As an Empress of Evil announces that she is in charge and from now on it will be “happily NEVER after,” the film appears to jump off the sprockets of the projector and a narrator interrupts with an important announcement. It seems the owner of a light blue coach with Narnia plates…and at this point the fairy tale is clearly off its sprockets as well.

It seems that the wise wizard from the Department of Fairy Tale Security who presides over the scales that balance the forces of good and evil (voice of George Carlin) has gone to Scotland to play golf. His assistants, Munk (voice of Wallace Shawn) and Mambo (voice of Andy Dick) let the scales slip. Cinderella’s evil stepmother Frieda (voice of Sigourney Weaver) does a “hostile takeover,” seizing the Wizard’s magical staff, changing the ends of all the fairy tales, inviting the trolls, ogres, and witches to take over, appointing herself Empress, and taking on Rumplestiltskin as a sidekick. All of fairy tale land is in need of a happy ending and the only people who can save the day are Cinderella (voice of Sarah Michelle Geller) and the Prince, I mean the guy who does the Prince’s dishes and laundry, Rick (voice of Freddie Prinze, Jr.).

This most recent po-mo take on fairy tale may be “Shrek”-lite, but it is just cute enough. A dim-witted character is “a couple of Hansels short of a Gretel,” the clueless prince (voice of Patrick Warburton) is “Blondie McBiceps,” and Rumplestiltskin is “still going for custody.” The animation is more video game than feature film, all textures but limited expressions, and stock-style characters moving like marionettes.

Parents should know that the movie has cartoony peril and violence. The hulking ogres and trolls are more silly-looking than scary. Dwarves don cammo and shoot diamonds at the bad guys. A magic staff shoots laser-beam-ish rays. There is some schoolyard language (“screw up,” “shut up,” “a butt the size of a shopping mall,” “eat this”) and some diaper humor. A strength of the movie is its portrayal of a strong and capable heroine and a commoner hero.

Families who see this movie should talk about how the Prince cannot improvise — when life doesn’t follow the story, he does not know what to do. Why are Rick and Ella better at adjusting to the unexpected? Why does Ella think she loves the Prince? Families should also talk about Frieda’s answer when asked why she hates Ella. They can also talk about why the Cinderella story has been so popular in so many forms ove the centuries. If you were going to write your own version of the Cinderella story, how would it end?

Families who enjoy this film will also enjoy Shrek and its sequel and Hoodwinked. They will also enjoy the many variations on Perrault’s original story, including Disney’s Cinderella, Rodgers & Hammerstein’s Cinderella, Ever After – A Cinderella Story, Ella Enchanted and the book that inspired it, and even Jerry Lewis in Cinderfella. Other funny takes on traditional fairy tales include Once Upon a Mattress, Shelley Duvall’s “Faerie Tale Theatre,” and Jules Feiffer’s hilarious A Barrel of Laughs, A Vale of Tears.

Here is the formula for movies about idealistic young teachers who go into bad neighborhoods:

1. Idealistic teacher goes into bad neighborhood and is aghast at poor conditions and cynicism of the school administration.

2. Students treat teacher with contempt because he/she cannot possibly understand them.

3. Dedicated teacher demonstrates through persistence and unprecedented willingness to be honest that he/she deserves their respect.

4. Students begin to get interested in learning. But there are some setbacks, often involving a student’s home situation. The teacher’s personal life can also interfere.

5. There is often a montage and/or some kind of dancing sequence.

And this one clomps along, hitting all those notes, with double-Oscar winner Hillary Swank as Erin Gruwell, doing her best in a world that just doesn’t see how much these kids have to offer. Dr. McDreamy Patrick Dempsey plays her initially supportive husband, Scott Glenn her concerned father, and Imelda Staunton the harried principal. The students are played by an assortment of actors who all look closer to 30 than to high school age.

There are indeed some inspiring moments, as Gruwell has the students read Anne Frank’s diary. They learn that they are not the only ones in the world to be surrounded by random violence and tragic loss and begin to discover the healing power of telling their own stories. There is one great scene as Miep Gies (Pat Carroll in the film’s best performance), the woman who hid the Frank family, comes to the classroom to tell them that they are the real heroes. But too much of it fails to have the vivid detail necessary to bring it to life. Swank, who also produced, makes Gruwell too saintly and the students too generic for us to feel any real connection.

Parents should know that this film deals with students who are surrounded by and sometimes involved in gangs. There are references to violence and murders and some moderately graphic situations. Characters use some strong language, including racial epithets. There are references to drugs and sex. Characters drink. The movie’s strengths include its positive portrayal of racial tolerance, the importance of integrity and education, and the dedication and sacrifice of an idealistic teacher.

Families who see this movie should read the book Gruwell and her students wrote. They should also read about Miep Gies and Anne Frank. Every teenager should read her diary. They might like to try keeping a diary themselves.

Families who enjoy this film will also enjoy To Sir With Love, Up the Down Staircase, and Dangerous Minds. They will also enjoy the outstanding documentary OT: Our Town, about a Compton class that puts on a production of Thornton Wilder’s play “Our Town.”

Long-time teacher Barbara Covett (Judi Dench) doesn’t even pretend to care anymore. The other teachers come back from summer break with thoughtful reports — or apparently thoughtful reports — on their departments and their plans, but she turns in three sentences, concluding that the history department’s results are “below the national average but above the level of catastrophe. Recommendation: no change necessary.”

She feels that the world is deteriorating around her. They used to confiscate cigarettes and dirty magazines from the students. “Now it’s knives and crack cocaine,” she says crisply. “And we call it progress.” At school, she no longer tries to teach or worries about holding the line. She just wants to get through it — and then to go home to feel superior about the students and other faculty members when she writes about it in her diary, a pen dipped in acid and special entries embellished with gold stars.

But her name isn’t Covett for nothing. As soon as she sees “artfully disheveled,” sweet-natured, but weak-willed new art teacher Sheba Hart, Barbara wants something very badly indeed. But what?

Her first reaction is contempt, with just a touch of curiosity. She almost despises Sheba for being ineffectual, but is glad for the chance to rescue her by stopping a fight between two students, showing off her ability to command obedience if not respect. When Sheba invites her for lunch, she is girlishly delighted, having her hair done and dressing up. She allows herself to feel special, noticed, wanted.

But she gets to Sheba’s house and it is not special after all. Sheba is married to a benign but shambling older man and is the mother of a surly teenage daughter and a son with Down syndrome. Sheba, a little tipsy and careless by nature, confides in Barbara, who feels special at last. Her secrets are like treasure locked in Barbara’s safe deposit box.

But then Barbara finds out that Sheba has a secret she has not shared. Sheba is having an affair with a 15-year-old student. Barbara finds this both intoxicating and infuriating. She had briefly thought of Sheba as a kindred spirit — or thought she thought of her that way. But now she has something even better — a reason to feel superior, all the pleasure of feeling contempt for someone who is young, beautiful, loved, and has a house in the Dordogne, and, best of all, the power of a secret. She can look around the school and enjoy knowing something no one else knows, and she can enjoy looking at Sheba and knowing she is in her power.

An incisive script by Patrick Marber (Closer), based on the novel by Zoe Heller and brilliantly ruthless performances by Dench, Blanchett, and Bill Nighy as Sheba’s husband make this an intense psychological drama with the urgency of last night’s news.

Parents should know that this movie has very strong language and explicit sexual references and situations, including adultery and an adult teacher having sex with an underage teenager student. A predatory homosexual interest is a factor in the plot. Characters drink and smoke. There are disturbing emotional confrontations, a sad death of a pet, and there is some brief violence. A strength of the movie is the portrayal of a loving and supportive family of a Down syndrome child.

Families who see this movie should talk about what was important to Barbara and Sheba and about how they thought about (or did not think about) the decisions they made. What is the significance of the characters’ names? Of the final scene? Of Sheba’s being a potter and Barbara’s being a history teacher? Who was the predator in Sheba’s relationship with Steven?

Families who appreciate this movie will also appreciate The Prime of Miss Jean Brodie, The History Boys, and All About Eve.

It’s an engaging idea — to make a movie about the one sense least able to be evoked by film, the sense of smell. The great triumph of the cinema is the way it unites sound, words, and images to tell a story. Movies evoke our sense of touch. Lips brush a bare shoulder on screen or a CGI creature’s feathers are rendered with an exactness that is palpably tactile. And anyone who doesn’t think that film can convey an enticing taste has not seen many television commercials. But fragrance is the hardest sense to describe. Its subtlety seems to linger just outside the reach of words or images.

And I am sorry to say it also lies outside the reach of this film, which tries to be rapturous and evocative and heady but ends up just plain silly before it topples over into the mire of preposterous hooey. But there’s a lot to look at on the way there.

A baby is born in the middle of a fish market to a mother so used to stillborns that she kicks him under the table without noticing that he has inconveniently been born alive. She does not know that she has just given birth to a child who has the nasal equivalent of perfect pitch. He is better able to understand, appreciate, and sort all the smells of the world than anyone who has ever been born.

His name is Jean-Baptiste Grenouille (Ben Whishaw). He grows up terribly abused and deprived, apprenticed to a cruel tanner, but all he longs for is the perfect scent. He is feral in his focus. One day, he sees a young woman who smells like his idea of heaven. He follows her, he grabs her — and then, trying to capture her scent, he accidentally kills her. And then we lurch from a sort of Dickensian struggle to a sort of 18th century Silence of the Lambs, as he murders young women to collect their essential fragrances into the ultimate perfume.
Director Tom Tykwer has a great eye, especially when it comes to red-heads, and the movie is filled with imaginative and striking images. Dustin Hoffman as a gifted but out of fashion perfumer with a great nose and Alan Rickman as the father of one of the young women Grenouille fixates on do their best to provide some heft to the story. But the dry narration by John Hurt and the essentially un-adaptable nature of the material disconnect us from the story and its characters so that by the end its developments lose any power.

Parents should know that this movie centers on a serial killer who murders young women, one a prostitute, and it includes nudity and sexual references and situations. There are disturbing themes and images. Characters drink and use some of the strong language of the era depicted.

Families who see this movie should talk about the impact that scent has on memory and longing. They may want to read the book, which was an international best-seller.

Families who enjoy this movie will enjoy the director’s other films, including Run Lola Run, and Silence of the Lambs and The Great Train Robbery.

“A baby is God’s opinion life should go on,” Carl Sandburg said. So, in a world where babies have stopped being born and the death of the youngest person on earth is an international tragedy, there seems to be no point in just about anything. It appears that all of humanity is only decades from extinction. With no future, any sense of order and structure is gone. Any sense of hope or purpose has disappeared. All that exists is increasingly more violent and frantic chaos and increasingly more violent and frantic efforts to contain it.

The world is engulfed with anarchy, and only England is left to uphold what passes for civilization, a nihilist bureaucracy supported by a brutal armed force. Its one object is to hold on to what little is left by keeping out the avalanche of people fleeing the chaos of their own countries. The huddled masses yearning to breathe free are shipped off to prison camps and deported. Or just shot, because, why not? Justice, kindness, honor, and loyalty no longer mean anything. The only values left are expediency and any possible shred of a sense of control.

Theo (Clive Owen) is personally and professionally burned out. The one connection he has to peace, affection, and laughter is to his old friend Jasper (Michael Caine), a cynical, pot-smoking aging hippie. He lives away from the rest of the world and cares tenderly for his wife, who is completely unresponsive as a result of severe physical or emotional trauma.

Theo is captured by rebel forces led by his ex-wife (Julianne Moore), who wants him to obtain papers from his influential relative to permit the transport of a young woman who is pregnant. Protecting her from the authorities and the ravenous curiosity of the world gives Theo something to care about.

This is a heart-thumping thriller with two of the most exciting chase scenes since The Matrix Reloaded. But it is also a thoughtful, provocative, and complex film, each shot packed with details, each scene packed with ideas. Theo’s highly placed cousin collects the world’s great masterpieces, protecting them — for what? Theo’s escort of the young pregnant woman recalls the nativity, as he tries to find a safe place for her to give birth to the baby who will carry all of the hope of the world, protecting her from brutal soldiers. Though it takes place in 2027, the setting does not look too far from our own surroundings — this is not one of those futuristic stories where people wear silvery mylar, have flying cars, or zap themselves from one place to another. But there are understated references to other places and events that demonstrate the richness of the film’s underlying conceptual base. The performances, especially Owen and Caine are so deeply grounded and heartfelt that they draw us deeply into the story. Instead of just another chases and explosions movie, this is a film that is adrenaline for the mind and spirit.

Parents should know that this movie is disturbing and extremely violent with graphic images and many characters injured and killed. There is non-sexual nudity, extremely strong language, drinking, smoking, and drug use.

Families who see this movie should discuss why the absence of children led to such violence and anarchy. What will happen next? They may want to read the book, by P.D. James or learn more about the possible causes of declining fertility rates worldwide.

Families who enjoy this film will also appreciate other dystopic visions of the future, including 28 Days Later, Gattaca, Blade Runner, Solyent Green, and a made-for-television movie called The Last Child.