portrayed humorously, including a prolonged drinking game and a drunken horse). The racism of the era is touched on. Chong is thrown out of a bar and he is very hurt when he overhears Roy agree with an anti-Chinese comment. The prostitutes are portrayed stereotypically, but the leading women in the movie are brave, smart, capable, and loyal.

Families who see this movie should talk about how Roy and Chong learn to trust each other and work together, how Chong uses quick thinking (and a good knowledge of basic physics) to use whatever he can find to help him fight the bad guys, and how people from many different cultures reacted to life in America. Families who enjoy this movie will enjoy Chan’s other films, especially “Mr. Nice Guy” and “Rumble in the Bronx.”

If attitude and very cool explosions were enough to make a movie worthwhile, then this one would win an Oscar. But movies generally require something along the lines of characters and plot, and there this movie lets us down.

John Travolta plays a mysterious bad guy named Gabriel Shear who will do anything to get what he wants. In this case, he wants the greatest hacker in the world, Stanley Jobson (Hugh Jackman), to help him steal a lot of money from a bank. We first see Gabriel talking about what’s wrong with Hollywood movies and describing his objections to “Dog Day Afternoon” (coincidentally the same movie Travolta quoted in “Saturday Night Fever”). It becomes apparent that this is not just some random conversation over drinks. We are in the middle of a very ugly hostage situation, far more menacing than the one in “Dog Day Afternoon.” He doesn’t just have the hostages strapped up in explosives. He has them strapped up in explosives and ball bearings, so that when one person explodes we will get to see the rain of spheres operating like a mini-minefield.

Then a flashback: Ginger (Halle Berry) finds Stanley working as a maintenance man at an oil rig, under probation that will send him to jail immediately if he touches a computer keyboard. She tells Stanley that her employer will pay $100,000 just to meet him, and Stanley, who wants to regain custody of his plucky daughter from his druggie porn star wife, accepts. They meet in the kind of nightclub/house of decadence that Hollywood types think that non-Hollywood types will think is cool. Gabriel gives Stanley a rather unusual test — 60 seconds to break into a Defense Department computer system while a gun is at his head and a woman is otherwise distracting him under the desk.

Many explosions and shoot-outs and car chases (plus a look at Halle Berry topless) later, we are back at the hostage scene, and ready for some very predictable twists and turns and a bus hanging from a helicopter before the unsurprising ending.

The dialogue is supposed to be hip and sardonic, but it is just third-rate Tarantino. When the Berry character says that her name is Ginger, the best they can do is have Stanley make a “Gilligan’s Island” joke. Generally speaking, when the characters in a movie laugh at a joke, the audience does not. The movie tries for a vibe that is cool, amoral, and ambiguous, but what it gets is a vibe that is manipulative and insincere. Really — they could not figure out a way to make us care about Stanley without making his daughter have a stepfather who makes porn movies and a mother who is too drugged out to pick her up from school on time? They throw in a little Jeremy Bentham-esque dialogue about the greatest good for the greatest number, but are we really supposed to be glad that national security is being carried out by a rogue cop who thinks he is above the rules? It’s like giving the codes to the atom bomb to Leona Helmsley.

Jackman and Berry do their best with criminally underwritten parts, but Travolta never makes us believe that his character has two dimensions, much less three. All that’s left are the explosions and chases which are well handled, but we care so little about the outcome that they barely matter.

Parents should know that this is a true R movie with very strong language, nudity, sexual references and situations (including using a woman like property and ordering her to service Stanley sexually in front of other people), and a lot of violence. Many people are killed and there is an extended close-up of a grisly corpse.

Families who see this movie should talk about the Bentham-esque conundrum posed by Gabriel. If you could wipe out cancer by killing one child, would you do it? Should Stanley have violated his parole and broken the law in order to get his daughter back? How is what he did when Ginger was being threatened make him different from Gabriel?

Families who enjoy this movie will also enjoy “Face-Off” with Travolta and Nicolas Cage and “X-Men” with Jackman and Berry.