There is an inherent hypocricy in any satire about our fascination with violence. Invariably, it tries for the best of both worlds, giving us a lot of violence and allowing us to assume moral superiority through ironic distance. Like the tabloid television show it features, “15 Minutes” gets to decry the depiction of violence by showing us examples of what it decries. This movie, its title a reference to Andy Warhol’s statement that in the future everyone will be famous for 15 minutes, pits a cop who’s been on the cover of People Magazine against two killers from Eastern Europe who have figured out that in America “no one is responsible for what they do.”

Emil Slovak (Karel Roden) and Oleg Razgul (Oleg Takarov) arrive in the United States from Eastern Europe with two goals. Slovak, just out of prison, wants to get his share of some stolen money. Razgul wants to find the America of the movies, especially the movies of his favorite director, Frank Capra. When they catch up with their old friend, it turns out the money is gone. Slovak kills the friend and his wife, while Razgul films it all with a stolen video camera. They set the apartment on fire, but a witness escapes.

Robert De Niro plays Eddie Flemming, a detective who appears frequently on a “Hard Copy”-style tabloid TV news program hosted by Robert Hawkins (Kelsey Grammer). He is in love with another television reporter who covers crime in New York (“Providence’s” Melina Kanakaredes). The uneasiness of their relationship stems in part from the tension between journalist and source and in part from his shyness in trying to propose to her — in Greek.

Flemming teams up with a young fire inspector named Jordy Warsaw (Edward Burns) when a fire turns out to be arson intended to disguise the two brutal murders. Warsaw’s commanding officer urges him to grab a little of Flemming’s spotlight: “The better you look, the more money I get to pay you guys overtime.” But Flemming warns that “this stuff hurts as much as it helps — probably makes them nervous downtown.” It does help. An elegant madam (Charlize Theron in an unbilled appearance) turns from wary to warm when Flemming comes by to talk to her, even gushing “what an honor!” But Flemming’s visibility makes him a target for two killers who want to get on television.

Slovak is mesmerized by American talk shows, looking up “self-esteem” in his Czech dictionary. He concludes that if they can get their crimes on television and explain that it was all because of their abuse as children, “not only will Americans believe me; they will cry for me.” Slovak and Razgul sell footage of one of their most shocking crimes to Hawkins, who piously insists that it is his obligation as a journalist to broadcast it.

Top-notch performances from all, especially Roden and Takarov in their first American roles, and some powerful cinematography and editing give this film a lot of energy. And it makes some clever points about the way we see fame and responsibility.

Parents should know that the movie is exceptionally violent, with graphic murders, including the death of a character we care about. Interestingly, the most upsetting crime is broadcast to a television audience but not shown onscreen. The movie has strong language and sexual references, including prostitution. Characters drink, smoke, and steal.

Families who see this movie should talk about how we determine who is responsible for violence and whether our society creates perverse incentives for those seeking their 15 minutes of fame. They should talk about what it is like to be famous, what is good about it and what is not so good.

Families who enjoy this movie will also enjoy “Heat.”

The classic English comedy written in 1967 by Peter Cook and starring Cook and Dudley Moore has been Americanized. In other words, it has less deadpan humor, sly wit, and existential comedy and more jokes about penis size. But it is still delicious fun and one of the best comedies of the year. It may not leave you bedazzled, but it will leave you happy.

Brendan Fraser is one of the most versatile actors around, which makes him a perfect choice for the role of Elliot, a nerdy guy who longs for the beautiful Allison. But after four years working in the same firm, he has managed to speak to her only once, and that was about the weather. When he whispers that he would give anything to have her, that is all the invitation that the devil (Elizabeth Hurley) needs to make him an offer he can’t refuse — seven wishes in exchange for his soul.

But as anyone who has ever read a fairy tale knows, wishes are a tricky business. Elliot wishes to be rich, powerful, and married to Allison. He is instantly all three — and a Colombian drug lord. And Allison hates him. Elliot stumbles his way through his wishes, each time adding in what he left out before only to find that he has created yet another loophole. He may be rich, smart, popular, sensitive, and well-endowed, but somehow it never works out the way he hoped.

Fraser is wonderful, almost unrecognizable as he moves from sensitive poet to basketball superstar. Hurley may not be up to the acting challenge, but she looks like a million bucks in a series of hilarous get-ups, and she has that most important attribute of a movie bad guy — an English accent. The rest of the cast does not have much to do beyond wardrobe switches as they play different roles in each scenario, but Frances O’Connor (Allison) has a great smile and Orlando Jones (of “The Replacements” and the 7-Up commercials) has a couple of good moments. Gabriel Casseus makes a strong impression as someone who gives Elliot some good advice.

Parents should know that the PG-13 rating comes from some relatively mild language, sexual humor (including references to homosexuality), comic peril, and comic drug use.

Families who watch this movie should talk about what wishes they would like to make, whether they would make them if they had a chance, and what the Devil means when she says that you don’t have to look very far for Heaven and Hell. Ask kids what they think a soul is, and whether it can be sold. What did Elliot learn from his mistakes? Why was it so hard for him to be likeable and to see how others perceived him at the beginning of the movie? How was he different after the wishes? Was the ending what they expected?

Families who enjoy this movie should see the original version (notice the names of the Devil’s dogs in the new version). They may also enjoy other “sell your soul to the devil” movies like “The Devil and Daniel Webster” and “Alias Nick Beal.”

Bobby Bowfinger (Steve Martin) wants desperately to make a movie, and as he approaches his 50th birthday he thinks he is running out of time. He tries to interest a studio executive in a script called “Chubby Rain,” written by an accountant, and is told the studio will make the movie IF Bowfinger can get Kit Ramsey, Hollywood’s biggest action star, to agree to appear in it. When Ramsey (Eddie Murphy) won’t even look at the script, Bowfinger decides to go ahead and make the movie around him, just filming him wherever he is without telling him anything about it.

Bowfinger takes his $2184 lifetime stash and gets started, with the help of a studio gofer who borrows the equipment (Jamie Kennedy), a very theatrical stage actress (Christine Baranski), and an ambitious ingenue literally just off the bus from Ohio (Heather Graham), who plans to become a star in one week. They set up the camera wherever Ramsey is going to be, and just stage the various scenes around him.

Ramsey, already high-strung and paranoid, finds his worst fears coming true as he is followed by strange people who say completely incomprehensible things to him about aliens and keep calling him “Keith.” He seeks help from Terry Stricter (Terrence Stamp), a counselor at Mind Head, a kooky therapy/religion whose members wear pyramid hats and recite affirmations. Meanwhile, Bowfinger needs a Ramsey look-alike for close- ups, and recruits the nerdy Jeff (also Eddie Murphy). And the ingenue sleeps with anyone and everyone who can help her get more time on screen.

The movie has some very funny moments but is oddly low-key, from its slow set-up of the premise to its lack of follow-through on some of the comic possibilities. Some of the humor may be too inside for those who do not follow Hollywood gossip. Watching Martin, Murphy, Baranski, and Graham — all in fine form here — is reason enough to see any movie, but in this case the script (written by Martin) is not as strong as it could have been.

Parents should know that the movie has a number of sexual references. The character played by Heather Graham has (offscreen) sex with just about every other character (male and female) purely to advance her career. While this is played for humor, without any suggestion that she is being exploited (quite the other way around), parents may want to talk to kids who see this movie about this behavior, as well as the choices Bowfinger himself makes by cheating, stealing, blackmailing, and lying to get his movie made. Some kids may have questions about “Mind Head”-style organizations. It might be fun to talk about what kind of movie could be made by filming family members as they go about their daily lives.

The classic fairy tale by Charles Perrault is lovingly and imaginatively brought to life in this animated Disney version, also a classic. Cinderella, a sweet, docile, and beautiful girl forced to act as a servant for her mean stepmother and stepsisters, goes to the ball with the help of her fairy godmother. But her godmother warns that the beautiful coach and gown will only last until midnight. Cinderella meets the Prince at the ball, and they share a romantic dance. But when the clock begins to strike midnight, she runs away, leaving behind one of her glass slippers. The Prince declares he will marry the girl whose foot fits that slipper. He finds her, and they live happily ever after.

Disney expanded the simple story with vivid and endearing characters and memorable songs. The animation is gorgeously detailed and inventive. In one musical number, as the stepsisters squawk their way through their singing lesson in another room, Cinderella sings sweetly as she scrubs the floor, reflected in dozens of soap bubbles.

When Cinderella asks if she can go to the ball, her stepmother tells her she can, if she can make an appropriate dress. She then keeps Cinderella much too busy to have time to make the dress. But Cinderella’s friends, the mice and birds, make one for her in another delightful musical number. As the fairy godmother sings “Bibbidi Bobbidi Boo,” she transforms a pumpkin into a coach, the mice into horses, the horse into a coachman, and finally, Cinderella’s rags into a magnificent ballgown. The scene when the Duke comes looking for the girl whose foot will fit the glass slipper is very suspenseful and highly satisfying.

While the story has enduring appeal, many people are troubled by the passive heroine, who meekly accepts her abusive situation and waits to be rescued, first by her godmother and then by the Prince. It is worth discussing, with both boys and girls, what some of her alternatives could have been (“If you were Cinderella, would you do what that mean lady told you?”), and making sure that they have some exposure to stories with heroines who save themselves. A superb book called Ella, Enchanted by Gail Carson Levine has an ingenious explanation for the heroine’s obedience.

In today’s world of blended families, it might also be worth discussing that not all step-parents and siblings are mean. Even children who are living with intact families of origin may need to hear this so that they will not worry about their friends.

Families who see this movie should talk about these questions: Why does Cinderella do what her stepmother says? What could she have done instead? Why is the King so worried about whether the Prince will get married? If you had a fairy godmother, what would you like her to do for you? Or would you like to be a fairy godmother? Whose wish would you grant?

This story has been told many times, and families might enjoy seeing sme of the other versions, including “Cinderfella,” with Jerry Lewis as the title character and Ed Wynn as his fairy godfather. The made-for- television musical version starring Leslie Ann Warren, with songs by Rogers and Hammerstein, and the remake with Brandi and Whitney Houston are available on video and well worth watching. Drew Barrymore’s revisionist “Ever After” gives us a spirited Cinderella who rescues herself.

Children might be amused to hear the rumor that Cinderella’s most famous accessory is the result of a mistake. It is often reported that in the original French story, her slipper was made of fur. But a mistranslation in the first English version described it as glass, and it has stayed that way ever since. But in reality, while there have been many versions of the story over the years, the best-known early written version, by Charles Perrault, did describe her slippers as glass. Other versions have her wearing gold slippers or a ring that fits only the true Cinderella.

Note to Bruce Willis: make sure all your future movies have kids in them. Willis has great talent as an actor and enough charm to keep him on the A-list despite a few clunkers, but he is simply the best there is when he plays opposite a child actor, as he did last year in “The Sixth Sense” and as he does here in “Disney’s The Kid.”

Most actors are afraid of appearing with kids. There’s a reason for the legendary advice to stay away from kids and animals on stage, because they will draw all the attention away from even the most accomplished adult performer. Some actors who appear with kids can’t resist showing off or trying to out-adorable them (think of Bill Cosby). But Willis treats his kid co-stars as though they are the only two people in the world. He is not afraid to let the child actors get the attention. The result is two terrific performances at the heart of a surprisingly funny and endearing movie.

Willis plays Russ Duritz, an “image consultant” who spends his time (1) helping miserable (but rich and powerful) people get out of public relations disasters, (2) making the lives of everyone who knows him as miserable as possible, and (3) being miserable himself. At least he would be miserable if he ever allowed himself to think about it, which he doesn’t.

Duritz is doing his best to hide from his hurt and loneliness by working all the time, being thoughtless and insensitive to everyone he meets, and putting a lot of energy into forgetting his feelings, even forgetting that he ever had feelings.

But one of the insights of this movie that is well worth discussing with kids is that feelings will not let you forget them. If you don’t look at them directly, they will come and find you. In this case, that happens literally. Duritz is buzzed by a bright red airplane, a full-sized replica of his favorite childhood toy, and then he receives a visit from a pudgy, unhappy little kid named Rusty (Spencer Breslin) who turns out to be none other than Duritz himself, circa 1968.

At first, Duritz is embarrassed by his younger self. He says, “I look at him and all I see is awful memories — memories I’ve been spending most of my life trying to forget.” He decides that Rusty can’t go back until he helps him. But he learns that Rusty is there to help him, too. Duritz has spent his entire professional life making over other people, with his first subject himself. But he needs to remember who he really is inside that image. Why does he have a problem with dry eyes? Why does he get so angry when people cry? What is it about his past that “doesn’t want to stay in the past?”

This is a Disney movie, and it has an old-fashioned Disney ending. Only the hardest hearts will refuse to be warmed. It is also very funny and genuinely insightful.

Families who see this movie should talk about the importance of understanding your past. Kids who see the movie will want to know whether their parents are neglecting their childhood dreams, and they may want to talk about what they can do now to stay in touch with what is important to them and to feel happy with themselves when they grow up. They should discuss what makes people mean. As this movie shows, it is often because they are insecure and in pain. Some kids who have experienced or observed bullies at school may want to talk about why kids behave that way and how to respond to them. Older kids may also want to talk about the difference between “spin” and accountability and the way that image consultants change the way that people feel about celebrities.

Parents should know that there is some rude and PG-rated language, a school-yard scuffle, a sad off-screen death, and a parent-child confrontation that may be upsetting.

Families who enjoy this movie will also enjoy an old Disney classic, “The Shaggy Dog.”