This is a movie about teenagers who promise each other that they will have sex before the night of the prom, and then do whatever they can to make it happen. It is one of the raunchiest and most explicit movies ever released by a major studio. The title, for example, refers to an apple pie that the main character masturbates in. A girl explains that she used her flute to masturbate. A boy ejaculates into a glass of beer. Boys hide a camera so they can broadcast pictures of a girl changing her clothes over the internet. A little boy hides in a closet so he can see teens have sex.

Parents whose kids see this movie may want to see it themselves, so they can give kids their own ideas about the appropriate ways to make responsible choices about sex, showing respect for themselves and their partners.

In this science fiction masterpiece, Stanley Kubrick tracks the odyssey of mankind, from the dawn of man four million years ago to the exploration of deep space. The film begins with a desolate time when our ape-like predecessors led frightened and brutal lives, scrounging for food and huddling against the cold night while wild animals howled in the distance. In a few short minutes, Kubrick has spanned the epochs, depicting the origins of tribes and the miraculous morning when apes awoke and learned how to use tools. With this ability, mankind was launched on its journey to the stars. On Kubrick’s timeline, it is just a small next step to the exploration of the moon. And from the moon, mankind heads off to Jupiter. But what is triggering these immense changes? Why are humans evolving and what is their destiny? At transforming moments along this odyssey, a mysterious black monolith appears, drawing humans ever forward. But toward what? The surprise ending to this film is legendary, and has probably inspired more late night discussions in college dorms than any other movie.

For children 12 or older, 2001 can be a mind-boggling experience. In a series of dramatic vignettes, it introduces children to cosmic mysteries, and gives them an opportunity and an incentive to grapple with issues that span the millenia, rather than dwelling on their last argument over a toy. Younger children may be impressed by the drama, the special effects and the beautiful music, but may have a hard time following the plot. In addition, they will lose patience with some of the longer segments dealing with space exploration. (The special effects used by Kubrick were revolutionary in their day, but will seem commonplace to children raised on Star Wars and Star Trek: The Next Generation. Even twelve year olds may not appreciate the subtle references to political rivalries and intrigue on earth, the cover-up of mysterious developments on the moon, or the more ironic aspects of the clash between man and machine (HAL the computer plaintively crying that he is afraid and that he can feel his mind going is a poignant example). In fact, the cryptic ending of the movie was famous for stumping even adults when the movie first came out.

Most teenagers cannot help but be swept up in this film, which stretches their minds and gives them mysteries and uncertainty instead of endings where everything is neatly tied up with a bow. As children strive to deal with the uncertainty of the ending, and fill in its gaps and illuminate its gray areas by drawing upon their own personality and sense of the world, they are on their way to appreciating greater and more mature forms of art.

Questions for Kids:

Why is the moment the apes use tools a turning point?

What does the monolith represent?

HAL says he was made in 1992 — now that we have passed that date, how many of the film’s ideas about the future seem to be accurate?

HAL says he can “feel” — what does “he” mean?

What happens to Dave at the end? Why?

Connections: A sequel, “2010,” was made in 1984, with author Arthur Clarke appearing briefly on a park bench. It answers many of the questions raised in “2001,” at least in a literal sense, but is not as satisfying as the more open-ended original. Kids who like this movie should read some of Arthur C. Clarke’s science fiction books, especially Childhood’s End, and Isaac Asimov’s Foundation trilogy.

Activities: Teens may want to use the internet to learn more about artificial intelligence and space travel.

“24 Hour Party People” is a funny, smart, and exciting film about the early days of punk music that should give some extra exposure to its talented cast and the mainly underground music it covers.

The star is Steve Coogan, a remarkable talent who shines as Tony Wilson, a Manchester TV news reporter looking to make his mark. After witnessing an early concert by the Sex Pistols, who are on the verge of shaking up England, he gets his station to televise one of their performances. Soon he is participating in a revolution as he gives exposure to the Clash, the Buzzcocks, and several other pioneering punk acts. He comes to devote himself to it full time, founding the groundbreaking Factory Records as well as the Hacienda club, which is now considered the birthplace of Rave culture. Along the way, he watches the rise, fall, and tumultuous careers of now-infamous acts Joy Division, New Order, and the Happy Mondays.

This film has some of the best dialogue heard all year (“I was postmodern before it was fashionable!” is one of many standouts) and Coogan’s narration will have you in stitches, blow your mind, and make you looking forward to seeing his next film. The entire cast, an ensemble of eclectic British characters that Guy Ritchie would be proud of, turn in great performances, but after Coogan the most noteworthy is probably Sean Harris as Joy Division’s Ian Curtis, capturing all the distinctive aspects of one of rock’s most tragic figures.

Parents should know that this film has extremely strong language, mainly British curse words, as well as lots of drug use by the bands as well as sexual references and situations. There are also some fistfights and a suicide.

Families who see this movie should ask why Wilson had the faith that he had in the self-destructive characters, and how the Hacienda club and Factory Records flew out of his control.

People who enjoy this movie should check out the fine documentaries on the Sex Pistols, The Filth and the Fury and The Great Rock n’ Roll Swindle, as well as Almost Famous and the classic This is Spinal Tap.

The dialogue in “8 Mile” has a vocabulary of fewer words than the 223 in The Cat in the Hat, and that’s counting giving someone the finger as a word. Other than the usual four-letter words, with one in particular used almost non-stop, the most frequently used words are “dawg,” “all right” (pronounced “i-ite”), and “man.”

It is a little odd, then, that this is a movie about a world in which status and self-worth are achieved by wordplay. Loosely based on the real-life story of white rap superstar Eminem, this movie is very much in the tradition of other “poor kid with a dream” stories like “Saturday Night Fever” and “Rocky.” The structure of these stories is simple: a talented character has to learn to take risks and believe in himself. He has some setbacks, but ultimately triumphs.

There’s nothing wrong with that story – it is a classic because of its enduring appeal, and many movies, including the two I just mentioned, have told it well. But despite “8 Mile’s” top behind the scenes talent like director Curtis Hansen (of “L.A. Confidential” and “Wonder Boys”) and producer Brian Grazer (of “A Beautiful Mind”), this version’s primary appeal will be to the fans Eminem already has.

For those who accept the premise that rap – a series of sometimes complicated, sometimes sloppy rhymes spoken contrapuntally to music or rhythmically scratched records – is an art form, this movie will be easier to believe. This is not the genre-transcending triumph that it was intended to be, but it is far ahead of instantly outdated bombs like “Breakin’ 2: Electric Boogaloo.” Eminem has the ability to hold the screen, and if he is not exactly an actor, he is able to muster the few expressions required: tender when he looks at his sister, hopeful when he looks at Alex, and sullen most of the rest of the time. Years from now, they will need subtitles – maybe even footnotes — under the dialogue to translate the early 2002 argot to future audiences. (“313” equals “Detroit,” a reference to the area code.)

There is a sweet little sort of almost-hugging thing the guys do when they see each other and there is a charming, even witty scene as Rabbit makes up new lyrics to the song “Sweet Home Alabama,” showing the way that even music that is not his genre gives him an avenue for expression and release. Brittany Murphy and Mekhi Phifer are fine as the girl who catches Rabbit’s eye and the friend who believes he can make it.

Parents should know that the movie is rated R for nonstop profanity, violence, drug references, and very explicit sexual references and situations. Characters vandalize and burn down an abandoned house and a character accidentally shoots himself. There is a reference to child rape. Rabbit’s mother is living with a boyfriend who is Rabbit’s age, and she speaks to Rabbit in very inappropriate ways about their sexual relationship. Some viewers will be upset by the neglect of Rabbit’s sister, a little girl who witnesses violence, family fights, a mother who drinks and has sex with a young man, and other abusive situations. Most likely in response to criticism of the gay-bashing lyrics of his earlier songs, there is a scene that seems to exist for no other purpose than to give Eminem a chance to defend a gay man. The defense is somewhat weak, however, as he attempts to explain that “faggot” as a derogatory term does not mean the same thing as “gay.”

Families who see this movie should talk about what changed in Rabbit’s life to make him ready to perform. Why was his willingness to insult himself before anyone else could a show of strength that was more devastating to his opponent than an attack could be? How is Eminem in the tradition of white musicians of the past who became successful by appropriating the music developed by black performers? Why did Future support Rabbit? Why did Rabbit support Bob? Families should also talk about the way the movie makes clear that having sex with someone should not be confused with thinking that you know the person or that you have a relationship. What were the signs that Alex was more interested in her career than in getting to know Rabbit? Note that in one scene, a character watches a short excerpt from a movie called “Imitation of Life” in which a black woman discovers that her daughter has been passing for white at school. Why would the director chose that scene to include? Families should also talk about how they feel about Eminem’s lyrics and why they have been so popular with both teenagers and critics.

Families who enjoy this movie will also enjoy “Rocky,” “Saturday Night Fever,” and a take on the way music can affect the lives and relationships of accomplished professionals in “Brown Sugar.”

Given the talent involved, it really is almost impressive how bad “Abandon” is.

The movie is written by Stephen Gaghan, who last won an Oscar for “Traffic” and here makes his directing debut. The direction is poor, and the screenplay is awful. Cinematographer Matthew Libatique, whose work in “Requiem for a Dream” was brilliantly innovative, manages to make Katie Holmes and Benjamin Bratt look so unattractive they should consider a defamation lawsuit.

Holmes plays a brilliant and beautiful college senior who seems to have everything. She aces an interview with McKinsey, the brass ring of employers. But she is having problems completing her thesis and she has trouble sleeping. And when a detective shows up asking questions about her boyfriend, who disappeared two years earlier, it brings back painful memories and deepens her sense of loss. The detective (Benjamin Bratt) is facing his own challenges, taking on his first case after returning from alcohol rehab.

This is one of those movies that depends heavily on bonehead plot twists in which people behave inconsistently and idiotically, including that oldest of movie plots — characters showing up alone in eerie and isolated locations for assignations with potential murderers. There are many shadowy hallways, crumbling walls, and dripping pipes. There are gratuitous scenes of college kids at a debauched party (a throwback to Gaghan’s scene of teenagers taking drugs in “Traffic”) and of Holmes changing her clothes. The missing boyfriend is supposed to be talented, arrogant, and electrifyingly seductive, but the flashback scenes of their encounters are clumsily handled. The surprise ending is telegraphed halfway through the movie.

Parents should know that the movie shows a girl’s decision to lose her virginity and her unrealistic expectations about the relationship. There are overheard sounds of a couple having sex. Characters casually drink and use drugs. One intoxicated character is so happy that she says she wishes she could always feel so “connected.” Another character struggles with alcoholism.

Families who see this movie should talk about the jealousy some characters feel. What are “problem people?” Do they choose to be (or not be) “problem people?” What does the title refer to? What do you think about the job interview scene? If you were asked to solve a problem in an interview, how would you respond? What were the students’ concerns about “selling out?”

Families who enjoy this movie will also enjoy better performances by Holmes in “The Ice Storm” and “Wonder Boys” and a better college-based mystery, “DOA.”